Drawabox Lesson 2, Exercise 3: Texture Analysis
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- Опубликовано: 28 сен 2024
- This video is accompanying material for the "Texture Analysis" exercise of Lesson 2: drawabox.com/l...
Drawabox is a series of free structured drawing lessons that explore the basic mechanics of drawing, along with the fundamental skills of capturing the illusion of solid form and constructing complex objects from their simplest components.
You can find the free lessons at drawabox.com
Other Links:
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Drawabox Discord Server: / discord
Patreon: / uncomfortable
Facebook Page: / drawabox
I read the whole lesson twice, took notes, watched the whole video and still scared now i'm tackling the exercise!
This is the first exercise in Drawabox where I've honestly felt like "I'm not ready for this"... it's time to make myself extremely uncomfortable.
Same
yap i had to stop and practice a little bit so I can feel kinda comfortable... kinda im scare, here we go
I finally realized why he uses that name.
yea thats totally me
omg how do you draw paper with a black pen when it's just triangles of different tints? :( This is impossible.
This is the first video I've watched that wasn't a waste of time given all the content in the text, but I still can't do this.
This lesson is driving me absolutely nuts. I just can't figure out how to draw something with shadows only, especially when gradient shading isn't allowed. I understand your lesson entirely, you've explained everything well...
Keep in mind that this exercise, similarly to other particularly difficult exercises (like the rotated boxes, organic perspective boxes, form intersections, etc.) is intended to *introduce* a concept. You're not being tested on your ability to apply it, but by being made to work through this even if it doesn't turn out properly, it plants a seed in your mind that will continue to develop as you move onwards. This does mean that I am assigning tasks that you will not be expected to complete in a way that will necessarily satisfy your own expectations.
This is hands down the absolute best video I've seen when it comes to drawing. It was uncomfortable and confusing at first. None of this made sense and at no point during the video did it feel like I was improving anything. But this video planted a seed in my brain and two years later I "got it" and started to really understand the lesson. Even the most subtle shadows can result in the illusion of a clear texture. Combining with shades can give so much complexity and shape to whatever is being drawn. I wish I could share the before and after of my sketches. The difference is night and day. Really amazing video, thank you.
Thank you for the kind words! I do still have planned updates to this section of the course, as I feel it can be handled better - and perhaps have that seed grow into a bountiful harvest in a little less than two years! All the same, I'm very pleased to hear that the concept did ultimately solidify for you, and that coming back to it it makes a ton more sense.
yay, the hardest lesson on drawabox gets a new video !!
lesson two is the hardest?!
@@jamieg2427 Shadows, shapes and texture are hard to understand who is just starting to draw
honestly this exercise doesn't seem to bad, after the hell scape that was the 250 box challenge, I'm not afraid of doing things poorly anymore.
The fact that this video is full length gives me a realistic expectation of how much it should reasonably take me to have a good result
ScyllaStew's also got some live, real-time recordings of her working through this exercise (and all of those for Lesson 1 and 2) here: ruclips.net/video/LtVyDMnvoOg/видео.html
I'm so glad you've decided to keep the video long, this is probably the hardest exercise for me (up to this point in the course) and I really appreciate you showing the process as well as your thoughts/notations. Thank you again 😁🙏
both teaching me how to draw again *and* showing me some good food
I see this as an absolute win
i've always ignored texture in drawing lessons, but i see now that they're so important. When i add details i used to draw texture in lines then add shadows, but it always seem off, and my drawing looks like it has so many details. I never thought of drawing only the shadows. this is so helpful. thank you
33:56 "... your scales are configured like this..." my brain: "that's a person laying an egg..."
lmao this made me laugh way too hard
this is excruciating :)
my mind recoiled so hard from this stage of the course it took me a week to finally sit down and try to tackle it
thank you for this amazing lesson. i've just finished my 250 box challenge and here i am
Congrats on getting through the slog!
