Oh wow that "there are no lines in the real world" phrase really blew my mind. You are right, we are only seeing the different types of shadows the surface is casting. Sometimes and object won't be visible completely because it is not casting a shadow and we are then relying on other factors like color or how other objects react to it. This makes me see drawing shapes in a different light!
I'm glad you like it! I don't know if I'd necessarily describe the course itself as laconic - maybe in individual parts, but I do tend to be pretty long winded (especially with a lot of the other lecture videos you'll see throughout, though I'm hoping to replace them moving forward with more succinct explanations of individual concepts).
what do you think about sketching ? Your whole gist seems to be to draw rather clincal without a single line without a purpose. Does this not interfere with relaxed sketching where i for example try to construct a difficult pose without reference ?
I actually address this in the very first video from Lesson 0, here: ruclips.net/video/d1mKFiuDSxI/видео.html Through the first three videos, which are just me talking about conceptual and introductory things, you can see me drawing something in the background. I'm not employing any of the techniques we use in Drawabox, and am working far more fluidly and organically. I explain in this video that everything in Drawabox is just an *exercise* intended to develop good habits and rewire our brain to better grasp spatial problems on an intuitive and instinctual level. How you then apply that understanding is up to you, but if the understanding and the habits are there, they will manifest in how you draw even when sketching more loosely.
2:10 imagination is so powerfull I saw a beach in that cause it looked like a wave and some sand elevation holy damn my brain simplifies things without me knowing
so you mean.. we only use cast shadows? do not use any form shadows to textural forms? but crumpled paper texture consists of nearly form shadow. i'm confusing...
You're correct on both counts. Yes, we focus on using cast shadows in most cases, and you're right, the crumpled texture really is predominantly made up of form shadows. The thing is, when I initially assigned the texture analysis exercise, students were *extremely* timid - they had a hard time really digging into the bold, purposefully designed shadow shapes. One day I found a student had tried crumpled paper as a texture, and in doing so they pretty much had no choice but to break it into a bunch of large, solid shapes of either black and white, rather than capturing the more gradual shifts from light to dark that form shading really demands. In doing so, they quickly became far bolder with how they approached their other textures. So, despite the fact that it was technically a really ill-fitting type of texture to use, I started pushing other students to start with crumpled paper, and I similarly saw everyone's work become much bolder and more confident. The majority of them didn't realize the contradiction you called out, and so I figured it was best to let sleeping dogs lie (at least for the time being, until I could come back and reassess what I'd learned from critiquing the texture work, and then incorporate those findings into a rewrite of that section of the lesson - which I hope to be able to do in the coming months).
The second box with casted shadows looks wrong to me. I feel the right-hand part of the shadow is extending from a light source directly above it at a 90 degree angle, while the left-hand shadow is extending from a light source at an acute angle, maybe 60 degrees.
that's because it really is wrong, at multiple points. He drew parallel lines straight down, which is completely wrong. There also should be 3 angles on the "floor" here. Draw a box guy notoriously can't draw. Look up "how to sketch cast shadows" by product designer maker (or look up anything really).
You are one of those that improves the world! It makes me want to too. Thank you.
That is very kind of you to say! It's my pleasure.
Oh wow that "there are no lines in the real world" phrase really blew my mind. You are right, we are only seeing the different types of shadows the surface is casting. Sometimes and object won't be visible completely because it is not casting a shadow and we are then relying on other factors like color or how other objects react to it. This makes me see drawing shapes in a different light!
could you elaborate that, "there are no lines in the real world" phrase, my feeble brain is uncapable of understanding that, :')
@@suivante4754 we use lines to define our shapes when drawing
The greatest revelation of my life. Well, every paragraph I'm reading is.
I like this course so much! Neat, laconic and comprehensive at the same time.
I'm glad you like it! I don't know if I'd necessarily describe the course itself as laconic - maybe in individual parts, but I do tend to be pretty long winded (especially with a lot of the other lecture videos you'll see throughout, though I'm hoping to replace them moving forward with more succinct explanations of individual concepts).
what do you think about sketching ? Your whole gist seems to be to draw rather clincal without a single line without a purpose. Does this not interfere with relaxed sketching where i for example try to construct a difficult pose without reference ?
I actually address this in the very first video from Lesson 0, here: ruclips.net/video/d1mKFiuDSxI/видео.html
Through the first three videos, which are just me talking about conceptual and introductory things, you can see me drawing something in the background. I'm not employing any of the techniques we use in Drawabox, and am working far more fluidly and organically. I explain in this video that everything in Drawabox is just an *exercise* intended to develop good habits and rewire our brain to better grasp spatial problems on an intuitive and instinctual level.
How you then apply that understanding is up to you, but if the understanding and the habits are there, they will manifest in how you draw even when sketching more loosely.
@@Uncomfortable how is it that every sentence you make creates sense... like you write with another fundamentally developed human skill
@@yirzm7028 Hahaha, well I'm glad you feel that way, though I'm continuing to work on making my points more succinct and clear.
Hi Uncomfortable! I was wondering how one should draw cast shadow from hollows in a flat surface, as opposed to bumps?
you draw them on the inside of the face towards the light/.
Think of it as though the portion around the hollow is the bump - it's a raised surface, so that's the form that is casting the shadow into the bump.
2:10 imagination is so powerfull I saw a beach in that cause it looked like a wave and some sand elevation holy damn my brain simplifies things without me knowing
so you mean.. we only use cast shadows? do not use any form shadows to textural forms? but crumpled paper texture consists of nearly form shadow. i'm confusing...
You're correct on both counts. Yes, we focus on using cast shadows in most cases, and you're right, the crumpled texture really is predominantly made up of form shadows. The thing is, when I initially assigned the texture analysis exercise, students were *extremely* timid - they had a hard time really digging into the bold, purposefully designed shadow shapes.
One day I found a student had tried crumpled paper as a texture, and in doing so they pretty much had no choice but to break it into a bunch of large, solid shapes of either black and white, rather than capturing the more gradual shifts from light to dark that form shading really demands. In doing so, they quickly became far bolder with how they approached their other textures.
So, despite the fact that it was technically a really ill-fitting type of texture to use, I started pushing other students to start with crumpled paper, and I similarly saw everyone's work become much bolder and more confident. The majority of them didn't realize the contradiction you called out, and so I figured it was best to let sleeping dogs lie (at least for the time being, until I could come back and reassess what I'd learned from critiquing the texture work, and then incorporate those findings into a rewrite of that section of the lesson - which I hope to be able to do in the coming months).
Your most useful video yet
The second box with casted shadows looks wrong to me. I feel the right-hand part of the shadow is extending from a light source directly above it at a 90 degree angle, while the left-hand shadow is extending from a light source at an acute angle, maybe 60 degrees.
that's because it really is wrong, at multiple points. He drew parallel lines straight down, which is completely wrong. There also should be 3 angles on the "floor" here. Draw a box guy notoriously can't draw. Look up "how to sketch cast shadows" by product designer maker (or look up anything really).