Reddit Reddit reviews Perspective Made Easy (Dover Art Instruction)

We found 17 Reddit comments about Perspective Made Easy (Dover Art Instruction). Here are the top ones, ranked by their Reddit score.

Arts & Photography
Books
Drawing
Figure Drawing Guides
Perspective Made Easy (Dover Art Instruction)
Dover Publications
Check price on Amazon

17 Reddit comments about Perspective Made Easy (Dover Art Instruction):

u/IrisHopp · 12 pointsr/learntodraw

From the top of my head...

I don't know every single source out there, so this list could definitely be improved.

Proportions & placement:

Sketching, life drawing, master studies, gesture drawing, … (basically building a visual library)

Form & Construction:

Loomis Fun with A Pencil (see sidebar), Draw-through (need to know perspective first)

Perspective

Perspective Made Easy + lots of practice

Anatomy

Loomis, Vilppu, Hampton, Bridgeman, … photo reference studies, drawing yourself from a mirror

Gesture

Proko, life drawing, gesture drawing.

Composition

Don’t know the go-to source for this one, but learn about: separation of foreground, middleground, background, rule of thirds + experiment by making a lot of thumbnails + analyse master paintings/photographs/classic movies

Values

Scott Robertson How to Render

Colour

James Gurney: Book, [Blog series on Gamut Mask](james gurney color gamut)

Master studies + experiment by thumbnailing lots

u/Serapth · 11 pointsr/gamedev

... well I'm going to lose my geek cred here, but...


If you want 2D artistic skills, go to the store, but a box of quality pencils and a sketchbook you can take with you. Also buy this book ( http://www.amazon.com/gp/product/0486404730/ref=pd_lpo_sbs_dp_ss_1 ) on drawing with perspective and well... draw. I recommend that book because a) I own it b) it's 6 bucks c) it works. Any other book will work to.


I honestly think drawing on pen and paper is still the best way to pick up 2D skills, at least when it comes to the basics. When you get to stuff like lighting/shading/shadowing, it makes sense to switch to a computer. The skills are 100% transferable though.

I myself have to spend a bit more time with pen and paper, but sadly, the day only has so many hours.

EDIT: Wow, I just recommended a book written in 1939 on /r/gamedev. #whodathunk

u/Zulu_Sierra · 10 pointsr/learnart

Sorry, man, your perspective is wonky, maybe focus only on perspective studies next time and ignore color/texture.

If you are serious about art, read Perspective made easy, it's a solid beginner friendly book.

u/blackstarin123 · 8 pointsr/FurryArtSchool

Example 1

Here is my red line, the legs was what I think could be improved on. I just put the legs in perspective and fixed it up.

Example 2

Here is the version showing the shapes to think about. Think about shapes and how they wrap around the body.

Another example showing the perspective.

Example 3

I would recommend is to practice drawing form. Here is a video explaining it.

The Basics: what they mean

Also read some books on animal anatomy I recommend :

Animal Anatomy for Artists: The Elements of Form

Science of Creature Design: understanding animal anatomy

Also here is a book about perspective:

Perspective Made Easy (Dover Art Instruction)

I hope it helps :)

u/fxscreamer · 6 pointsr/furry

Not that I've mastered anything I'm going to tell you, but there's definitely some issues here. It appears you're drawing by contour, and not setting up your structure, gesture, and volume for the character. They are very flat, out of perspective, proportions are off, and anatomy is wobbly. There's also not a sense of weight and gravity to his punch. Forget line work and coloring for now. There's no point furnishing a house with beautiful furniture, curtains, landscaping, etc if the house itself is unstable and about ready to fall over. Basically, your fundamentals are lacking.

