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JNickBlack In reply to Zeppo-Rosencrutz [2012-01-17 13:04:00 +0000 UTC]

haha, I dunno. Some things just don't do well I guess.

Thank you, however.

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Zeppo-Rosencrutz In reply to JNickBlack [2012-01-17 14:33:19 +0000 UTC]

Yeah, jeeze, I hope to be as precise as this someday.

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JNickBlack In reply to Raftrider [2011-06-18 01:21:06 +0000 UTC]

goooo... architecture? Like specific period architecture or just perspective in general type stuff?

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Raftrider In reply to JNickBlack [2011-06-18 04:43:23 +0000 UTC]

Ehhh..I'd say perspective in general. Period architecture I can figure out; good reference photos are just a google search or a library away, after all.

Some of the methods I've dabbled with in regard to architecture was just too confusing, or needlessly complicated. I'm sure there's more than one way to figure it out.

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JNickBlack In reply to Raftrider [2011-06-18 17:36:21 +0000 UTC]

my problem once upon a time was that I would try to make all my perspective lines full scale on the paper I was working on, which meant that any vanishing points that I was plotting would be off of the page space and out on my drafting table and that was incredibly annoying.

My personal opinion, or what works for me, is to plot out your whole composition and set up your lines of perspective in a thumbnail first. I think mine are 3x5? If you have problems finding exact dimensions, load up Photoshop and make a new file with your full measurements and then decrease the size. Since everything is linked together it'll give you exact proportions for your new thumbnail. In any case, you can then blow it back up and at least trace out your blocked in larger objects which will have all the correct perspective on another sheet of paper... then it's just a question of taking the time to detail it all out.

Also, keep in mind that terms like 2pt perspective doesn't mean that you can only have two vanishing points. The lines of perspective PER OBJECT all need to go to the same points, meaning that each separate object could go to 2 DIFFERENT vanishing points (on the same horizon line of course). I think you'll find that's how to turn objects in your space.

I think that good practice for finding good horizon line and vanishing point placement would be to find some photographs and draw out the lines in Photoshop. Maybe take some screen caps from a show you like and really figure out the composition of each shot, etc. In his Gnomon video, Finch talks about how much you can learn by taking a comic of an artist you like and drawing it out panel by panel. And maybe that seems tedious, but everything tends to seem that way until you fully understand the principles and become faster at doing it. At some point, just like anatomy, placement will start to become automatic and you'll have to think about it less so it'll become less frustrating.

But I'm probably rambling now. Hope that answers some questions? If not, let me know and I'll try to clarify more.

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Raftrider In reply to JNickBlack [2011-06-19 02:17:33 +0000 UTC]

...Why didn't I think of that before?! Ironically, I *have* been studying and copying a particular comic artist's work (Kentaro Miura's BERSERK), but it was mostly for panel placement and dynamic action scenes, rather than architecture.

Thanks for the tips, Spike!

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JNickBlack In reply to Raftrider [2011-06-19 02:59:47 +0000 UTC]

anytime.

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JNickBlack In reply to Granas85 [2011-06-17 21:15:41 +0000 UTC]

Thankie.

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JNickBlack In reply to Jeremi-Eldridge [2011-06-17 20:29:19 +0000 UTC]

thanks man, hit me up if you need another pair of eyes while you work.

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Jeremi-Eldridge In reply to JNickBlack [2011-06-17 20:34:43 +0000 UTC]

shouldn't have said that. Now you'll be harassed for the next 3 months

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