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I Teach Creatives
comments 8
Hahaha oh godness yes, I managed to solve it thanks to the nudge by Anthony :D
EDIT: Maybe a quick explanation for anyone who followed: There were two major revelations:
1) The vanishing traces (or, if the view is turned, the carried horizons) no longer stay perfectly vertical but become oblique in 3 point perspective. A cube rotated around one axis will thus slide along these.
2) Trying to be precise in measuring far away vanishing points is almost impossible since the margin of error is soooo big (like a mere percentage of a millimeter changes everything even with using straight line tools). Thus my initial guess after correcting the error was more correct than the first rounds of measuring and that's what threw me off.
Still the struggle was definitely worth it. This level of engineering as you put it lol helps me a great deal to understand (and I've noticed I need to understand stuff that deeply) before I can eventually better rely on my intuition afterwards.
Thanks for your great teachings and challenges, Marshall! Can't wait for more lessons :)
LESSON NOTES
What's in Premium?
In this premium feedback session, I review student submissions to show you exactly where things go wrong with vanishing traces and box flaps. We tackle common mistakes, like aiming lines toward the wrong vanishing points. I break down how to handle 3-point perspective without causing extreme distortion. You will learn how to rotate box flaps correctly by understanding which vanishing points change and which stay fixed on a hinge. We also look at how to handle awkward foreshortened angles when spinning a cube. By studying these corrections, you will transition from relying on rigid rules to drawing with intuitive, freehand accuracy.
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COMMENTS![]()
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Learning the strict rules of perspective can be incredibly frustrating.
We explore vanishing traces and box flaps to show how lines behave in space. This geometry trains your eye so you can eventually draw complex angles by intuition.
Thank you Marshall! Oh yes, Philip Glass's Memoir I loved it. And also thanks for posting that example of Harry Carmean in Lin's post, beautiful! I will look him up.
We will keep working here and we love to be guided by you on this journey. You're the best ❤️
Hahaha oh godness yes, I managed to solve it thanks to the nudge by Anthony :D
EDIT: Maybe a quick explanation for anyone who followed: There were two major revelations:
1) The vanishing traces (or, if the view is turned, the carried horizons) no longer stay perfectly vertical but become oblique in 3 point perspective. A cube rotated around one axis will thus slide along these.
2) Trying to be precise in measuring far away vanishing points is almost impossible since the margin of error is soooo big (like a mere percentage of a millimeter changes everything even with using straight line tools). Thus my initial guess after correcting the error was more correct than the first rounds of measuring and that's what threw me off.
Still the struggle was definitely worth it. This level of engineering as you put it lol helps me a great deal to understand (and I've noticed I need to understand stuff that deeply) before I can eventually better rely on my intuition afterwards.
Thanks for your great teachings and challenges, Marshall! Can't wait for more lessons :)
•
2h
Yay for that. May you be stronger for having struggled.
Thanks Marshall :3 you know how when you substitute boxes for human forms the pelvis is not a straight box, but is tilted forwards? And then when you consider perspective and camera angle and the twists and turns of the human form, it can be really confusing to know how to draw that tilted? Finally making headway there because of the last few lessons, and super grateful for it! was drawing it simplified and a straight box before
•
2h
I believe in all that hard work on the "pelvis as a box," finding the landmark points and knowing the origins of each muscle, partly because so many great artists, historically, have taken the time to comprehend it all.
But when we see it in rapid practice, as with Harry Carmean (do you know his work? Ive attached an example here), it reminds us WHY all that box-work. A means to making drawings that viewers may have no clue about the work behind it, but simply revel in how awesome a body can look!
Thanks for the comment, Lin.
