3D drawing. Tutorial 3D drawing - Farit Artist 2 стр.

Besides. It may well be that all the “mistakes” I noticed by other artists, not mistakes at all. Perhaps all of these drawings were so conceived. Artists (I know for myself) are a peculiar people, and they love everything unusual. Perhaps this is such an artistic device? Maybe all the “mistakes” I saw are a kind of surrealism, intentional distortions of perspective (geometry), or such a vision of artists. And I just did not understand their plan, and took this for a mistake?

It may also be that the customer chose the photo for the drawing, and insisted on that particular photo, the customer was the buyer. And the buyer, as is always known, is RIGHT.

The customer does not always understand what will happen if a photograph with inappropriate shooting conditions (inappropriate perspective, geometry) is simply transferred to the drawing. A photograph taken at a different angle, or taken from a different distance, cannot be correctly transferred to the drawing. Definitely will be visible distortion in perspective.

Itself faced a similar situation. I was once offered to draw something like that. I refused. I can’t draw if the result is an obvious and very noticeable error in perspective, in the geometry of the drawing.

Perhaps, and even for certain, the mistakes of perspective, not all viewers will see or notice. But you must admit, it is better to draw without errors than to hope that not everyone sees the mistakes of perspective.

The most common mistake that I saw was the incorrect construction of the perspective of the picture. One of the signs of such errors is the discrepancy between the horizon of the site and the horizon of the drawn 3D drawing. Simply put, we look at a drawing from one angle, and the photograph (from which painted) was taken from a different angle.

Such perspective errors are obtained because many artists draw a 3D drawing without building a projection according to the laws of perspective. They transfer the drawing on the asphalt in the cells from the photograph, or from their preliminary sketch. From a photograph taken from a different angle, or from a different distance. From a sketch that is also drawn “by eye”, and not by a method of constructing a projection according to the laws of perspective.

In order for the 3D drawing made from the photograph to work out correctly, the distance to the object and the angle of shooting of this object must absolutely exactly coincide with the viewer’s angle of view of the drawn 3D drawing, and with the distance from the viewer to the drawing. But this is not always the case. This condition is very difficult to observe if you don’t know from what distance and at what angle the object that you want to draw from this photograph is photographed.

If you want to draw from a photograph. It is possible to avoid mistakes in the perspective of the picture only if you yourself are photographing the object you need. If you are photographing an object from that distance, and at the angle from which the 3D drawing will be viewed and photographed.

If the shooting angle of the photo does not coincide with the angle of view in the 3D drawing, distortion of perspective is obtained. If the distance from which the subject was photographed does not coincide with the distance from which the picture is photographed, distortion of perspective is obtained.

In order not to make such mistakes, it is advisable to draw a 3D drawing, having previously built the projection according to the laws of perspective (geometry). How to build a projection correctly, I will explain it in detail and in detail, and show you step by step in this course.

What should I do if the customer of the picture insists on a certain photo, or if the artist himself likes a certain photo and the photo has an inappropriate perspective? You can preconstruct a projection of objects with the correct perspective, and then superimpose on this projection, details and texture of the photo or sketch.

In everything else, except for the perspective, the drawings cited as an example are well drawn (in my humble opinion).

Parsing errors

Only he who does nothing is not mistaken.

Proverb.

The first example.

This is my drawing from a photograph of a 3D drawing of a watch. I didn’t distort the watch like that; it looks exactly like that in the photograph. It may very well be that there are similar oblate, vertically compressed watches, with a dial in the form of an ellipse. Watches with different sizes of numbers. Personally, I have not seen such a watch. Perhaps such a distortion of the clock was conceived in the plot of the picture. Perhaps this is just such an artistic device. Perhaps I do not know and did not understand the plan, or the plot.

I “saw” the error in building the perspective in this figure, and decided to make out why the clock could have turned out to be of such an “irregular” shape. For me, this is one of the good examples where you can parse the perspective errors of a 3D drawing.

