In diag. 2 , how does he find the horizon line is seems like its based on the picture in blue but this method doesnt seem practicle for a person working traditionaly.
Do you mean fig. 2.10? Actually he's not finding the horizon line but the vanishing points. Indeed this method is quite unpractical for traditional media but you don't have to worry, later in the book he'll teach you the Brewer method which allows you to work with distant vanishing points without having to actually draw them on the page.
Regarding your other question about the cone of vision on p. 48. The answer is also in pp. 24-25. One way to do it is like this: https://imgur.com/a/AGI4bIT
You draw th horizon line and then decide on any point to be the Center of Vision (CV) then draw a vertical line across this point and extend it vertically to the bottom, this line is caled the Line of Sight.
Place two Vanishing Points on the horizon line, one to the right and another to the left both at the same distance from the CV (They define a 90º Cone of Vision). Now you you measure 45º from each VP and draw a line until it reaches the Line of Sight, this determines your Standing Point (SP) (This represents a view from above from where the "viewer" is standing, and the horizon line now represents the Picture Plane)
Now you measure 30º with the center on SP and relative to the Line of Sight. Draw a line until it reaches the horizon
Draw a circle with its center on CV and the newly discovered point defines its radius. There you have the 60º COV!
Do you use a measuring tool , or do you just estimate where the degress are relative to one another?
For the exercises use a measuring tool, in other contexts you can estimate.
Okay, Thank you for your patience you were very helpful.
While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.
The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.
This website uses cookies. You can read more about what we do with them, read our privacy policy.
