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Sandra Salem
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1mo
added comment inCritique - XYZ: The Framework for Drawing in 3D
Because I had plenty of experience with 3d modeling, the way I would clarify the confusion around the axes application to understand where are the lines going in space, is the way 3D software apply it. The environment or surrounding booth operates in the World System Coordinates (Axes), and the object can be analyzed within the booth/World Axes System. At the same time, we might manipulate the object, in this case the table, by its Local Coordinates System (The object's axes), so for modeling or animation would be easier to understand how we are manipulating the object. We can always, step back to the World Coordinates System and position the table inside the booth. It is a bigger container, ruling in a higher hierarchy over the smaller set of objects. Marshall, you explained it in the video, I was able to correlate what you were saying by my personal experience with 3D programs, but I can see how it might go by for people that just have been introduced to it. As you said, this is just a mental frame, nothing to get too attached to. I apologize that I skipped this whole section of assignments, but after pulling/pushing vertices for years, I am pretty familiar with the concept. Looking forward to the more fun stuff!
Lin
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2mo
Asked for help
I have a bit of an odd question. I do okay with references and I love foreshortening. But after a lot of practice/observation I still cannot draw right angles correctly from imagination and intuition. Is it normal at this point in the course even after tonnes of practice and observation? When I don’t have a box in memory, my boxes slant terribly. It’s the z axes perpendicularities I mess up the most grievously, even though I have many boxes from observation under my belt. With wonky boxes come unstable scaffoldings. Am I expecting too much of myself this early in? As we keep going I imagine stuff will clarify with mileage but this is nagging at me still. I attached some examples.
He hasn't teach us (yet) the tricks to figure out the vanishing lines. We are just experimenting and getting loose, comfortable. At this stage we are allowed to make those mistakes, get frustrated, and create 'core memories'...lol. When we fail we appreciate the solution more, so it will stick in our brains. No pain, no gain. On the other hand these arrows look fantastic, and they are free hand! Give yourself some credit. You are doing exactly what we should be doing at this stage.
Sandra Salem
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2mo
I didn't have time to work on the assignment from an object so I missed the critique. It turned out as an opportunity though. Being the overachiever and dissatisfied soul I am, I will start working on this but from a creature I am making for another anatomy course I am going through with Rey Bustos. I will challenge myself to try to solve all the orthographic views while designing this creature. Wish me luck!
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2mo
And say hi to Rey for me, Sandra! Good to know you are with both of us this season...
Sandra Salem
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3mo
Ohh so exciting! I get to be the first one to comment! 😂 Thank you for mentioning me Marshal and to the Proko team for choosing one of my visual wonderings as the cover...definitely will keep posting stuff with this melted pancake approach. I love the creative freedom it offers.
your work was so nice to see, I really liked your swirly and wavy shapes and forms!
Sandra Salem
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3mo
Asked for help
I am super late to deliver the 2nd approach homework. I have been working on it when had some time on between.I am sorry but couldn't make it all the way to 20. I managed 10. I will try to do the 1rst approach later when I get more inspired...anyway this is my post critique assignment.
Asked for help
I really love this Melted Pancake Method! It is really great for space concepting. It brings together structure and intuition, both parts of creation perfectly balanced. I will definitely keep exploring and stretching the scale, forms, and compositional value. I am so excited with this method! Thank you teachers!
Beautiful and serene. I could sit and look at your drawing to relax after a tough day. I love the surface holes and clouds too.
Asked for help
I wish you'd put as much effort into explaining as you do entertaining, like equating the horizon with the viewer's eye level, how and why it can change and how that change affects the perspective. That's a very rudimentary observation that usually precedes any form building. I apologize if my criticism is premature but I think your chalk talks were much more informative.
Hi, Ron!
I come from formal Art Academy training where art is turned into a science, and at the end of the degree students become very radicalized; some despise it completely, others forget why the do art and lose their mojo. Marshal's approach to this course is to keep us engaging with the formal learning but in a creative, intuitive way. I notice that he would post a vague homework to get the students to do something, with no deep explanation (which makes me feel uncomfortable). Then he would post the actual explanation with a more in depth clarification of what is expected. As a student my first urge is to blame it on the teacher as 'sloppy teaching'. I vent it out, get over it, and just do it. I can see the self awareness value coming out of these: Get to work with almost no understanding. These uncomfortable exercises with open endings turned out the most valuable lessons on critical, self analysis thinking.
His approach to this course is challenging to the way all the other courses of Perspective are done, and this why is so valuable to go through it. He talks about it in the Draftsmen Podcast if you need that extra understanding on the logic to the madness. Anyway, I totally understand where you are coming from and wanted to give you a pat on the shoulder. At the same time I trust Marshal and his extensive knowledge on the subject of teaching and learning, and I am in for the ride regardless of how uncomfortable it makes me feel. That means I need to stretch myself and give it try. Sometimes I get nothing out of some homework, other demos are just brilliant and get me excited about tackling a particular approach. Regardless of my internal resistance, I vowed myself to play full in, even when it gets uncomfortable. I hope my sharing helps a little bit with how you are feeling right now.
Asked for help
I got carried away. I think this is the most fun I had with an exercise ever. The melted pancake approach really invites me to be whimsical and exploratory with composition and space design. I am looking forward to my third attempt. I drafted the first design inside Krita, then moved to Photoshop to clean up the lines. Then of course played with colors because...why not?
Sandra Salem
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4mo
Here is the late homework! Just catching up with all the videos. I am sharing on social media the making of these homeworks to promote the course. You can see the sped up timelapses here: https://www.instagram.com/reel/DGO0WGmu8CM/?igsh=MWo3YXJ2cXZhejR4Yw==
Sandra Salem
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5mo
I would love to have the female and male skull in a dual set. Maybe even include in the future the different nuances between the races's in 5 skulls, like an entire set. Of course, that can take place way down the road, but I would be interested in something like that. Just an idea to throw at you in case it hasn't come to mind yet.