It was really hard to watch this video while hungry...
I know you wrote this 9 months ago but did you manage to get something to eat after watching this?
@@theeternalgus9119 Yes, yes I had lunch a little arfter watching the video
@@kaponautas feel you man, i keep thinking what to eat for dinner while watching that :D
I like the length of this video
How do I know what I'm drawing are shadows and not something else?
Also If I fail completely should I redo or should I move on? (I probably should be asking ''how to learn from mistakes'...)
I will not lie, I understand what you explain but I dont know what I am doing nor if what I am drawing are really cast shadows or just scribbling. I really am observing the best i can to understand how the texture is casting the shadows but i still dont know what the hell I am doing in this lesson. Most challenging lesson so far, thanks for kicking me out of my comfort zone.
Thank you for the valuable information, also thanks 🙏 to uncomfortable gang ❤️☮️
I'm not sure of you do but you should pre release these for review on patreon. but this is still great content. glad you tried to keep to a deadline, thank you for your hard work.
That's an interesting idea. I'll keep it in mind, especially as I try and create more video content throughout the year.
For the dark to light gradient panel, is this to be done from imagination using what I learned about the reference picture in the initial study panel? Or is it to be done by copying the reference picture again but this time with shadows amplified/reduced where necessary?
You should still be referencing information directly from the reference image, but you are in control of what you draw - you'll identify the forms and exaggerate the shadows they cast (or diminish them) as needed to achieve the density of darks that you require at a given point. So in essence, the latter of what you said is spot on.
This is hard... You could almost say that it's... Uncomfortable 🔥✍🔥
Ok, I'm ready, I'm ready, I can do this!
At 17:00 does Uncomfortable get the light direction mixed up (the light be going up and to the left, not down and to the right) for that shadow or am I getting confused?
I think you're getting confused because what I'm drawing there is a depression rather than a piece of form that's sticking out. Since that area is sunken in, then it's the ridge above it that's casting a shadow into the depression.
@@Uncomfortable This is exactly what I'm getting confused about, I thought it was a piece of form sticking out. Thank you for the reply and great tutorials
To better understand the shadows, do you recommend if we study the light source and where it's coming from?
When it comes to your reference image, we look at the shadows to determine what textural forms are actually present there. We're not actually all that focused on replicating the shadows themselves, as they exist in the reference, but rather on understanding the nature of the textural forms, so we can then apply them to our own gradient. When working on the gradient, the light source can be treated as being on the right side of the drawing, where it would blast away all of the shadows on that side, and steadily allow the shadows to survive more and more as we move to the left.
So in that sense, the light source is absolutely important as we draw the study, but thinking too much about it and the shadows themselves in the reference may end up being a little more distracting, causing one to focus more on drawing the patterns of shadows they see in the reference, rather than implying the forms that create those shadows.
Wouldn't it make more sense to have the light source coming from the same direction (left) in all of the drawings in this exercise?
The purpose of the gradient part of the exercise is to apply the texture in a different lighting scenario - so forcing it to match with what you observed in the reference would be contrary to this intent.
These reminders may help give you a better understanding of what exactly it is we're doing with texture as a tool: drawabox.com/lesson/2/2/reminders
How would we do shiny things with only shadows
Usually when something is shiny, instead of treating the solid black sections as cast shadows, I'll draw them in as though they're reflections, alternating really solid black and really solid white. I'll even use this when capturing water as it reflects major forms. Here's what I mean: i.imgur.com/JnISyvc.png
How should we select a reference image? Should we select images that include a high degree of lighting variability? I’m using an image taken by someone who clearly has a camera with a bright light on it shining on a disc of pu’erh tea facing flat-side forward. It’s not positioned at an angle like each piece of fried chicken in your demonstration. Could I be obsessing too much over this, or should I select a different image? I feel like my image is not giving me enough opportunity to observe shadow differentials.
