No.1415
I can't draw what I see.
I know the first response is "you're not seeing correctly" and I totally get that, except I can see the little discrepancies.
I've gone through "Drawing on the right side of the brain" and a few other tutorials/books that deal with this, and I love the new perspective it's given me towards things I took for granted before.
I'm still struggling with some basic things however.
I can't draw proportionally, and I can't seem to get things like dynamic curves correctly. Drawing a chair with a rounded back at a 3/4's angle as in pic related, i still end up making the two sides look way different in their curves.
Along with that, I seem to really struggle with proportion. It's like I'll measure something with the pencil stretched out, mark down the places on my piece of paper, but I still fuck it up somehow.
I'd like to be able to draw a half-decent apple shape without marking up my paper with a bunch of proportion checks for myself, but even when I do it looks wrong.
Are there any specific resources or drills I can do that might be able to assist me in what feels like my weakest areas (among just about all areas I am weak, but this most specifically is driving me crazy right now).
I appreciate any help, even if it's just "draw more fucking chairs". Just want to know if there's anything else.
I'll be drawing the same chair over and over while I read the responses.
No.1416
I'm pretty crap at this too, so feel free to push aside my 'thoughts' on this if you're a decent artist glancing at this thread.
I think it's good to be as broad as possible as quickly as possible. Mark the most radical differences first, the top of the chair, the legs, seat corners that protrude. You want to stretch it out on the paper like you're rolling dough, being as positionally literal as possible, reiterating the lines as necessary but trying for few marks. After that you can make some rationalizations for perspective.
As far as curves... Practice? There's this exercise where you logically wrap many lines around a form, if you do it right something in your brain will click. From there it's dopamine. That can help with intuition for curves if the forms are 'organic'.
Lastly, 'drawing through' is important. To be literal with positions you have to get your brain to ignore certain objects that are in front of the one you are drawing.
No.1424
Have you read Bert Dodson's Keys to Drawing yet?
No.1428
>>1416Ya I can get a decent blocky shape down that marks the boundaries, but it's somewhere in the translation of the curvature that it kills me. Maybe I need to spend more time analysing or breaking up the image into quadrants and filling from there (like loomis perspective figure drawing).
>>1424Grabbing it now.
I went through "fun with a pencil" which at some parts had a 1,2,dragon feel to it, but I'm slowly going through figure drawing for what it's worth.
I think I'll work through both simultaneously.
Ty anon>>1416
No.1429
I think your problem is that you're looking at it too much from a planning perspective.
Try picking a point in the chair and just draw from that point instead of marking stuff down (for me that slows the entire process down) As you go along look at the relationships between your lines and if you see a mistake, rub it out.
Pick related, line measurement is important, but also foreshortening is as well.
No.1431
>>1429I think that I look at it from a planning perspective because most (if not all) of the sources I've been learning from stressed proportional construction.
Saying that if you can make a skeleton that's proportional, that you won't be worrying at later stages of the work that something looks "off".
Though I have been trying to get used to erasing and re-making lines. For some reason I really don't like doing it (more work?), but I'm working on that.
No.1432
>>1431It's harder work because your brain is making a shit load of calculations between the lines on your reference and on your page.
It's worth it though, and it gives the old brain a good work out.
No.1437
>>1431To avoid using an eraser, I try to draw the lines softly but confidently, and 'reiterate' specific problem lines when there is more information on the paper.
No.1443
>>1415Break everything into shapes, nigga, and go from there.
No.1447
>>1443Not the OP, but thanks!
I neeeeed to do this more.
No.1450
>>1424Update from OP:
Shit this is helping me a ton.
Might not be for everyone, but this is already noticeably improving my compositions(scribblings)
>>1443I like this.
I usually do this with other things, but I didn't really think about breaking the chair down like this.