Lesson 7: Applying Construction to Vehicles
12:59 AM, Tuesday December 28th 2021
merry Christmas mr. irshad ????????????
Merry Christmas to you too, and congratulations on reaching the last lesson.
Jumping right in with your form intersections, these are by and large looking pretty solid. You're demonstrating a solid grasp of the relationships between these forms in 3D space, and your intersection lines - both the simpler flat-on-flat (like boxes intersecting with other boxes) and the more difficult curves-on-curves (like cylinders intersecting with spheres) are all coming along quite well. I did catch one issue however - a lot of your cylinders appear to have the farther end drawn with a narrower ellipse than the end closer to the viewer. I can see this occurring in at least a few different cases, so keep an eye on that - the degree of the farther end should be the wider one.
Similarly, your cylinders in boxes are coming along pretty well, and aside from that longer one in the top left which tends to have the box's edges converging in pairs, your others are showing a fairly consistent convergence, and you're checking the proportions of those boxes quite well with your ellipses and their own line extensions.
Continuing onto your vehicle constructions, these are by and large very well done, though there are a couple things I do want to draw your attention to - less in terms of your understanding, and more in terms of the specific restrictions of the lesson and the course as a whole.
Before I get to that though, I want to point out that you are in most of these drawings demonstrating an fairly decent degree of attention to the precision of these constructions. That precision comes from the steps we take prior to the marks that make up the object itself, just as the start and end points we plot when applying the ghosting method to a straight line help define our intentions for the mark we wish to draw (whereas accuracy describes how close we were to matching those intentions with the line we ultimately end up drawing). I can see that you're putting a lot of time into the orthographic studies to identify the proportions at which different features of the objects sit - although there are some places where you cut some corners.
For example, if we take a look at this orthographic study from your boat drawing, you did subdivide the structure a fair bit, going as far as breaking it down into eighths, although there were some elements whose positioning you still ended up approximating. Obviously it would take a lot of time, and be quite tedious to figure out the specific location for everything, but we really do need to push just how far we're willing to go for the constructions in this final lesson. It's the boss battle for a reason, and it demands a lot of time.
Still, this example in the boat construction isn't too bad, but this sportscar definitely ends up taking a lot more shortcuts, and sacrifices a lot of precision as a result. You did handle the top-view orthographic fairly well, but the side view doesn't really give us very much to work with. The resulting drawing was still fairly solid and you definitely didn't skimp on its internal construction lines, which is good to see, but you did end up working with a lot of more arbitrary curves that felt more arbitrary, and less solid than they should have. That is, in the sense of these notes from Lesson 6 where we talk about how curves are best first represented as a series of straight lines - similarly, curving surfaces are best first represented as flat planes, as shown in this mug demo's handle.
To be clear, these are not huge, egregious mistakes (except for when you break away from construction altogether with this car, that's pretty bad) - they're simply ways in which you could have benefited more from each exercise.
To that point, each drawing is just an exercise, and I feel that in a number of ways, you did lose sight of that fact, at least a little bit. Remember - our attention, our patience, our focus is a finite resource. If we commit some of it to, say, making our drawings look nice or decorating them, we are taking away from what we could be committing to the core purpose of each exercise, which effectively to force our brain to solve three dimensional spatial puzzles. Each drawing is meant to present us with a problem - we start with basic forms (a few ball forms in the case of insects and animals, or a bounding box in the case of everyday objects and vehicles), and we find how to operate on these 3D structures either by adding more 3D forms or cutting away from those that are present, to get closer towards our desired end result. Doing so reinforces the idea that the things we draw exist in 3D space, and thus develops our brain's capacity to work in those three dimensions even when drawing on a flat page.
So, some things you ought not to do includes filling in the hull of your boat (you should be reserving your filled areas of solid black primarily for cast shadow shapes, so as to maintain a consistent use of that tool - so filling in the windows with black is technically not a great idea either, but given that many of the demos for this lesson are getting quite old, I am guilty of this in the coast guard boat demo too, so Just take it on advisement for the future). Also, as mentioned in the section that gives permission to use ballpoint pens, you should not be switching to fineliners to trace back over your drawing and separate it out for presentation's sake. If we're here for the exercise, then we needn't worry about making the end result a "pretty picture".
To that point, constructions like this car are a far better example of you applying the exercise as effectively as it can be.
As a whole, your only real issues come down to the choices you've made, and how they've affected the exercise itself. In every other way, you're doing a fantastic job, and I feel that my explanation here is more than enough to get the point across, so you can continue to hone and develop your skills moving forward. So! I'll go ahead and mark this lesson - and the entire course with it - as complete. Congratulations!
This is another one of those things that aren't sold through Amazon, so I don't get a commission on it - but it's just too good to leave out. PureRef is a fantastic piece of software that is both Windows and Mac compatible. It's used for collecting reference and compiling them into a moodboard. You can move them around freely, have them automatically arranged, zoom in/out and even scale/flip/rotate images as you please. If needed, you can also add little text notes.
When starting on a project, I'll often open it up and start dragging reference images off the internet onto the board. When I'm done, I'll save out a '.pur' file, which embeds all the images. They can get pretty big, but are way more convenient than hauling around folders full of separate images.
Did I mention you can get it for free? The developer allows you to pay whatever amount you want for it. They recommend $5, but they'll allow you to take it for nothing. Really though, with software this versatile and polished, you really should throw them a few bucks if you pick it up. It's more than worth it.
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