I think I burned out doing this assignment. Maybe I should give it another week. Just one of the three blocks took everything I had and I still don’t feel like I’m following directions. I think it is a mandatory that you read the Lesson 2 page, assignment page, watch all of the videos, and then repeat four times.
So it's less about whether you can see the shadows - more about being able to distinguish the textural forms themselves, because it's based on your understanding of those forms and the surfaces around them that you'll start to be able to understand how you ought to draw the cast shadows to imply them. So focus on getting high resolution references, as this will help give you as much visual information as possible. Working with smaller photos will definitely be a lot more difficult.
When you begin drawing the gradient box you initially go to put the light source on the left. Is that just a mistake or are there situations where the dark, dense end of the gradient is closer to the light source? Seems like a weird question but I don't like to assume.
Yeaaah I'm not sure why I did that - it's definitely a mistake. The light source should be on the right side, as you observed. Fortunately I'll be redoing this video (along with all of Lesson 2) in the coming months, so this mistake won't haunt me for too much longer.
@@Uncomfortable Lol ok, didn't mean to call attention to a tiny oops
"And if you make a horrible mess of it, that's completely fine." Challenge accepted!
Good exercise, but very tiring to look at small details for a long time. I always forget at what part I'm looking at and have to find it again.
Trying to distinguish between the cast shadows and the colors / patterns / shadow gradient for this exercise is pretty difficult for the direct study part if you use something too noisy.
Idk if it's cheating or messing with how I * should * be developing my visual library, but putting an image through a grayscale filter and playing with the contrast helped me to notice the cast shadows a ton easier.
Is this OK? The purpose of the exercise seemed to shun getting lost in the details, and for me at least I found the details to be a bit, well... Impossible to ignore lol
While there's nothing wrong with converting your reference to greyscale and playing with the contrast, remember that observation of the reference image is just one step. We do not transfer that information directly to our drawing, but rather we use it to better understand the nature of the individual textural forms that are present on the given surface. It's that understanding which allows us to design our cast shadows appropriately. You can read more about this here: drawabox.com/lesson/2/2/reminders
uncomfy: if you make a horrible mess of it . . .
me: way ahead of you.
PS: the video length is great 😊 (perfect for 2x speed)
drawing small, fine details like these from the shoulder is about to be a nightmare
Give this section from Lesson 1 another read: drawabox.com/lesson/1/2/wrist
Are we still drawing from our shoulder for these? Some of these cast shadow forms seems pretty intricate.
This section from Lesson 1 should clarify that for you: drawabox.com/lesson/1/2/wrist
I've been stuck on this for quite a few hours now, but what causes the texture to get darker?
It makes sense that the texture can get brighter, as a lot more photons are hitting the surface, causing lots of indirect light which hit the cast shadows and thus brighten them so much they disappear.
But I'm not sure what causes the texture to get darker.
It'd just be the opposite. A lack of light in that area, which is something we are asserting for the purposes of creating this gradient. If the imaginary light source is on the far right of the gradient, then it makes sense for that side to receive more direct light, and for the left side to receive less. It's just something that we're exaggerating to be able to create a gradient from pure black to pure white.
i want to ask should i draw along with you or firstly watch you drawing and then draw own my own ?? because i m afraid i'll mess up
When you said in another comment that
"you observe the forms of the image, identifying them using the shadows you see (among other things), then apply your own shadows"
did you talk about the gradiant part of the homework? or is it ok to do that while drawing the study as well?
The purpose of the study portion is to help you better understand the textural forms that are present on the surface of your object, so you can better consider the nature of the shadows they'd cast on the surrounding area. Being more explicit in the study section can help with that, so that during the gradient part you're focusing entirely on the shadows being cast.
@@Uncomfortable thanks for responding!