This watch is beautifully painted in terms of painting. Colors, shadows, highlights, reflections, all is well! BUT! With very large violations of perspective (geometry).

The picture is probably made from a photograph. Perhaps the photo was not stretched vertically, or not squeezed horizontally to make the dial look like a circle.

In the left picture is the original.

In the right picture.

It was this pattern of watches that I stretched vertically and squeezed horizontally. Made the dial look more like a circle. Even in this case, the correct, normal perspective (geometry) of the picture does not work out. The watch seems to be standing on one left (for us) leg and tilted (falling) towards the viewer.

Why, in my humble opinion, such a mistake was made.

If the subject is photographed from the top point, then in the figure it will look as if we are looking at it from above. But! We look at the drawing on the asphalt not vertically from above, but almost horizontally from the side. The photograph of the clock by which this picture was drawn was not taken at the same angle from which viewers look at the clock pattern.

This figure shows why such a distortion of the perspective of the picture occurs.

In the picture to the left.

The angle and distance from the clock to the camera while taking a preliminary photo. In the photograph on which the drawing was drawn, the clock is photographed almost vertically from above, from a short distance. About the small distance between the clock and the camera, says a big difference in the sizes of the numbers 12 and 6. In the picture to the right.

The angle and distance from the picture to the camera while shooting the picture. In the drawing, viewers look and take pictures, almost from a horizontal direction, but see the clock as if they were looking at the clock from above. Therefore, there are similar distortions of the perspective (geometry) of the 3D drawing.

In the left picture.

Original watch stretched to a round dial.

In the right picture.

Something like this might look like a clock, if first, correctly build the perspective of the clock. Another thing is that it would be problematic to draw such a height, such a size clock. Because the drawing would turn out almost to the horizon. Perhaps this is why the picture was squeezed vertically?

Following the advice of Leo Tolstoy, I criticize fruitfully, I point out what should be that which is bad.

How to avoid a similar mistake in drawing perspectives.

The first way.

Pre-build the projection of the clock. On this correct projection, apply details, colors, shadows, highlights, reflections from those watches whose photographs were liked by the customer or the artist himself.

The second way to avoid this error.

Take a picture of the watch yourself at the right angle and from the right distance.

How to draw such a clock correctly will be very clear and clearly shown in this course. Or in one of the lessons on my Patreon page.

https://www.patreon.com/ArtistFarit

A chapter in a book or exercise on Patreon will be called “A Cylinder Lying Horizontally.”

The second example

Pool, and a man sitting on a raft. The picture is clearly drawn from the photograph. The photograph of the pool was not taken at the same angle from which we look at the drawing of this pool. Therefore, I “see” that the surface of the sides of the pool and the surface of the water in the pool are not parallel to the surface on which the drawing is drawn. The pool in the picture is located, under a strong slope from us. Unless of course, this pool has a rectangular shape. If the pool is drawn in the form of a trapezoid, then it is drawn correctly. I have never seen pools in the form of a trapezoid, but this does not mean that such pools do not exist. Exceptions, as you know, confirm the rule. I decided that a rectangular pool was drawn, but with errors in perspective. For me, this is another example where you can show why you get such errors in drawing the perspective of a 3D drawing.

This pattern is drawn on rectangular tiles. Due to the presence of seams between the plates, we can find the horizon of the site on which this picture is drawn. We continue the seams of rectangular plates until they intersect with each other. So we find the horizon of the platform on which the pool is drawn.

In the left picture.

The original drawing with the painted horizon of the site.

In the right picture.

Search for the horizon of the original pool photo. From the lines of the side edges of the pool we can find the horizon of the original photograph of this pool. The horizon in the photograph with which the pool was drawn is located at the intersection of the sides of the pool. We continue the line of side sides of the pool. The continuation of the sides intersects on the horizon. The horizon of the original photograph in which this drawing was drawn is at the height of the shoulders of the seated person.

