Perspective critiques please!

  • @Sas Also this

    Just understand the principles, no need to construct the perspective with a ruler in the case of the cobblestones for example, you can aproximate and make them irregular and so on but keep the idea in mind of things slowly and gradually becoming smaller towards the back.

  • @lee-white Thanks for the help! Yeah you're totally right about the size of the buildings. I didn't see it before you mentioned it and widening the alley could help as well. I will give them a shot!

    I'm just a bit worried that if I put up more shop signs that maybe the attention of the person carrying all the gifts will get lost. I will sure try out all your tips. Back to the drawing board it is!

  • @irina Hi Irina. Great advice! Thank you so much for taking the time to look into this picture. Indeed the steps are waaaay too high! And I will pay more attention to distant objects becoming smaller and narrower.

    Thank you again for all your great advice. I will take it to heart when returning to the drawing board.

  • @irina Ohh thats a handy youtube channel, the my drawing tutorials ! And that's indeed the same stuff what Jake teaches in his perspective class. But should I use this method when making wonky cobblestones? Or just use them as a reference as you suggested? I mean.. does it work when making a wobbly perspective or will it make it too even and neat?

  • well, you can also go wonky wonky and look at Beatrice Alemagna for example. It's very "wrong" in many ways. I think what makes her stuff work very well is the fact that everything looks very childlike and she uses perspective sort of like in medieval drawings somehow. but her focus is on illustrating the scene so one understands what is there while also letting the eye move across the page and focus on different areas etc, but she focuses very very much on emotion and expression and on the rendering. textures and hatching and patterns and color and so on. her books sometimes take 6 years to make and she works and reworks scenes and characters many times until they look just right

    in my mind i feel drawing "wrong" on purpose is very very hard to do. I'm an architect and want to correct everything and feel very selfconscious when working on a perspective that i try to tweak to look wrong. usually when i show it to others i feel the need to sa nah, but it's wrong on purpose :))

    I find a lot of illustrators in the children's book field, perhaps more in europe or the uk ddon't focus so much on constructing a very severe perspective and a lot at illustration schools nowadays arrive at this sort of drawing by a lot of practice and observational drawing without being told specifically what is technically wrong. In the uk i have talked to students and they are not taking classes in perspective or constructive drawing so much as in other places. the focus simply is not on "drawing correctly" but on expression and message and on a lot of experimentation

    What i find useful for myself (since i do love wonkiness a LOT and am drawn toward it) is looking at the artists that are employing it and studying and trying to understand how they achieve the effects that i like, whether in environments or in character design. In character design i'm very drawn to a particular look that doesn't come natural to me and i'm not sure about how to go about abstracting so it doesn't look amateurish or forced. i am also trying to specifically avoid the more american disney-esque or cartoon netwoork type of character design though i wish i had fluidity in my designs as well. Bottom line i think there is no recipe, there is just a lot of trial and error and a lot of practicing and experimentation and analisys of what we have done

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    Look at this, she explains her process here. Check out the dozens of drawings just to find one particular perfect way to express disgust. Not a simple get it right quick recipe, just constant trial and error. Constant drawing and observing and constant redrawing. From all that appears style

    Just fail. fail fail fail fail and don't be afraid. and look at art and artists, films and all that, old maps and medieval drawings of cities or interiors, david hockney, the movie the cabinet of doctor caligari, etc... look at things. there is no rule. i do think understanding correct perspective drawing is important but you can focus on learning descriptive geometry and how to construct with a ruler etc or with a system. and you can also understand a lot by real and attentive and careful observation of the world. with a pencil in hand. so draw from life a lot

    this is a little all over the place but i hope it's useful somehow. i'm really thinking of wonkiness a lot too and i think the way to access it in a natural way is somewhere between being deliberate and being unaware if that makes sense. if we are too deliberate in making something look wrong it might appear fored and unnatural, if we don't think about it it will look too amateurish and bad, so somewhere in between is probably the sweet spot. but ne thing is true. ALL artists draw and redraw like mad. to come to a final drawing they do loads of drawings. they just don't stop

    it's a process, not a recipe

  • Also read these entries here. it's a good example of how to learn from a particular style or image in developing your own work and look

    Figure out what kind of wonkiness you are intrested in and exactly what you want to acheive with the wonkiness and what the purpose and message of the wonkiness is and then study a lot

    If you look at the alemagna image i posted above, her cobblestones look like regular patterns or hatches which makes the images consistent and also consistent with the entire book which is a melange of drawing painting and colage. she's not interested in making it look real there but more in the decorativeness, like on a tapestry

  • SVS Team SVS Instructor Pro SVS OG

    @sas check out @Will-Terry's class on "drawing 50 things". He shows you how to draw a lot of stuff and still hold the focus of an image.

  • @lee-white Oh good tip! Thanks!

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