Mon Barker
Mon Barker
Bergen, Norway
Activity Feed
Mon Barker
Orthos to barrel rolls…not sure of my plane sound onomatopoeia….maybe should have been more of a ‘neeee-oaarrrrw’…not too important for the assignment I guess. Dared to foreshorten and ‘diminute’ or whatever the verb is for make smaller in perspective…diminish?
Rachel Dawn Owens
Super exciting plane drawing! These are amazing
Mon Barker
Using the 3D models (pic 1) then spinning and redrawing/relabelling axes from memory (pic 2)
Mon Barker
Ok @Marshall Vandruff I think I smell a trap, or maybe I’m just being dramatic 😱 . So, we have 9 basic views and we can draw these as boxes and even add their X, Y, Z axes. Then we have an arrow as an object, and can assign X, Y, Z and a bonus XZ (pic 2). Now, when we put the arrow in a box and draw it from one of the nine views, we can either prioritize Arrow X, Y, Z (pic 3) or maintain consistent X, Y, Z between boxes and arrows (pic 4). The consequence in picture 3 is that the arrow X, Y, Z (solid line colour examples) is different to the Box X, Y, Z (dashed line colour examples). The consequence in picture 4 is that you are constrained in ways you can tumble the arrow in order to keep the box/arrow co-ordinates consistent. So what’s my question….well, I guess that the axes of the object stay consistent no matter how we tumble them, and the axes of the environment stay consistent regardless of viewer position, but object and environment axes will usually be inconsistent and so we keep two sets of axes (or more if many objects) in mind when drawing…?
Marshall Vandruff
Well, you are being dramatic, but with such dramatically impressive drawings, you've earned a license for drama. If you are able to keep in mind all the words in your post, you have better concentration than I do. To think that I thought I was making it simple! Thanks for dramatizing. For now, you've earned the right to stop thinking. My recommendation is to shift to speed-drawing your choice of these. Lines without Language. Gut over Brain. Into your Impulses!
Mon Barker
Quick question on the cast shadow - I’ve tried to draw this foreshortened (thinking in perspective terms) so that the long axis mid-point line is offset slightly toward the far side of the cast shadow, with the edge of the far side less curved also….in the demo it looks like Stan has done opposite and I think that is because of the direction the light is hitting the sphere. So I’m probably misunderstanding how to bring perspective and light on form together - in the image attached I can now see the cast shadow is placed wrong with respect to the light source, and that was done thinking too much about perspective. Any tips?
Mon Barker
This was quite challenging, from wonky circles and ellipses to blotchy values and total disasters where tried erasing large areas of dark tone and had to give up…too much erasing changes the texture of the paper surface making it impossible to get smooth areas of tone. Best attempt (image 1) I tried mapping in a lot more value zones first (image 2) like we did in the various value study exercises. Seemed to help even tho far from perfect.
Mon Barker
12d
Hatched attempt..
Mon Barker
Here’s a stab at one of Marshall’s top view plans. Can get quite inventive but need to not have all the action in top layers so base layers can still be relevant to the view. Good mental exercises 🤯
Mon Barker
Used tools and some fairly diligent measurements, scaling everything down to 66% of actual object size. I’m not too inclined to technical drawing like this but I can see the benefits. Probably I’d make a much better job freehand having gone thru the process of trying to do it accurately.
Rick B
1mo
Excellent!
Melanie Scearce
That's awesome! Well done 👏
Mon Barker
My lines are too stiff but these past few lessons of the course have basically been revelatory for gesture drawing methodologies. This systematic approach really does help. Think I mostly avoided Stay-Puft Marshmallow Man effect….
Mon Barker
Are there situations/subject matter that you cannot draw as orthos? The hand example is a good one - since the fingers are not ever really in a parallel alignment in hand poses, there will always be parts within the hand that are oblique view…and therefore in perspective/three axes…? I guess the room with lots of objects rotated randomly to each other would be another example. How would you approach these when trying to understand the object before jumping into putting into perspective?
Michael Longhurst
I agree with Randy on this. The more complex the object, the more ortho views you might need. I wonder if at some level of complexity you might even do MRI style cross section views. For example if the object had components blocked on the side views, but which the top view didn’t fully explain. I think the example of the hand was more to say the a standard set of orthos could only describe one pose of the hand. A different pose would require a new set of orthos. So with a very large number of potential poses, you would very quickly have an unmanageable number of orthos. However if you’re just trying to draw one pose in different perspectives a set of well selected orthos should give you the information to do that. At least that’s the theory. I’m a long way away from that!
Randy Pontillo
If I'm understanding your question right, it sounds like you might be thinking too granularly about things. Orthos are just here to give us information so we can refer to it later. With complicated objects that are different on every side, like a hand, you would draw more views to show what is different about each of it's sides, one view for each side that is different. This works in reverse too, the treasure chest at 2:20 for example, only has a front, top, side, and oblique view. There is no bottom view, so we can assume its just flat on the bottom, or, if there was a hole busted out on the bottom of the chest, we would draw an ortho to show that. If your question is instead about trying to keep proportions in orthographic views, you could always simplify the complex forms into simple shapes like we did a few lessons ago (i did my motorcycle), for a hand, you can use rectangles for fingers, which are much easier to draw in proportion :)
Lin
2mo
I was wondering that myself and am curious about the answer- but I think that’s why we simplify things to the same basic forms in neutral positions when we seek to understand anatomy or begin a construction.
Mon Barker
Really nice explanations. I get a sense that you introduce an accessible approach in parallel to the more complex considerations like weight distribution, body language/ emotional representation and customization of poses. My attempts at gesture have always felt clueless due to lack of a systematic approach, lack of anatomical knowledge and so on….so really appreciate this lesson….i should have watched it before attempting the project!
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