It’s easy to offend the artist,
To call a poet a fool.
But the boxer is difficult —
Boxers, guys, well done!
Like any creative person, I am not unambiguous in criticism. Here, I myself am forced to act as a critic.
BUT! I do not criticize the artistic merits and demerits of the drawings. I criticize only the prospect. Artistic qualities cannot be evaluated objectively. As they say – They don’t argue about tastes. One likes one, the other likes the other.
In this chapter, I criticize only the wrong perspective of 3D drawings. Perspective is geometry. Geometry is a branch of mathematics – the queen of sciences. Geometry has laws, and these laws are not subjective, they are objective. The laws of geometry do not depend on tastes. The laws of geometry do not depend on whether you know these laws or not. The laws of perspective do not depend on whether you like these laws or not. The laws of geometry do not change from whether you draw according to these laws or draw without observing the laws of perspective (geometry).
There are exceptions to perspective laws. An exception is the reverse perspective on some icons in Byzantine and Old Russian icon painting. Rather, this is not even an exception, but a rare special case based on the peculiarities of human perception of a part of space very close to the eyes. But! To make exceptions, you better know the rules.
In order not to violate copyright laws, I will not use photographs of other people’s drawings in the book. Of course, the most striking “mistakes” will be hard not to recognize. But most of the drawings with errors in the future, it will not be easy to find out. I outlined only the contours of the erroneous details of these figures. I redrawn, preserving the distortion of perspective that I noticed in these figures. Without retaining most of the details, and even slightly changing the picture.
The essence of this chapter is not to indicate to a particular artist his mistakes. The essence of this chapter is to show the most common mistakes in building the perspective of 3D drawings.
So, let’s begin. Let’s start with the obvious mistakes. I hope everyone sees these errors. It is strange that the artists themselves did not see them.
But! This is apparently a feature of 3D drawing. Or a feature of the brain’s perception of a 3D pattern. I also saw many of my mistakes only the next day, and even two days after I drew the picture. Apparently, this is how the human brain works. When I wrote this book, I did not immediately see my mistakes in the illustrations. Sometimes I noticed errors in the illustrations in a day or two, with a fresh mind. I corrected some illustrations from 3 to 5 times. I corrected it after I decided that this was no longer a draft, but a complete illustration. No wonder there is a saying – Good thinking, comes afterwards. This saying illustrates very well the process of finding errors in a 3D drawing.
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.
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