Books that have been recommend to me that I've been studying are:

Perspective Made Easy by Ernest Norling: http://www.amazon.com/Perspective-Made-Easy-Dover-Instruction/dp/0486404730

Cartoon Animation by Preston Blair: http://www.amazon.com/Cartoon-Animation-Collectors-Preston-Blair/dp/1560100842

These address all the issues that I've spoken of and believe me, it's my 2015 homework as well. This stuff isn't easy, but practice and repetition will get you the results you want. Keep drawing, and keep going. You'll get there. :D

EDIT: I'm going to give a shoutout to the artist Retehi and provide an example of what I'm talking about that is similar to your piece. The image below addresses many, if not all the issues I'm explaining so it's easier to see the results when you apply them. Notice the gesture (arch of the back), the 3d space in which he stands (volume and perspective), the proportions (structure and anatomy), and the weight / gravity as he's punching the bag. Try to disregard his coloring and production and focus on the character drawing itself. Hopefully this will help you in the future as a reference.

https://www.weasyl.com/submission/633588/fight-to-survive

u/KHOUG · 6 pointsr/Watercolor

Cool! If you like drawing buildings I recommend d picking up https://www.amazon.com/Perspective-Made-Easy-Dover-Instruction/dp/0486404730

Awesome book on prespective.

u/StressCavity · 6 pointsr/animation

While your end goal might be cartoons, you will HAVE to learn to draw realistically to some extent. No way would you be able to animate anything in perspective otherwise, understand lighting, or know how to composite complex scenes. There are fundamentals that you must understand that are key to 2D animation, regardless of art style, which should be continuously worked on alongside your stylistic development.

Books:

Simple book on perspective

My favorite anatomy book

A pretty simple book on light (More pictures/examples than in-depth detail)


Overall beginners drawing book

This covers light/shadow and materials decently for beginners

I personally think you should focus on fundamentals alone until you have a decent grasp before looking at animation. But if you want to learn concurrently, this book is pretty well-known in the industry: LINK

There's tons more, but I already think this might be too much to take in all at once. Discover for yourself the rest, it's not good to have everything handed to you with fundamentals, gotta reign it in personally.

u/frostylakes · 4 pointsr/comic_crits

Alright, you requested a critique and I've had time to give some thought to your work now.

Right off the bat I'm going to agree with the common sentiment here: The writing is strong. The story has some great propulsion. I'll go as far to say that you know how to write at a fairly proficient level. That's excellent! To paraphrase the guy who made Beetle Bailey, you can be an unskilled artist and still have people read your comics, but you can't be an unskilled writer.

Here's where the actual critique of detailed points starts.

Off the bat, the art is very rough. Like the art of anyone who is starting out, the art here shows a lack of practice. It seems like you know what you want to do, but don't have the mastery over the basics that is necessary to execute on it the way you want to. There are plenty of ways to build these skills. For human figures, figure drawing with a live model will help immensely in understanding how humans work, and help you understand how your favorite artists have stylized their work with their own understanding of human anatomy, which in turn should help you take what you have here and turn it into something closer to what you want from it, or at least what I'm assuming you want from it.

However, despite it being rough on a technical level, you achieved something very cool with the character designs. Morris is drawn in a much more insane-looking, much less realistic looking way to Angela White, which lends to us, as readers, feeling that insanity even before we're told. Combined with the warped camera angles you use when he encounters the alien warden and surreal pages we get when he is being questioned ends up reinforcing this idea that he is insane. White is drawn more like a reasonable human being by comparison, and this reinforces the idea that we should trust her. You've used the medium to your advantage despite being unrefined in skill. You have a good sense of how to approach these things that will only serve you further if you decide to improve your drawing skills.

You've got some interesting paneling going on, and I do not want to discourage that experimentation, but I do want to give you feedback on the effect it has had on your page flow and balance.


On Page 4 you've got a problem with the weight of the composition along with the overall flow of the page. My eye was drawn around the page as the red line indicates. Everything about the page wants to keep your eyes on the right side of the page (this is what I mean by weight, you could think of it as a kind of gravity as well) until you reach the bottom of the page where you are given an invitation to move back up the page into the center and left-hand side. This creates a situation where a reader who is taking in the art and isn't just reading from text box to text box will read the panels as I've indicated with the green numbers, rather than the intended reading order indicated with the blue. I can see that you did think about the flow of this page and it looks like it is intended to flow like this, but the text itself in the first box of text leaves your eye in a place where it wants to be pulled down by the slope of the Metro Waste dumpster when you're done reading it, undermining the page flow. If there is a less to be learned about this specific page, I think it's that text leads the eye as much as shape and rhythm, and keeping that in mind when you are designing a page will help you control the reader's eye more effectively in the future.

