A few problems I see frequently from students that get in the way of really selling the illusion that our drawings exist in three dimensional space, rather than being limited to the 2D space of the page
There is this video from Scott Robertson that goes even more in depth about line weight that complements this advice, for those who haven't seen it yet.
I feel that these problems stem from the fact that they're not taught or highlighted enough. The arrows wrapping in space for example; B follows perspective while A does not. A beginner would most likely not think to apply perspective to that task, which is why there is limited depth.
For the rest, line weight/quality is crucial, perhaps there should be more mention of its importance on selling the idea of form? Regarding the fruit at the bottom: while A is less dynamic, even better line weight/quality would fix the majority of issues with it.
Ultimately the lessons on drawabox are always evolving (albeit slowly, because I rarely have the time to actually go back in and adjust wording/add exercises/etc). By continuing to critique homework, I see patterns that emerge in what people tend to miss, or what they pick on particularly consistently, and tweak the lessons accordingly. So ultimately, I plan on applying these observations back to the lessons.
The bit about the arrows, with one following perspective and the other failing to do so, isn't quite the point that I'm making. There will always be features that simply don't expand much into the depth of a scene, and that exist as a flat plane within a 3D space. The point there is more about choosing what we decide to exaggerate in order to really give a sense of the space being taken up by whatever object we're drawing. To push some of that construction towards a particular end, rather than respecting reality to the absolute. Foreshortening applies more, of course, when we exaggerate into the depth of a scene, but that's more of a side-effect.
llyev
2017-05-28 17:15
There is this video from Scott Robertson that goes even more in depth about line weight that complements this advice, for those who haven't seen it yet.
manatwork01
2017-05-28 20:33
Thanks fkr another reference!
GiganticTreefort
2017-05-29 00:59
This was extremely helpful. I couldn't articulate why some of my lines look 2D and some 3D and now I can spot the difference. Thank you!
[deleted]
2017-05-29 03:43
Thank you Sensei
Nibfoo
2017-05-29 07:41
Thanks for the advice!
[deleted]
2017-05-29 08:44
[deleted]
FloorLegos
2017-05-29 12:00
Thanks for this! I can't draw worth a damn but I love this sub
MGSTREET
2017-05-29 23:31
check this out http://clkmein.com/qGUhVQ
4269745368696674
2017-05-30 10:08
I feel that these problems stem from the fact that they're not taught or highlighted enough. The arrows wrapping in space for example; B follows perspective while A does not. A beginner would most likely not think to apply perspective to that task, which is why there is limited depth.
For the rest, line weight/quality is crucial, perhaps there should be more mention of its importance on selling the idea of form? Regarding the fruit at the bottom: while A is less dynamic, even better line weight/quality would fix the majority of issues with it.
Uncomfortable
2017-05-30 13:19
Ultimately the lessons on drawabox are always evolving (albeit slowly, because I rarely have the time to actually go back in and adjust wording/add exercises/etc). By continuing to critique homework, I see patterns that emerge in what people tend to miss, or what they pick on particularly consistently, and tweak the lessons accordingly. So ultimately, I plan on applying these observations back to the lessons.
The bit about the arrows, with one following perspective and the other failing to do so, isn't quite the point that I'm making. There will always be features that simply don't expand much into the depth of a scene, and that exist as a flat plane within a 3D space. The point there is more about choosing what we decide to exaggerate in order to really give a sense of the space being taken up by whatever object we're drawing. To push some of that construction towards a particular end, rather than respecting reality to the absolute. Foreshortening applies more, of course, when we exaggerate into the depth of a scene, but that's more of a side-effect.