I understand that the study portion is to help me understand the forms that are present; what I don't understand is if it's allowed to change the cast shadows you put in your study, so it gives a better illusion of form (when the cast shadows in your ref are not enough to create it as they are)
@@MorIs-k4j Ahh, I see. In that case, yes - it's fine to change the cast shadows in your study section if that helps you better understand how the forms sit in 3D space, in relation to one another.
Hello, I read somewhere on the blog that the first texture I have to do is crumpled paper. But I look at the examples and it doesn't start with that. I wanted to know and it is necessary to start with crumpled paper.
Unfortunately while it is mentioned in multiple places, some people don't follow those instructions as closely as they should. But yes, it is a necessary part of the exercise, starting with crumpled paper helps students learn to deal with strong, purposeful shadow shapes, and separating their texture into clear sections of solid white and solid black.
ngl this made (still does) my brain hurty but I had a erueka moment and finally gaining back my sanity
this is free, this kinda material if you were to go to a school such as fdz would cost you thousands of dollars. and he made it available for all of us. so instead of complaining of this of being long make the most of it, and if you cant take it on one sitting, well, take breaks.
I am quite confused, specifically with the transition gradient part... I know it's supposed to be illustrating the implicit vs explicit rule... but I'm still confused, are we supposed to draw those cast shadows from our imagination?
That is correct. Through observation and the direct study we identify the forms that are present, and work to understand how it is they sit in 3D space in relation to the surfaces around them. Then, when drawing the gradient, we use that information to inform the shadows those forms would cast, given the different lighting situation.
@@Uncomfortable I see, thank you very much sir.
I've been looking at bunch of references for crumpled paper, and i can't help but think that most of the shadows that i see are form shadows of bumps rather than cast shadows. Unless it's an actual ball of crumpled paper, cuz that has bigger bumps and deeper shadows. So do I draw all the shadows I see or just the cast ones? Or are all the shadows cast shadows and I'm just mistaken?
You may have missed what was written in the assignment section where the crumpled paper was assigned. You can reread it here: drawabox.com/lesson/2/2/homework and it should answer your question.
@@Uncomfortable ooh you're right my bad, ty
am i in trouble if i can only see form shadow on crumpled paper rather than cast shadow? i'm really confused.
The reason I have students start with crumpled paper is so they can force themselves to decide what they want to mark in as solid black, and what they want to leave as solid white. By having students do that here (learning to work without trying to make half-tones), they are then better prepared to focus on cast shadows as themselves being intentional and solid shapes filled with black.
Long story short, just focus on deciding "this part's going to be black" and "this part's going to be white". Once you make a decision, commit to it - don't second guess yourself. It's okay if it doesn't come out well, because it's an exercise we're putting your brain through to help rewire how it looks at certain kinds of problems.
@@Uncomfortable thank you this really helping!
This is worse than the rotated boxes and advanced boxes lesson because it requires improvisation
This is definitely one of those exercises I'd describe as dropping students into the deep end of the pool so they learn to respect the water.
The boxes was so much worse for me XD.
Hello, this exercise should be done from the wrist or as usual from the shoulder?
You will likely find that you'll benefit more from the stiff precision you get from the wrist when drawing the kinds of marks that are used in texture. Still, it depends.
@@Uncomfortable Thank you for your answer, but I am not sure what "Still, it depends" means? How I should do this exercise?
(It is hard to do this exercise from the shoulder, that is why I am asking because I want to be sure that I not doing something harder than it should be.)
@@0darkwings0 So it will *always* depend on the specific mark you're drawing in a given moment. Most of the marks you draw for this exercise will be drawn from the wrist because they benefit more from being tight and precise, and don't suffer from the stiffness that comes inherently from being drawn from the wrist. There *can* however be cases where a textural mark needs to be more fluid (think hair, or drapery) where the shoulder is better suited to the task. Don't think in terms of "this exercise uses your shoulder" and "this exercise uses your wrist". Focus on the specific task you're performing with every individual mark.
@@Uncomfortable Thank you very much for the detailed answer!