There are similar issues on some other pages. The layout itself in many cases is perfectly fine, the problem ends up being the flow of the page leading the reader to read the dialogue out of order, making for a confusing experience. Don't you dare think that I'm telling you to stop being so ambitious with your layouts. I don't think that's the answer at all. Keep trying to make these work. Keep these things in mind when making your own pages and while reading other people's comics. When something works, figure out why. When it doesn't, ask yourself why.

You can use a disjointed or chaotic pageflow to your advantage though. I don't really know if there is a name for this in comics, but in music there is the idea of "word painting", which is when music matches up with the meaning of the song. This page of A Lesson Is Learned, But The Damage Is Irreversible does just that. As the tidal wave hits and the man goes outside, the page gets more and more chaotic. You'll be scanning things twice and trying to figure out what is going on, but you still have the flow of the water in the center of the page to return to to guide you through the image, as well as sudden, clear borders in color creating panels without using panel gutters. It's really just the illusion of chaos, but this is what can be achieved through a solid understanding of how to guide the eye through a page. It's a pretty well known example among people who read a lot of webcomics I think. I'd highly recommend giving their archive a read.

You attempted something interesting on this page right here. The motion of the hammer going from resting position to smack dab into the Alien Warden's head was a cool, good idea. From the other comments here, I see that you have read Understanding Comics, and so probably remember from that book that Scott McCloud equates the space between panels to time. What happens between any two panels? Time passes. With so many panels and no other indications of speed, despite being probably one of my favorite things you attempted here (I do really love when motion is created in a still image, which you totally achieved!), it feels very slow, like he's sort of pushing the hammer into the Warden's head rather than a quick and violent bash that the situation seems to call for. I otherwise like what you did with this page. There are a number of ways you could change the perceived speed of the attack, from using less frames to complete the action (animation techniques like less frames = less time apply here), to somehow indicating that it only felt slow somehow and using that "time" for some purpose. Like any advice given here, it's mostly just trying to arm you to make more informed decisions in the future, not tell you what to do flat out.

Bringing it back to this musical idea of "word painting", here is Meredith Gran of Octopus Pie using the technique you used above to create a wonderful scene. You're on the right track by attempting these things.

The reading order on this page doesn't seem right to me. The red numbers are the order I read them in, and the blue are what I perceived to be the intended reading order. It appears you're supposed to read it in a clockwise motion, but there's nothing to actually indicate that to the reader, which will leave them lost momentarily. I really enjoy the line of action you have created for just the character's head in panel 1, and I find the final panel on the page to be delightfully creepy.

So, as far as actionable advice goes, working on your technical skills is the most obvious place to improve. Keys to Drawing and Perspective Made Easy are both books that focus on some basics that will help you improve. If you can, a figure drawing class is probably the best way to learn how to draw people, along with studying anatomy on your own time. If you can't do that, you can draw timed from photos, but drawing from life is definitely best. I haven't read a whole lot of horror comics, but I know that with those I have, grotesque detail often heightens the feelings of unease and can get me feeling squeamish. Junji Ito comes to mind for that. If you haven't read it, maybe The Enigma of Amigara Fault could provide some visual inspiration. Ito's other works often go more overtly detailed and grotesque, so it's possible that you may want to look further into him if he isn't already someone you've read.

You'll notice I haven't much touched on your story in detail. I could, and if you want to I will to the best of my ability, but I wanted to cover the art bit first since you seem to have a better handle on telling a story at the moment, and because this has gone on long and might be better digestible in parts anyway.

I hope this is helpful.

u/shaolinphunk · 3 pointsr/learnart

There is a book I used named Perspective Made Easy by Ernest Cline. It takes about a day to read and has exercises to follow along. It has helped me incredibly and is a great tool to learn the basics.

https://www.amazon.com/gp/aw/d/0486404730/ref=mp_s_a_1_1?ie=UTF8&qid=1487822251&sr=8-1&pi=AC_SX236_SY340_QL65&keywords=perspective+made+easy

u/fanatical · 3 pointsr/learntodraw

You have some options.

