03-23-2015, 09:52 AM
Hey Martin, thanks for the input
It’s not long since I stopped traditionalling. No real reason why, just kind of fell of doing it. I wonder what the benefits of trad are, I suppose digital might be seen as a crutch, but I think that is how you chose to use it (such as practice with no undo) and I think that’s probably outweighed by the ability digital gives you to easily check, analyse and edit what you’ve drawn which makes learning a whole lot faster, and experimenting much easier.
Traditional diffidently makes for sexier drawings, I think I heard somebody mention that it leads to different design choices (more varied) because there is a larger verity of forms/shapes you can comfortably make because of the better hand eye co-ordination.
Ahh, I don’t know man, if anyone has any opinion on it please throw them directly at my face. I’ll definitely add some traditional into the mix though.
for now, here is a bunch from the past, back when I when to figure drawing (I gotta start that again too at some point).
I have absolutely no idea how to study design, I’m doing bits and drips at the moment like the planes and space junk but there is no structure to it really. Towards the end of the year my study is gonna be skewed way more towards design I just hope I have a better idea of what to do by then…
any recommendations?
Hey Firefox,
Everytime I read Pomodoro app, my brain translates it into porno app, I think I have a problem :/ I can’t get apps on any of my devices, I’m living in the past, I got a program called workrave on my computer though, every 30 mins it locks out my pc and orders me to stretch, it may be, the single most annoying thing in my life, I have to have it though because my arms are old and are a couple of wimps.
Thanks man.
Big focus this week was how to tilt a cube accurately in perspective. I don’t know if it’s just my poor googling but I think the world forgot to put the how to on the internet (well maybe somewhere on Handprint but I’ve learnt to leave that can of worms alone). After a day of experimenting and much failing (I’ll leave out the various things I tried) I pretty much gave up. What I had come up with looked convincing enough and because the info wasn’t readily available on the internet I just assumed the real solution was too complicated to be worthwhile (how to convince yourself to quit)… one last google proved me wrong though
I found this video and about 1:20 into it there is the snippit of info I was missing:
https://www.youtube.com/watch?v=5HFOO-Lrct0
Cue Fanfare
<iframe width="420" height="315" src="https://www.youtube.com/embed/3suGfhnT2Sg" frameborder="0" allowfullscreen></iframe>
Quick step by step:
Set up your perspective
Choose a rotation the object finding it’s VP’s and measuring point (I posted someones vid of this last week)
Think of the measuring points as a station point and a vertical line coming from its corresponding vanishing point as a “horizon”, I’ll call it, the auxiliary vertical horizon…catchy
The to find the pair VPs for the tilt edge, have one corner of a square at the measuring point and make sure the square is large enough to intersect the auxiliary vertical horizon
Rotate the square at the Measuing point to determine how much tilt you want
The tilts VPs are where the square intersects the AVH.
Cry with joy.
Soooo.
Perspective: some of the tilts attempts (at the bottom is my attempt at putting textures of a box a drew and playing with shadows, values and colour temp)
Shadow: shadow of a tilted object
Design: a new design thing I’m trying. Choose a real life plane and draw an ortho of it, design variations, translate into different views (this week was just more orthos but I only thought to do this late)
Faces: one painting from ref, which sux, I don’t know what I’m doing yet. And drawings from imagination, it makes more sense for me to do these while learning about faces is on the back burner. Lets me practice and consolidate some of the things I have learnt.
I failed to do composition once again
It’s not long since I stopped traditionalling. No real reason why, just kind of fell of doing it. I wonder what the benefits of trad are, I suppose digital might be seen as a crutch, but I think that is how you chose to use it (such as practice with no undo) and I think that’s probably outweighed by the ability digital gives you to easily check, analyse and edit what you’ve drawn which makes learning a whole lot faster, and experimenting much easier.
Traditional diffidently makes for sexier drawings, I think I heard somebody mention that it leads to different design choices (more varied) because there is a larger verity of forms/shapes you can comfortably make because of the better hand eye co-ordination.
Ahh, I don’t know man, if anyone has any opinion on it please throw them directly at my face. I’ll definitely add some traditional into the mix though.
for now, here is a bunch from the past, back when I when to figure drawing (I gotta start that again too at some point).
I have absolutely no idea how to study design, I’m doing bits and drips at the moment like the planes and space junk but there is no structure to it really. Towards the end of the year my study is gonna be skewed way more towards design I just hope I have a better idea of what to do by then…
any recommendations?
Hey Firefox,
Everytime I read Pomodoro app, my brain translates it into porno app, I think I have a problem :/ I can’t get apps on any of my devices, I’m living in the past, I got a program called workrave on my computer though, every 30 mins it locks out my pc and orders me to stretch, it may be, the single most annoying thing in my life, I have to have it though because my arms are old and are a couple of wimps.
Thanks man.
Big focus this week was how to tilt a cube accurately in perspective. I don’t know if it’s just my poor googling but I think the world forgot to put the how to on the internet (well maybe somewhere on Handprint but I’ve learnt to leave that can of worms alone). After a day of experimenting and much failing (I’ll leave out the various things I tried) I pretty much gave up. What I had come up with looked convincing enough and because the info wasn’t readily available on the internet I just assumed the real solution was too complicated to be worthwhile (how to convince yourself to quit)… one last google proved me wrong though
I found this video and about 1:20 into it there is the snippit of info I was missing:
https://www.youtube.com/watch?v=5HFOO-Lrct0
Cue Fanfare
<iframe width="420" height="315" src="https://www.youtube.com/embed/3suGfhnT2Sg" frameborder="0" allowfullscreen></iframe>
Quick step by step:
Set up your perspective
Choose a rotation the object finding it’s VP’s and measuring point (I posted someones vid of this last week)
Think of the measuring points as a station point and a vertical line coming from its corresponding vanishing point as a “horizon”, I’ll call it, the auxiliary vertical horizon…catchy
The to find the pair VPs for the tilt edge, have one corner of a square at the measuring point and make sure the square is large enough to intersect the auxiliary vertical horizon
Rotate the square at the Measuing point to determine how much tilt you want
The tilts VPs are where the square intersects the AVH.
Cry with joy.
Soooo.
Perspective: some of the tilts attempts (at the bottom is my attempt at putting textures of a box a drew and playing with shadows, values and colour temp)
Shadow: shadow of a tilted object
Design: a new design thing I’m trying. Choose a real life plane and draw an ortho of it, design variations, translate into different views (this week was just more orthos but I only thought to do this late)
Faces: one painting from ref, which sux, I don’t know what I’m doing yet. And drawings from imagination, it makes more sense for me to do these while learning about faces is on the back burner. Lets me practice and consolidate some of the things I have learnt.
I failed to do composition once again