28:30 has anyone found a solution for this photoshop freeze? I seem to have the same problem
Sadly I have not. Since this video came out, I've built two PCs - one in August 2020 and one this past summer. The August 2020 one didn't really run into this issue at all, but strangely enough my current one does have Photoshop hang like that periodically (though I'd totally forgotten that it was an issue I was encountering previously).
@@Uncomfortable got it, thanks for the response!
Right on time
And here i thought that textures was so easy and just childs play.
Should this be done along the video?
That's ultimately up to you - different students approach this differently. I would advise however that if you do draw along with it, you do it on scrap paper instead of approaching it as the first row of your texture analysis exercise, so that when you do tackle the exercise it is with full awareness of everything it involves (which would require you to have watched the whole video and to have gone through the entirety of the written instructions).
@@Uncomfortable got it. Thank you.
i don't see the shadows all i see is chicken. is it ok if i just skip this part?
This exercise is expected to be difficult, as students don't generally have any prior experience with this sort of thing at this point. Do your best to apply the instructions, regardless of whether it comes out well, or even if it makes sense. The attempt is important because it plants a seed in your mind, which gradually develops as you move forwards. Don't skip any of the assignments.
I just turn the playback to x2 and turn on captions. 38 mins? Boom 14.
38/2 = 19, Diego.
I can smell that chicken. Man. I think I need to get something to eat before doing this exercise haha.
Is it ok to use my wrist in this exercise?
It always depends on the mark, but generally speaking texture will indeed rely more on some of the tight, stiff accuracy that the wrist can provide. Short answer: probably.
I know my reply is late but thanks a lot!
"this video is already 30 minutes i dont expect anyone to sit through the thing"
*sniffles*
I was wondering what you thought about us adjusting the values of a few of our reference photos?
That's fine, but keep in mind that the reference is a source of information. If adjusting the values/levels helps you see what's there better, that's fine, but make sure that you're not simply transferring what you see in the image over onto the page directly. As explained in these reminders: drawabox.com/lesson/2/2/reminders the process is one that involves looking at your reference image to better understand how the forms are arranged there, so you can then decide how to arrange forms on your own drawing, to draw the shadows they cast on their surroundings.
@@Uncomfortable Okay thank you for the clarification
Me: *watches the whole video fully*
Uncomfortable: this video has already hit about 30mins, I don't expect anyone to sit through the whole thing.
i actually slept through this lol
That chicken has got me hungry af
I don't understand what is a texture and not a pattern. In the website it's written that bricks are not a pattern, but if they are not laid out perfectly don't they create one? Like the little stones that are one of the examples, they would create different shadows because of how they stick out of the wall differently. Can anyone help me? Is corn a pattern? Or is it a texture?
You misread that’s all, the website states that Bricks are indeed Only a pattern but the little cuts, holes, chipped pieces, and pots on the bricks are texture themselves. Now I think a corn is a form or pattern but it’s “Texture” is smooth and depending if it’s cooked or not, it’s hard or soft..
No one:
Captions: _You_
This lesson really broke my tiny brain.
what type of pen should i use for this exercise?
You should be using a fineliner, as with the rest of the course. You can also use a brush pen to fill in the large areas of solid black - but you should first outline those shapes with your fineliner.
shouldnt the title be Drawabox Lesson 2: Texture Analysis Exercise 3
Close, but not quite. I've changed it to "Drawabox Lesson 2, Exercise 3: Texture Analysis"
nearly 40 min though
Uncomfortable.. I am so hungry, why you do this to me with that chicken!!
I've got an in with big chicken. It's all a conspiracy!
Holy shit, would you please edit your videos someday?
It's stupid to complain about video length. This is not an entertaining video, this is a lesson, so it MUST be as long as needed for covering all the necessar information.
Hahaha, I'm glad you understand that. Though since I do tend to ramble, I think there are always things I can do to cut the videos down a little in order to make them a bit more concise. But yes, at the end of the day, it's better to ensure the material is covered thoroughly, rather than haphazardly.