If you wish to simply attain some better looking results and not have to be burdened with the long and arduous process of learning to draw intuitively, I'd recommend you look into the sight-size method of drawing. Where you set up your canvas next to your subject, whether it's a picture or a model and measure angles and distances in a "one to one" ratio kind of way. this will produce very accurate results and placement of features and works very well as a blocking in method. From there on it's just all practice. And understanding how to measure is a useful skill in and of itself.

Unfortunately I don't dabble much with sight-size anymore, although I recognize its benefits. I can't give you any good material, but from a glance, https://www.sightsize.com/ probably isn't a bad idea to start.

​

​

If time is of no concern I would recommend you start on the long and slow and painful process of understanding construction. To do so you'll need a very good grasp of forms in perspective. 1,2 and 3 point perspective being the most used. (sometimes 4, but it's not essential unless you're looking at specific effects). Understanding forms in perspective, usually starting with boxes, will lead you onto understanding how to light forms in perspective. From there you can go on to lighting forms in perspective and these kinds of methods and practice of drawing every living and non-living thing under the sun are the basics of all drawing. And from there it's a lot of practice. Years of practice. This is the past most kids try to go down these days because they want to be able to.. in their own imaginations... "draw from imagination". A term that's so overused and misunderstood that it will most likely cause my ulcer to burst and kill me on the spot one day. But it is the road to the aforementioned "intuitive" way of drawing, were you use the same method for basically everything. And you'll simply be relying on reference to guide the information you choose for your work, rather than having a need to copy what you see religiously.

​

Good material for learning perspective, are Scott Robertson's books, but they can be .. a bit heavy for beginners, so as an introduction, "Perspective made easy" is a decent grab

https://www.amazon.co.uk/Perspective-Made-Easy-Dover-Instruction/dp/0486404730/ref=sr_1_1?ie=UTF8&qid=1549974784&sr=8-1&keywords=perspective+made+easy

​

As for construction. I'm partial to Karl Gnass head drawing book and Michael Hampton's Figure drawing design and invention.

https://www.amazon.com/Figure-Drawing-Invention-Michael-Hampton/dp/0615272819

https://www.amazon.com/Head-Shots-Artists-Guide-Drawing/dp/0975281232

​

​

​

I hope I haven't confused you too much. What I think you should do is to practice both of these methods, and if faster results to compliment your painting is your cup of tea, I would recommend sight-size. If you are simply drawing for your own enjoyment and personal progression, I would recommend looking into perspective, simple forms in perspective and then use that as a starting point for construction.

​

People will undoubtedly mention anatomy, but I tend to leave that bit out until it presents itself naturally.

​

Mind you. This is just my opinion. Others may have other and/or better ideas for your personal goals.

u/CottonSkeleton · 3 pointsr/Watercolor

Water in my experience is a lot trickier. Again, you've got a great start by using thinner lines on the stems to show they're behind a transparent object. Since the thickness of the stems is similar below and above the water level, you could make the line even thinner (like, super thin implied baby lines) when it's underwater. Or, you could forego linework completely and rely on colour to show the form (which I think looks super cool with watercolours).

I think using a thin line for the water surface worked well. A way to push the depth further would be to use perspective. Continue the water line around the back of the vase to show the surface of the water as a flat circle, instead of a curved 2D line - image searching 'cylinder in perspective' can show I mean. If you do this, it's best to be consistent and do the same with the vase as well, otherwise it looks kinda weird.

Another theory about line weight applies to objects in perspective - the further an object is from the viewer, the less detail the viewer sees, so the line work should be thinner as the object moves back.

You've got the right idea about using colours to show some reflection on the surface of the water. I think by using perspective to turn it into a flat plane instead of a line, it'll also make it easier for you to visualize when you try to add those reflections.