It can be seen that the horizon of the site and the horizon of the drawn pool do very much not coincide. Therefore, similar errors are obtained in the perspective of the drawing.

In the left picture.

Conditions for shooting the photograph with which they drew the pool. The photograph of the pool (according to which this picture is drawn) was taken from a lower height. A photograph of the pool was taken from the height of the shoulders of a seated person.

In the right picture.

Conditions for shooting the picture. We look at the figure from the height of human growth (a standing person). Therefore, it seems that the pool is not parallel to the surface on which it is painted. But even if you sit down and look at the picture from a small height, this error can no longer be corrected.

In the left picture.

Original drawing with non-coincident horizons of the site and drawing.

In the right picture.

An example of what this pool should look like if you draw it in compliance with the laws of perspective (geometry). The continuation of the side sides of the pool intersect on the horizon line of the site. Correcting the geometry of objects is relatively simple. It is especially simple to correct (and draw) the perspective (geometry) of rectangular objects. Unfortunately, the “geometry” of a seated person is more difficult to fix. The person (just redrawn from the photo), in the right figure, turned out to be tilted back. Since the horizon of the photograph of a person remained in the same place, at the height of his shoulders. To correct the perspective of the “geometry” of a person, you need to photograph a person from the right distance, at the right angle, from the right height.

In the left picture.

Original drawing with non-coincident horizons of the site and drawing. In the right picture.

The original drawing of the pool is left, while a new platform is drawn, the horizon of which coincides with the horizon of the pool. The photograph on which this drawing was drawn looked something like this. A pool with its horizon coinciding with the horizon of the site looks more correct. In my humble opinion.

The discrepancy between the real horizon and the horizon in the figure can sometimes be understood. Example: An artist paints a hole (pit, mainsail) in asphalt. In hole, the artist draws his own, separate horizon of the picture, different from the real horizon of the site. This kind of dips (grottoes) with its own horizon, a very common and popular form of 3D drawing.

In the left picture is the original.

In the right picture.

A possible version of the picture with a dip (pit) in the plates. In a dip, behind a person’s back, one can see his own horizon of this drawing. The pool is located in a dip, very peculiar. The pool side closest to us lies at the site level, and the far (rear) side of the pool lie well below the site level.

If there is no second artificial horizon in the drawing, the perspective of the drawing should be oriented to the real horizon. Then the picture will not look strange in terms of the laws of perspective.

But this is not the only mistake in the perspective of this picture.

In the left picture.

The distance of taking a preliminary photograph of the pool. The distance from which the pool was photographed is small. You can understand this by comparing the sizes of the near (front) and far (rear) sides of the pool in the photo. The larger on photograph the difference in the length of the front and rear sides of the pool, the smaller the distance from which the pool was photographed.

In the right picture.

The distance the picture was taken. The distance from which they look at the picture more. You can understand this by comparing the sizes of the near (front) and far (rear) sides of the pool in the photo. The smaller the difference in the length of the front and rear sides of the pool, the more the pool was photographed from a greater distance.

If you draw a pool (in the right picture) less in the depth of the picture, as deep as in the original picture, the difference in the distances to the camera will increase even more.

Following the advice of Bernard Shaw.

I point out errors, knowing how to fix them, or how to prevent such mistakes.

How to correctly build the perspective of such drawings, step by step, and will be available in one of the next books of this course. Or in one of the lessons on my Patreon page.

https://www.patreon.com/ArtistFarit

In the chapter or exercise “Parallelepipeds’.

These were drawings with obvious errors in the perspective, which, I hope, can be seen by all, or most viewers, most beginners and experienced artists.

Further there will be less noticeable errors in building the perspective of the picture. I deliberately did not draw the details of these drawings, so that it was harder to recognize. In order not to offend the artists who made these mistakes. These are very talented artists, I have not yet learned how to draw like them.

But I saved the distortion of perspective in the form in which the original drawings had them.