You are right but I would rather have the video cut the unnecessary parts so that I can spend that time to actually do the exercises. Not all of us has the whole day to do these.
@@Fearofthemonster Why can't you do the exercise and watch the video at the same time? Sounds like ADHD to me.
The problem is not that the video is too long, but rather that in addition to watching the long video, we also have to read a text that has a part that covers what is already explained in the video. It makes the course a bit unnecessarily heavy.
Of course, in general, having text in addition to the video makes it easier to memorize and to understand the course (and it also allows Uncomfortable to be able to add information to the course by modifying the text), but it also has the effect of making the course heavier than it should be, which can make it boring and discourage some students.
This video needs to be long, it's incredibly useful to do a full run of the exercise, with study, notes and transition. Thank you so much!
Hahaha, as much as I strive to compress the lecture videos, you're right - some things just can't be shortened.
agreed, if someone is impatient, run at 1.5 speed. The comments are essential with the drawing IRT as the pitfalls come up.
This lesson was a huge 'a-ha' moment for me. The idea that we are not drawing lines, but the cast shadows. This texture reminds me of what I see in my favorite comics, and it never occurred to me that this is how they can draw realistic in black and white only.
I also appreciate how you give lessons we aren't ready for yet to push us into discomfort. I was a high school math teacher and understand this concept. I felt like I tortured my students, but kept pushing until the light bulb pops over there head, maybe even months after that chapter. They would understand later, after pushing through.
It's definitely one of those subjects that was difficult to really pin down myself as well. The thing about teaching things like this is that while you may be able to execute them decently on your own, you aren't necessarily doing so consciously. A lot of the decisions you're making aren't so close to the surface, so expressing them effectively can be challenging. I only introduced this exercise about a year ago, and over that time I gradually came to realize the concepts I lay out here, refining them as I found myself explaining the ideas over and over in critiques I did for my students.
It's certainly taken a lot of time to get here, but at this point I'm pretty happy with the way it is explained now, and I'm glad to hear that it has made it click for you.
Your name is wholly accurate because goddam do I feel out of my comfort zone even watching the video, going to attempt this over the weekend, appreciate the all encompassing video!
how many decades should i put on this one exercise?
seriously though, thanks for being the greatest teacher i know
We lay claim to one third of your lifespan! :P And I'm glad I could help.
Thank you for the lesson but also f you for putting up a picture of the most tempting fried chicken. I could not focus the first time I tried to do the lesson and ended up going to the nearest chicken shop
Brought to you by our sponsor, Big Chicken. Big Chicken, It's Cluckin' Good™.
I didn't draw 250 boxes just to give up here
No one should complain about the length of your videos! It's much better going into lessons equipped with knowledge necessary that we aren't able to pick up from a shorter video
I always just watch them at 1.5-2x speed an that seems to help me :D
@@GroovySpleen I do that too and the subtitle help a bunch
well its kinda hard to watch a 37 minute video in a 45 minute class period(this is a requirement in one of my classes and this entire thing fucking sucks, not just the length, but the way he explains things and how everywhere he is
I really appreciate you making this video. Coming from a 3D background and doing tiling textures for games, I didn't understand the concept of explicit vs implicit detail. This should help me alot moving forward.
I used to mess around a lot with building tiling textures for 3D models, so I understand where you're coming from. It's always troublesome to try and balance achieving a texture that feels detailed enough but without becoming so noisy that it draws the eye too much. I'm glad I was able to help!
Can we use the wrist for this exercise? I remember that you said we can use the wrist to draw details and textures seems to be full of them
When asking the question of which pivot you should draw from, ask yourself if your line needs to flow smoothly and fluidly. The majority of lines do, and so for those we'll draw from our shoulder. When drawing texture however, there are lines that'll benefit more from a stiff control and accuracy, so for those you can draw from the wrist. The short answer is yes, but it's important to understand *why*.