As for colouring underwater, that's... something I'm still learning myself lol

There's lots of information out there on the internet about perspective and colour theory that goes into way more depth (hah) than I can, but if you're looking for books check out Color and Light by James Gurney and Perspective Made Easy by Ernest Norling.

u/worldseed · 3 pointsr/learnart

Perspective is something that will help you draw anything. People, buildings, interiors, animals, objects, vehicles etc. Check out Nsio's tutorials on deviantart for some examples and guides on how perspective helps you draw figures from imagination (and life).

As a beginner book, people always suggest Perspective Made Easy. It's cheap and well regarded. How to Draw is more advanced and focuses on vehicles / landscapes, which might not sound useful if you just want to draw figures but (personally) it helped me soooo much in placing complex 3D forms in perspective (which is all the human body is after all).

u/spitnik11 · 2 pointsr/ArtCrit

Alright bro rather than critique your work I'm going to directly answer your question on how to improve. I got two pieces of advice for you based on what I see.

First off, and it may sound a little vague but ask yourself honesty what do you want out of art? You say you tend to draw on and off in short burst, so do you really enjoy it? What do you see yourself creating if you possessed the required skills to do so? Try to find an answer to that question so you have a direction to work towards.

Secondly, "realism" in arts, to quote Wikipedia "is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements" in other words to not add your own style to a drawing and capture purely what you see. Its really just life drawing, and I'm not exaggerating when I say you cannot become a competent or confident artist without learning, appreciating, and devoting time to mastering it. Realism is not a genera of art its the foundation, drawing as an art form has no shortcuts, that boring stuff an art teacher tries to make us do in art class such as drawing straight lines towards a horizon, or drawing a mannequin over and over aren't options that an artist can opt out of if he so chooses, like any science it's the basic background you require to frame your thinking and let creativity flow naturally through the canvas. If a musician doesn't know his scales how can he concentrate on giving the performance? Forget drawing freehand if you cant properly life draw. A human cannot be learned in sections, if we focus on things like eyes, the head, and hair, every other part will lack definition and consideration resulting in them fading into the background, the whole body must be considered. A regular adult male body is measured in about 8 heads in length starting from the actual head and moving down dividing the body into sections ending at the feet. If you study these landmarks along with the more specific ones than life drawing will become simplified and much more enjoyable.

I'm not leading you astray here, this is the hard truth about drawing, we all started for a reason but sooner or later we gotta decide how far are we gonna take this and how exactly we get there. If you really want to get serous about drawing, learn anatomy, learn perspective, and never focus on development a style, just concentrate on drawing and the style will occur. Start here for anatomy, because when it comes to anatomy Loomis is the authority and we are his students, he has many good books but this is probably his most popular. Though all of his books should be considered as they go into more detail on specific body parts such as hands and the head.
Then go here, it really is perspective made easy and is should probably be read first as a good understanding of perspective is required to properly frame drawing. Almost all of these books have PDFs that can downloaded for free since they were out of print at one point but were put back up for sale. If Loomis isn't your style you can check out this list, most of these have free PDFs as well which can simply be google searched.

But know that there is no foolproof formula to make you a great artist from books or even other great artist, its simply the courage to stand on ones own two feet and seek out enlightenment. I'm no art genius, all of this wisdom is from my personal experiences and lots of books. I just recognized your path as similar to mine and wanted to give some honest advice.

you have potential and its your choice if you want to see how far can you take it.



u/Evayne · 1 pointr/DigitalPainting

I thought this was a pretty good book on the subject, but a lot of stuff only sinks in with practice (at least for me). Lots of environment studies and architecture and the like help. :)

Other than that, honestly the best overall resource I've found are Nathan fowkes' schoolism classes and watching the feedback he gives to other students. It covers a bit of everything, though it's not specifically about perspective.

As for brushes.. well. There's definitely a good balance to be struck. I find that having too many will slow you down and distract you, but there are definitely some great helpful ones. The problem is that everyone prefers something else. :)

This collects artist brushes that are a lot of fun to check out and play around with, but I would advise to only keep the ones you find really useful and try to avoid to get lost in shiny tools. You could do a forest just fine with a chalk brush!

u/Charlie_went_Brown · 1 pointr/IndustrialDesign

For perspective, a really valuable, but quite an easy book is Perspective Made Easy by Ernest R. Norling.