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I’d watch that tutorial🙂 One thing I’m still trying to figure out is the measurements/ratio for judging depth of figures in space. I’ve been reading about Euan Uglow and all the ratios and measurements he used for his paintings, but some of it is difficult to grasp.
I find that using a box of known dimensions and a template of expected average lines is easier than just floating construction lines because you have many more points, lines, and angles to reference so you can always find where you are in the box by moving in the three axes.
It kind of looks similar to what industrial or product designer learn/do in terms of mirroring and relating to planes. It’s just not easy to see since there aren’t that many guidelines. I assume that’s the result of getting comfortable with those principles 😅👍
Thank you Joshua. Good idea, but then how do you decide the dimensions of the box?
That’s the hard part. You need to know how exactly the head fits in. That’s the part I’m developing based on my anatomical knowledge and some cranial anthropometrics.
Thanks, AJ. Day 73: my method has been working well with down angles so I thought I’d try an up angle. I needed to work out more proportional relationships to plot so more work was needed, especially for the neck and under planes. Here’s what I have so far. I realize that it doesn’t look like much yet but soon I’ll be able to draw a face into this.
That even more looks like some heavy perspective usage 😅
Are the planes created inside the box related to the proportions of the human head? I think I see the mid line on the front as eye line and I see the 3rds (brow, nose and chin).
I’m only familiar starting with a sphere do you start with a random box and start dividing from there or are you starting with a same sized square for a front plane? Since I can’t see a 45 degree division/line I would say it’s a random box.
Even if I’m completely wrong at least your method is good to test my new learned knowledge from the perspective course 😅👍
Christopher,
Yes, everything in my method is based on the proportions of the human head and also some of the variation that occurs in nature. Part of the testing I need to do is try to draw different kinds of heads using this method.
You could start with a random box but I’m starting with a cube and then narrowing the width, which can be done fairly precisely.
There actually are diagonal dividing lines on the faces of the boxes. They also assist in further subdividing the proportions where necessary for the placement of landmarks.
Generally, getting the properly-proportioned box right in perspective is the most important part to set up the success of the drawing.
I need to know how the head I want to draw tracks into that box. There’s a lot that goes into that but generally I look at which points touch the box, where landmark points align with the faces of the box and how those points relate to each other.
Then I plot curves in 3d space that will best set me up to construct the head. They should ideally work for any head and from any angle.
Next I construct the head using architectural and organic forms.
Since we are not working from reference the lighting must be “calculated.” It can be rough and general as in an egg or a box or it could be precise using perspective to work out where the rays will hit the structures I’ve built.
As I work, the head becomes less abstract and I begin to see it as a person. When that happens I will make changes to change the look, feel, emotion of the head which I can do rather easily with the solid 3d framework I’ve built.
I realize I’m not giving enough for anyone to actually use this. This is still basically R&D at this stage. I wouldn’t want to teach any approach until I have used it enough to refine it and know all of the pros and cons. Also I would want to be able to direct students to many examples of my results showing a variety of head those and styles. A the work isn’t done yet but I will say that it’s very promising!
Day 74: working out more points. It’s slow going and of course I am tempted to just put a new layer over the diagram and start drawing but I’m sticking it out in order to get more precision out of this system. At first when I start it feels awkward but quickly it becomes instructive and sometimes surprising.Hi Joshua,
I understand conceptually what you’re doing here (though there’s no way I’d be able to do what you’re doing) because I’m working through Erik’s perspective course. This approach would be super helpful to me too as I am also wanting to be able to draw representationally from imagination, but don’t have the tools. If you ever did want to teach this, I’d be so excited! It’s great to watch your work!
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