03-28-2023, 08:06 AM
I disagree on both points.
Doing multiple drawings for the odd two that might be challenging is very wasteful. It doesn't matter if the subject is more complex if you're sweating over very specific things cropping up only on brief occasions.
Overlaps may be more complex than a continuous foreshortened surface, but they help a lot with perspective. It's not that I consider myself good at overlapping folded fingers, it's that I'm exceptionally bad at compressing flat masses. Case in point, back of hands with less complex fingers, which should be less challenging by your measure, and more complex fingers:
It's not repetitiveness I mind and I feel you're putting too much emphasis on smoothing out the wrinkles in the process that'd bother you, which don't bother me at all. Sometimes the detour you're suggesting to avoid the fatigue you'd feel is the kind of stuff that grates me. I can do boring just fine.
This type of turnaround exercise is good for understanding the logic of the structure underlying a gesture; it's for when you can't see it. This is not the crux of my issue. I'm failing because I'm not representing it well. I'm giving attention to the wrong elements; When given the choice of representing one out of two planes I'm picking the wrong one, no mystery here.
Just to post something, the feet I managed to squeeze between work today. Working out how to represent soles (go back to my legs and look at feet seen from behind/below to understand why this I'm working on it), plus a couple of weird angles I've never draw and angles I should master by now because they crop up on concept art all the time.
Doing multiple drawings for the odd two that might be challenging is very wasteful. It doesn't matter if the subject is more complex if you're sweating over very specific things cropping up only on brief occasions.
(03-28-2023, 01:37 AM)darktiste Wrote: But there little more lenght in the foot than the feet but what create about the feed is the complexity of the form
Overlaps may be more complex than a continuous foreshortened surface, but they help a lot with perspective. It's not that I consider myself good at overlapping folded fingers, it's that I'm exceptionally bad at compressing flat masses. Case in point, back of hands with less complex fingers, which should be less challenging by your measure, and more complex fingers:
It's not repetitiveness I mind and I feel you're putting too much emphasis on smoothing out the wrinkles in the process that'd bother you, which don't bother me at all. Sometimes the detour you're suggesting to avoid the fatigue you'd feel is the kind of stuff that grates me. I can do boring just fine.
This type of turnaround exercise is good for understanding the logic of the structure underlying a gesture; it's for when you can't see it. This is not the crux of my issue. I'm failing because I'm not representing it well. I'm giving attention to the wrong elements; When given the choice of representing one out of two planes I'm picking the wrong one, no mystery here.
Just to post something, the feet I managed to squeeze between work today. Working out how to represent soles (go back to my legs and look at feet seen from behind/below to understand why this I'm working on it), plus a couple of weird angles I've never draw and angles I should master by now because they crop up on concept art all the time.