How to subtract mass from 3d construction?

8:56 AM, Saturday December 12th 2020

When it comes to adding mass onto forms, it makes sense to me as you can continuously wrap more mass around. However with subtracting mass, the perspective doesn't always allow for showing subtracting. And If I'm understanding correctly, I can't just modify the contour despite working with a profile perspective of an animal, as that breaks the illusion.

https://www.warrenphotographic.co.uk/23445-plains-zebra

Right now as I'm working with sausage forms, the neck that I drew is too fat and I have to reduce some mass off of it, however it seems like I also cannot as I can't effectively display it was subtracting intersecting forms?

I've had these demos up on a monitor next to me for the past few weeks every time I sit down to draw. However I'm not sure how to apply the information in this case.

https://imgur.com/7b9rc9e

https://imgur.com/97hS0XF

https://imgur.com/qVQXfIY

Can anyone shine a little light on this for me? I would appreciate it greatly.

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1:25 PM, Saturday December 12th 2020
edited at 1:26 PM, Dec 12th 2020

You should plan your drawing so you don't have to do substractions, and only do substractions when it's the only way possible, because they're much harder to do than just adding mass. So if something like doing a neck too thick, or a ribcage to big, or something similar happens, just go on with it. The main objective of the exercises is not to represent the subjects accurately, but to create something that feels solid in 3d space.

If you wanna know how it should be approached then take a look at this, but like I said in these cases just go along with it and plan it more next time.

edited at 1:26 PM, Dec 12th 2020
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6:02 PM, Saturday December 12th 2020

Along with the diagram Elodin linked, I've also got this one explaining how to approach it. The thing is though, subtractive construction isn't well suited to working with organic subject matter, and really should be treated as an available tool when working on more geometric/hard surface objects. For organics, try to work additively wherever possible, and as Elodin mentioned, our focus isn't so much on reproducing the reference perfectly. It's to construct something that ultimately feels tangible, believable, and solid.

10:06 AM, Sunday December 13th 2020

Ah okay. I've junked pages halfway through the drawing as I felt there was no way to resurrect it with accuracy, so I'll keep that in mind. Thank you!

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