05-08-2020, 05:21 AM
I think you are taking too much of a stiff, mechanical approach. It's no wonder you're struggling. That road will only turn you into Paolo Uccello. For example:
Not a single concept art professional uses the cone of vision or mechanical drawing techniques. I don't know how many of them even learn them, and complicated perspective set-ups are noticeably absent from the only videos I've seen of Scott Robertson himself showing his workflow for creating concepts. They either set up a few basic lines as reference points or do basic 3D block-ins; at most, they'll do a setup as thorough as what you see in Successful Drawing by Loomis. If anyone on the board is more informed on this, I welcome corrections.
You cannot master color merely by knowing facts about the elements that make it up. Sure, there are scientific facts of color and some general guidelines one can follow, but artists who are excellent with color have largely developed their strong intuition for it from years of study and observation. Same goes for getting a good grasp of light and surface materials.
Correct me if I'm wrong, but you seem to be approaching practice with the mindset that developing a good enough grasp of technical concepts will unlock Fabulous Secret Art Powers. I don't think it ever works that way. Just to make sure that we're all on the same page, what kind of art do you ultimately want to make? You said concept art/illustration, but it might help if you're more specific. Do you want to make beautiful realistic illustrations? Cool concept art for sci-fi movies? Both?
Lastly, I'm not saying it's actually wrong to practice any of the things you mentioned; they are very helpful to learn. They just are not a be-all-end-all.
(05-08-2020, 04:17 AM)Forsaken Pluto Wrote: Perspective Construction- I don't get how to go beyond simple forms and make complex ones. Also concepts like cone of vison or accuracy point or mechanical perspective to arrive at accurate architecture just fry my brain.
Not a single concept art professional uses the cone of vision or mechanical drawing techniques. I don't know how many of them even learn them, and complicated perspective set-ups are noticeably absent from the only videos I've seen of Scott Robertson himself showing his workflow for creating concepts. They either set up a few basic lines as reference points or do basic 3D block-ins; at most, they'll do a setup as thorough as what you see in Successful Drawing by Loomis. If anyone on the board is more informed on this, I welcome corrections.
(05-08-2020, 04:17 AM)Forsaken Pluto Wrote: Color studies of Masters- This is the most discouraging thing I try to do. I understand the elements of color; temperature, saturation, hue and value. But when I see people do a master study especially a landscape they make general colors before the specific color planes and I just don't get how the hell they decide what color to start with.
You cannot master color merely by knowing facts about the elements that make it up. Sure, there are scientific facts of color and some general guidelines one can follow, but artists who are excellent with color have largely developed their strong intuition for it from years of study and observation. Same goes for getting a good grasp of light and surface materials.
Correct me if I'm wrong, but you seem to be approaching practice with the mindset that developing a good enough grasp of technical concepts will unlock Fabulous Secret Art Powers. I don't think it ever works that way. Just to make sure that we're all on the same page, what kind of art do you ultimately want to make? You said concept art/illustration, but it might help if you're more specific. Do you want to make beautiful realistic illustrations? Cool concept art for sci-fi movies? Both?
Lastly, I'm not saying it's actually wrong to practice any of the things you mentioned; they are very helpful to learn. They just are not a be-all-end-all.