Drawabox Lesson 4: Drawing a Wasp
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- čas přidán 4. 09. 2024
- This demonstration explores how I apply constructional techniques to draw a wasp.
You can find the accompanying text lesson here: drawabox.com/l...
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It’s really a surreal moment to see how everything just wraps up together
When @Uncomfortable makes himself uncomfortable (drawing insects) to push us out of out comfort zones so that one day we achieve comfort
Im in love with the executioner wasp it looks so cool
The best christmas gift ever
"They certainly have more arms than us" Pfff speak for yourself
Damnit Eddie, have you been stealing peoples' arms for your collection again?
@@Uncomfortable M...maybe..
15:07 smiley face
Finally Ive made it this far! mwahahahah
Congratulations 👏
gratz mhie
Thought you said the head had a top lane and I got confused for a second.
nice 👍👍
LMAO... Brave wilderness Bite Series!
That was great. Thank you.
Thanks for this extra tutorial. Actually, thank you for this whole concept!
I have to say this tho; the mic you're using (or the settings, I don't know much about it) produces a sound that's quite off. It's a tiny bit disturbing
Yeah, I know about the mic. Eventually I'm going to work through fixing up all of the videos, but within the time that I had, and the resources I had available, this was what I was able to put out.
After going through the whole course, could i use construction as drawing technique, or is it just an exercise ? More importantly, do you use construction for drawing when you are drawing anything professionally ?
In this course, we're using constructional drawing as an exercise to help force students to work through a variety of 3D spatial puzzles, which develops their understanding of how the forms they're drawing sit in space, and how they relate to one another within that space. Constructional drawing can also be used as a technique to help solve complicated spatial problems when you're drawing your own stuff, but as with all things when producing your own work, you use the tool that suits the job. So when I'm working, I'll often rely on my underlying spatial reasoning skills, but there will be some very basic structural elements I'll lay down as a starting point, or if I'm facing a particularly tricky problem to solve, I'll use more construction to figure it out.
Drawing isn't by default a performance skill - so you use the tools you need to get the job done. Some artists, like the late Kim Jung Gi, as well as others, do turn it into a performance, but that is an entirely separate layer that isn't really relevant to the usual professional uses of the skill.
Are we supposed to do every sausage with one single stroke?
That is how I draw sausages in most cases, though as long as you can draw your sausages with separate strokes while maintaining the apparent continuous nature of the line and enclosing the silhouette properly, that should be fine too.
It would be good practice to only use one stoke yes
This is harder than plants. Like, really hard.
I'll try though.
How would you approach drawing texture on an insect with a colored pattern?
Given the limitations of our tools in this course (working strictly with ink, pure black and pure white), there are some things we simply aren't going to be able to capture without impeding our ability to communicate clearly with the viewer. So, for that reason, I push students to ignore local/surface colour (especially more recently - so there are older demos where you'll see me adding tiger stripes for instance). Instead, focus entirely on conveying information relating to 3D forms and the relationships between them in space. Texture, for example, is made up of little forms that cast shadows on their surroundings, but a colour pattern is just flat, and so outside of what we're worrying about here.
At the end of the day, always circle back to the idea that Drawabox is a course where each of these drawings is just an exercise, geared towards a specific purpose, and so the tools and approaches will not necessarily apply broadly to learning *everything*. One of the videos I put out recently, "What are the Fundamentals" explains this in more detail: czcams.com/video/lPf2aGBnq5I/video.html
@@Uncomfortable Thank you so much for the detailed reply! You are one of the most dedicated teachers
I drew those little sausages (legs) with wrist because it seems impossible to draw from shoulder . Was i doing it wrong ?
You should indeed be drawing them from your shoulder. Given that this is lesson 4, between the homework exercises and warmups you should have gone through prior to this point, you're expected to have had a fair bit of practice - not to make it easy, but to at least make it not quite impossible.
I recommend that you give the new ellipses video (went up just yesterday) a watch - while obviously this isn't an issue related to ellipses, at the end of the video I talk about how one doesn't necessarily have to ghost and draw from their shoulder at the quickest possible speed, and that slowing down (while maintaining a confident execution) can help regain control without ending up with a wobbly line.
@@Uncomfortable oops sorry , it was getting kinda hard to maintain that 'organic' feel of a tiny sausage , i'll work on it now. so is it just the details that we draw from wrist ?
@@ashmitatamang It is generally details that benefit from the sort of tight precision that one gets from the wrist. So yeah, that's generally where the wrist will be used. The vast majority of the lines you draw in this course will be done using your whole arm.
@@Uncomfortable thanks understood
Are we supposed to draw the wasps abdomen in a single stroke? And Should I go about drawing it?
Looking back on this demonstration, I think I'd probably start the abdomen simpler now than I did then - doing so with an ellipse to establish a simple ball form (which should be much easier to tackle in one stroke), then adding another form to the end for the tip as shown here: i.imgur.com/2cCYyBW.png
Thank you
Just want to confirm that if I think that " adding extra 3d form upon construction" as if I am adding clay upon another clay would be a right mindset?!!
Yup, very much so - although I'd avoid the temptation to try and smooth one mass into another, which we could ostensibly do quite easily with wet clay. Sometimes I think of it more like slabs of meat, which are flexible and can wrap around one another, but are still distinct from one another, and thus every new piece we add is also something to then deal with somehow as we work to flesh out the object we're attempting to construct.
@@Uncomfortable
Damn man , still active on your videos , didn't think you would reply so fast
Mmh it's kinda hard to think of them as a hard, solid meat as in case of mushing two forms together ( since meat has planes and not absolutely round) where wrapping of one form upon another can be done as a "meat" mindset but insertion of one form into another can be think as we pushed the clay with our thumb, creating a pit and joining another form. Quite difficult to explain it .
It would be great if there is a animation of a meat being drop from alien world onto a sphere or cylinder 😅😂😂
Great stuff as always from your side man.
CANT WAIT FOR THE HUMAN PART TO DROP IN THE COURSE !!!!
@@Uncomfortable water balloon might be a better substitute i guess but they will not hold strong on sides lol🤣😁
@@thegmeplaysgaming6068 Unfortunately there aren't actually any plans to expand into drawing humans for this course. Our main focus is on addressing the topics we already do, but continuing to improve the material so the concepts are explained more clearly, based on what I've learned from critiquing students over the years.
14:59 xD funny
15:06 :D
5:49 ah yeah I did'nt see any instructions regarding 'warmups'
You'll find that in Lesson 0, specifically here: drawabox.com/lesson/0/3/warmups
want about the other wing dude?
Wasn't terribly clear in the reference image due to the depth of field on the photograph, so I didn't bother attempting to interpret what was there.
ok
the abdomen defined since start but head not makes no sense