@@Uncomfortable Yay! :) This is exactly what I was going to ask. And I do understand the why of it.Oh, and I watched the whole video, just as a data point.
Most daunting homework yet!
I like fried chicken.
mmmm delicious crispy juicy fried chicken :D
*juicy?*
This is also a great psychological test, I saw faces, animals, and all sorts of things in those textures lol
Yep! I'm embarrassed to say what I saw. But I will say that I giggled like a schoolchild, and I'm sure I'm not the only one that saw it. ;)
The texture on the far right has nothing to do with the original one just saying...
thank you for investing your time on explaining texture & how to approach it. Good day!
You know you're in for a brick wall to slam your head into when the video explaing the excercise is 37 minutes long.
This video is so helpful and make me feel more prepared and well-informed to start my own lesson. However, i do wonder: in the cast shadow part, there's some part darker and some lighter than others. In this situation, how can I illustrate this difference by only using black fineliner?
In this exercise, you pick a threshold. Anything lighter than the threshold is left as white. Anything darker than the threshold is drawn as black. What you're learning to do in this exercise is to create a pattern that you can then employ in a larger illustration or drawing to actually create a gradient from light to dark - but for the purposes of creating this pattern, we are sticking firmly to solid black and white, and nothing in between.
Quick question. From the dark to light section, were you still staring at your reference as you were drawing the shadows?
Edit: or were you drawing from a bit of imagination as well?
I rely heavily on reference to identify what forms are present on the texture. While I wouldn't call it using "imagination", I do have control over how deep I want to make the resulting shadows (whether I want them to be shallow and slight or longer and deeper), but this is still dependent on the nature of the forms visible in my reference. So, in order to draw them, even though I have an amount of control over how I choose to draw them, I still need to be looking at my reference frequently.
There are a lot of gems scattered throughout the video, so it’s worth watching in its entirety. However, some judicious editing could probably shave a few minutes from the video. Still, I’m grateful for you putting these out and it’s not unbearably long. I watched it at 1.5x speed and it certaintly helps.
Glad to hear it! We are gradually overhauling the video material, and our focus is more on making them more succinct. It's definitely easier for the more lecture-type videos (where we're relying more on scripts than we did in these older videos), but we've been able to bring the demos down a bit in length as well.
I love Drawbox's foundations. You also said the other half was drawing for enjoyment... can you explain how to do that? I know that sounds dumb but can you give out some principles of how to draw something I want to draw. So for example I'd start with the form, the general composition, I think I'll stick with black and white to learn values but then I'm kind of at a loss from there on the next steps.
I do touch on this with some of the other new videos I uploaded last week (especially this one: ruclips.net/video/CAVNYq4Ab2k/видео.html , which talks about the idea of thinking you're not ready to tackle a particular topic). It seems like your question explains your misunderstanding though - you're still looking at it from the perspective of learning something and improving from it. The 50% of your time you are meant to draw "for fun" is entirely about learning without needing to gain anything from it other than enjoyment. It is about regaining the ability to actually have fun with drawing, and setting learning/improvement/development aside for the other half of your time, where you can actually do exercises, drills and studies.
Sincere aplogoies if this had been addressed before, should I be trying to use my shoulder when drawing this?
Its pretty much impossible to get these accurately using your shoulder
uhh no, duh. use your hand for details like this
I got a little confused when drawing the texture of crumpled paper. Those dark parts in my reference are all shadow sides, and cast shadows are very subtle. Should I draw those shadow sides or cast shadows?
So, admittedly, despite everything I actually explain in the texture section, the crumpled paper is actually something of an outlier. It actually is composed primarily of form shading causing the different planes of the surface to be either darker or lighter than others. Despite it seeming to contradict the things covered in the lesson, however, it's actually had HUGE benefits to students' work since it was introduced. Reason being, when drawing the crumpled paper texture, they're forced to take that form shading and separate the texture into distinct, black and white shapes. Before introducing this to the exercise, students would often be very timid and hesitant to actually create big, distinct shapes.
