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Mon Barker
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21h
added comment inUnderstanding Orthographic Views
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?
Randy Pontillo
15h
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 :)
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I'm going to try another item so i can use a ruler.
Pneumatic scissors
Stevie Roder
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13d
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I found some time to watch the video of the assignment while trying it out on my own. This was a really fun challenge on learning about Orthros and One Point Perspective I must admit. I used my half circle ruler for this one on some spots since my name can be a bit tricky to spell out in drawing format. My name honestly though has had to have the most fun I ever had on trying to draw out in one point perspective. Especially when it came to the V and the E. I think I'm going to challenge myself with the 40 challenge throughout the next two weeks now. How can I get better with drawing out real challenging letters in One Point? I would like some pointers to practice learning later.
At risk of sounding generic, the best way to improve at letters you struggle with is to do more of them, keeping in mind the things were being taught here, and applying them.
As far as pointers go, be sure to draw both the horizon line, and a dot on the horizon line on your actual paper, not doing so makes it VERY easy to make things look off. I made an example to show what i mean:
- In example 1, the Vanishing Point was off the page, and i guessed where the lines would go using only my eyes.
- In example 2, i drew the VP and the horizon line on the page so i didn't have to guess where the lines would go, i just knew where they should've been.
- On the second image, i drew red lines following the edges of all the letters to show where they would connect. In example 1, every edge is going somewhere else even though i tried my best to guess where they would meet up. In example 2, even though i free handed it, the lines following all the edges of the letters all meet at the exact same spot (mostly).
Hope this helps, keep at it!
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I took the opportunity to practice with my chisel pen after i was done
(its a 3.8mm Pilot Parallel Pen for the curious)
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24d
This is perfect and I love the message.
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Arteries, teeth, steak, and eggs. That's what it felt like I was drawing. Honestly I had a blast with this and spent more time than I thought I would on this assignment. I played a little with foreground and background and squeezed shapes or tried to exaggerate them a bit. I really want to take this further and further but had to stop myself for time limits, but this instantly inspired me for more. Maybe push and pull a whole forest? A gaping maw with rows of teeth? Magic School Bus through the ventricle system?! The possibilities and the speed at which they can be done!!
That horizon scale on the side looks useful to have on the page itself, i just might steal that!
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I followed the same rules for both versions, but on the second picture it looks like i pushed them so hard that i created some kind of faux fish-eye or POV effect.
Is there a way to tell how far i can push things before they get into fish territory? Or is it a felt sense kind of thing?
> Is there a way to tell how far i can push things before they get into fish territory? Or is it a felt sense kind of thing?
It comes down to the volume of space (left to right) you are trying to represent on the page. Are you drawing a narrow cone of vision or a wide cone. It is like trying to cram a fat guy in a little coat, things just have to curve to remain connected. At the extremes, you can no longer represent a straight stretch of space with straight lines and things have to bend to fit.
Maybe try opening a game(or app, like Zolly) that lets you play around with the field of view settings and play around with it a bit. That could help.
Jay Nightshade
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1mo
The living legend, Peter Han. That was amazing to watch. I'm going to find something my beginner butt can turn from organic to mechanical, and practice this.
Thanks Marshall. This perspecrice course has been awesome so far
He made it look so easy too! translating the shapes is hard enough as it is, and he did it by just looking at the skull for a few seconds! one day...
