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See Like an Artist 4: The Bad Xerox

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Transcript

With respect to our workflow of going from 3d to 2d, back to 3d, that initial 2d analysis, right? It's really, if you take a look at these examples, they're like, they're bad Xeroxes, right? Notice how all the values are combined confined either to black or white, and therefore very manageable. The shapes are flat and 2d in nature, just like puzzle pieces, that when put together in the right order and relationship, they constantly face. All the details are left out. This is really important.

And what you have left is the big overall big impression. That's what you're hunting for at the outset. So, when you see your models something like this, right, you squint down, heavy squint to get to something like this here or Any of these, you want to see like a camera or a dumb Xerox, the camera or the Xerox doesn't know what it's looking at, it doesn't interpret it and put meaning to it. So in other words, it doesn't really know that this is a hat, or that this is skin, or those are lights, or clothes or whatever. It just records the values, just like our eye does. It takes in that sensory data.

Right? The brain puts the information and the meaning into it. We're trying to get away from that. We're just looking at things as dark and light puzzle pieces. And it might help you to turn this upside down. And that way you get away from seeing things as noses, mouth, ears, and identifiable things and just see abstract, dark and light shapes.

Okay, let me do a little demo for you. Of how I flatten things out. The first thing I'm going to do is squint at the model, and I'm going to decide what's a dark thing and what's a light thing. So I have to squint down pretty pretty darn far to get the darks and lights to separate out and then I analyze that. What's a dark thing? What's a light thing?

That's my first question. The second thing is, what kind of shape is it? So if I look at this, and I squinted her, and I squint at my drawing, and I look at the light and dark puzzle pieces. I'm not drawing eyelashes at all. No eyebrow hairs. I'm just filling it in to see if that shape is designed well, and it looks like it has the correct proportions.

And I'm not going pure black. This may be like 50% gray at the beginning. Right just squinted her skin at the drawing. I have to keep reminding myself to do that because I want to open my eyes and that's a temptation, you're gonna have to resist. Okay, there's the hairline right there. comes around.

See what else we can get here. With a curved cheek, I'm going to go ahead and put the, the nose in the side of the nose is in the family of light. So I'm just going to leave it leave it light and draw the plane change just again, flat, 2d. Keep it real simple concentrating. See if I can just get those dark puzzle pieces down and then fill it in. So I can see my design.

She comes in and not really thinking cheap, right? I'm just thinking, What's that shape? And is it light or dark? Keep it to that, you know, have a lot easier time. Try not to think try to forget the name of the things it is that you're looking at. You have to forget the name and draw it as if it's the first time you've ever seen it.

The first time you've ever seen that curve. Remember, we're not doing any 3d, it's all 2d. Right? Just get the shape down, copy it, fill it in, squinted the model squit that you're drawing. We are copying the shapes right now. But again, if that's all you do is copy and that's the best you'll ever have.

So, we're going to do better than that. We're going to pull 3d architecture out of these 2d shapes and that's going to be the next thing we'll do a little bit of dark shape there. Go ahead and fill in some of this cheek, try to keep it flat and organized. So I can see it. Hair boundary of the hair, against the forehead. Right and then we have The other eye socket but again, not an eye socket.

I'm thinking like a dumb Xerox. Putting in the shapes. It's easy, just relax, squinted at the model and squint at my drawing. You can do this, right? I know you can. Oh, the big masters did it.

So why shouldn't I do it? There's the bump of the eyebrow. With the eye socket there, bump of the brow. bone density, you kind of get the picture. You see how it's coming together and I make decisions that little white shape in there. I'm going to go ahead and put it with the darks because when I squint down, it kind of goes dark.

Keep it simple. That's it and that's how fast it can go. And then the next step we will be looking like sculpting draw or pulling 3d architecture out of this with planes and rhythms and edges and all the rest. But for now, this is something you should definitely do. Maybe make a board like this with Photoshop or some Xeroxes and get, get it really get the values really separate. out in contrast, V, and then do some of these analysis, kind of the 2d analysis stuff.

So you get down once you get down, it's fun, you know, and it's not rocket science. It's really easy, and it's surprising how easy it is. Once you get past the idea that you're trying, you know, you don't have to draw these details, all you have to do is draw the shapes and the value. So once again, number one consideration, make everything flat and 2d and just draw the shapes and then the values and this is kind of like your, your blueprint. Like an architecture, they have a blueprint. They spell that right.

Blueprint. Before they build the whole thing, they want to see what it's going to look like what is going to work and it's an inexpensive way to do it. And we don't want to spend a lot of time. On this phase we want to get it blocked in. And then we can spend our money on sculpting it and making it look 3d and beautiful. So you've got your blueprint there.

And then the next step, making it look sculptural in 3d would be putting in like the foundation of a house. Alright, that's it. I hope that helps and we'll see in the next lesson.

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