So, yes - the crumpled paper is a bit of a contradiction, but jump into it anyway, and just start separating it into big areas of black and white based on what you're referring to as the 'shadow sides'.
@@Uncomfortable Thanks a lot!
Great expansion on the old lesson! This is the exercise I'm currently on and I'm glad you happened to upload this right before I got to it.
This is the exercise that had frustrated me so much that I've been procrastinating on drawabox for more than half a year. I have... strong... and mixed feelings about it
How it is going?
@@blazarquazar1195 Still stuck.
@@blindpyro5323 I finally finished it last week. It's much easier the second time, and it doesn't have to be perfect, just finish it to get a feel for it.
Just getting to this homework, perfect timing! I like the new intro!
doing the demo directly on the picture first and +2 more examples would make it a lot more understandable I think
Indeed, you do mention a lot of useful notes! I'll gladly sit through more of these kind of videos. Thank you Uncomfortable!
Sorry for asking too many questions, but are we allowed to use our wrist when filling out those black spots? 🤔 I've been watching Scylla, and it looks like she sometimes use her wrist? By the looks of it. 😯
Texture is one of the areas where the kind of stiff precision we can get from our wrist can indeed be quite helpful. Here the fluidity of the strokes isn't necessarily our top priority (although that does depend on the nature of the specific marks). As mentioned back in Lesson 1, it's not about one pivot being best for all lines - it's about certain pivots being better at specific things. Stiff precision isn't something we need often, but when it comes to smaller details, it does come up more often.
That said, when talking about filling shapes with black then it doesn't really matter which pivot you draw from, since there is no individual stroke to be seen in the end.
@@Uncomfortable thanks for the clarification !😄
For the transition gradient part of the exercise, should we be freestyling this? Maybe I missed a part of it but I can't exactly pinpoint where uncomfortable is drawing from on the chicken reference. I'm just a little confused because I understood that we weren't supposed to draw without a specific reference as to not trust the brain too much hehe. Or is this an exception? Hope someone can help!
Basically the initial (square) study allows you to familiarize yourself with the specific forms that are present in your texture. In the gradient, we arrange those forms based on what we saw in our reference (we can certainly continue to use our reference here, but we're not necessarily drawing what we're seeing there directly), and determine the nature of the shadows each form would cast.
So it's not that you draw blindly without reference, nor do you copy directly from it. You use it as a tool, paying attention to the kinds of forms it presents, how they're arranged, and so on.
@@Uncomfortable Thanks for the advice! I understand now that that portion of the exercise is more of a balance between heavy use of reference and light use. Btw, it's really cool how you still respond to questions on earlier draw abox lessons! It's very much appreciated! :-))
I know everyone else and their mother has given their opinion on the topic, but seriously as long as the video has info you deem valuable (even if my adhd distracts me 20+ times). I'll finish it.
wow
I cant complain about this cause is free and is just amazing! But, FOR ME, i would do something like fast apiting and then explain with little notes what u did or what was in your mine in that moment casu im not able to play attenttion more than 10 min, but again thats for me and THX! for the lesson. even thoughi watched the all lesson thx!
now, im hungry
hi uncomfortable, was wondering if it was ok to put a greyscale filter when doing these textures so i can focus on the form more. or whether i should keep colors so that i train my brain not to pick favorites w certain colors
That is perfectly okay, especially as you're just getting started with this kind of exercise. Gradually though you may want to shift to working straight from colour photographs as you get comfortable working with greyscale.
@@Uncomfortable thanks mate
i like how he cited the chicken, just in case anyone wanted to try it
Time to draw a dragon with fried chicken texture
just kidding, though it wouldn't be a bad idea either