how tf do I apply perspective to anatomy

[Anonymous No.4718639]

Yes i get it vanishing points and shit (reading Perspective Made Easy)

But I'm not ever going to be drawing landscapes. I want to draw people.

There seems like a massive gap between drawing 3d inorganic shapes like a brick or a house and between organic shapes like muscles, heads, people, etc.

Is there a tutorial or book that focuses on the latter instead of boring railroad pictures? Or am I ngmi and need to go through this slog to fully understand perspective in anatomy?

[Anonymous No.4718650]

>>4718639
note: i was also told by an anon on here that I needed to understand perspective (and probably form) to understand and better capture anatomy and construction. So maybe im being misled idk

[Anonymous No.4718654]

>>4718639
the trick is in ellipses and relative space, once you understand vanishing points you can make grids to view things from any angle and in those grids you can place cylinders and spheres and even deform them to make all the anatomical shapes, i'd recommend the dynamic sketching video course

[Anonymous No.4718656]

>>4718639
>I want to draw people
The Art & Science of Figure Drawing - Brent Eviston (Udemy.com)
https://mega.nz/folder/HkhCVAqZ#Kuts7ln7DQMgm8YE_svSFA
and
https://www.youtube.com/watch?v=DaG-cBidCBw
https://www.youtube.com/watch?v=xGhYfLQWbp0

[Anonymous No.4718680]

>>4718639
Feel the form.

[Anonymous No.4718685]

>>4718639
if you think there is a magic option that doesn't involve drawing human figures thousands of times, both quick 2-3 minute gestures and 20-30 sketches, from imagination and reference then you gonna be disappointed, so you better start doing it now

[Anonymous No.4718729]

>>4718685
fuck

You personally (and other anons ig) how do you stay motivated doing that? That kind of routine or monotony, while I can accept as important, I just know in my heart of hearts I will find it hard to just plug away like that.

What do you do to stay motivated, if anything, while doing these figures?

[Anonymous No.4718784]

>>4718639
people are often symmetrical. If two legs are the same height as eachother, put a line leading to the vanishing point. Put both legs on that line and you have perspective legs. Rinse and repeat for other parts of body. Although, the most effective way is probs to add perspective lines just for the top of the head, shoulders, pelvis, and feet. Work from there.

[Anonymous No.4718812]

>>4718639
This is why fundamentals are stressed everywhere
First you learn to draw basic 3D forms in perspective in all different kinds of angles.
Then ask yourself
> Can you draw basic 3D primitives? (Sphere, Cube/Rectangle, Cylinder, Pyramid, Cone)
> Can you subtract a piece off? Can you add a piece on?
> Can you rotate them?
> Can you overlap them?
> Can you foreshorten them? What is receding in space and what is moving forward in space?

Now when you draw a body part, you can ask yourself these questions.
> What is the simplest form I can reduce this rib cage to?
An elongated sphere/oval
> What angle is the rib cage, and how do I show that?
It is tilted downwards, so using foreshortening, the bottom recedes in space, and the top moves forward in space
> How do I show the head is overlapping the rib cage?
Draw the head over, or in front, of the rib cage
Arms are 2 cylinders attached to each other
Upper Leg is a tapered cylinder, bigger at top and smaller at bottom
Once you get down the simplest form, then you add complexity, Like shaping the form more to what it looks like in reality. The primitive forms are your scaffolding, and everything else is built upon that
Vilppu is good with this in his figure drawing and gesture courses. Also Bridgman, and basically anybody will try to simplify the complexity of the human body with simple shapes and then add complexity afterwards

[Anonymous No.4718814]

>>4718729
Porn. If I run out of steam drawing gestures/characters or whatever I switch to the most degenerate shit I can think off at the moment.

[Anonymous No.4718851]

>>4718729

I use Croquis Cafe, I did Figuary and just knocked out 15-20 minutes of timed gestures a day. I forget how many poses were in each session but probably like 10-15, that's 300-450 timed gestures in a month with a pretty modest time investment. Good way to get some reps in.

I think just making it part of your warm-up ritual is a good way to do it, and doing a session like croquis cafe takes the hum-hahing out of "hmmm what refs should I use" that usually ends up wasting a ton of time.

That said you won't learn a ton of perspective or structure that way, mostly gesture. Perspective is useful because it helps with foreshortening.

[Anonymous No.4718867]

>>4718784
>If two legs are the same height as eachother, put a line leading to the vanishing point. Put both legs on that line and you have perspective legs

Put both legs on a line? Could you do a super quick visual example to help me wrap my smoothbrain around the idea?

[Anonymous No.4718888]

>>4718639
The common error is to draw many poses without the desire to remember them, it's definitely useless. A good exercise is to select the poses you want to learn (from basic to more complex) and then draw each pose in EVERY angle. And to make good use of your perspective knowledge you will put the model in a box and try to rotate this box (with the model inside). Use one, two or even 3 pts perspective (it depends on how much you want to master the pose).

Once you have done your first series, it's not already fixed in your brain. You have to wait few hours (or at most one day) and try to draw the same series from memory. If you fail, you will look at your poses and then try again.

It's like trying to learn a language. Once you know the grammar, you have to move to the vocabulary. (btw I speak baguette so sorry if my english is bad)

[Anonymous No.4718897]

understand where the muscles attack on the skeleton, then for example draw the bones as lines, in your head pretending they are bones, to your knowledge with this you can pinpoint how the muscle would look

[Anonymous No.4718913]

>>4718729
Ive personally done about 300 gestures since I started learning figure drawing 3 weeks ago. It's really not that bad and you WILL improve if you do this, especially if you follow a video course like the one posted here. Personally I went with Vilppu but I think I'm gonna do another as well to approach it with multiple methods. Don't look at it like it's a chore or work, see it as an opportunity to greatly improve your skills and try to have fun with it.

[Anonymous No.4719009]

>>4718888
This. The way your memory works is it goes back to the last time you remembered something. So doing something, and then waiting a period of time and then doing it again is the best way to build a visual library.

[Anonymous No.4719029]

>>4718812
(continued)
oh i fo9rgot, check out Krenz' tutorial on rotating cubes in perspective. Really useful for what you want to do

[Anonymous No.4719059]

>>4719029


thank you anon

>recedes in space and goes forward in space

i must be a complete fucking retard but I've heard this from Vilppu and from hampton but I still don't understand "recession" and "forward" in space

[Anonymous No.4719071]

>>4718685
>from imagination
otherwise correct

[Anonymous No.4719119]

>>4718639

You first get used to draw in perspective objects which can be drawn easy in perspective (boxes' edges make it easy to see where their vanishing points are). After you got a good handle on perspective using inorganic shapes, you can take organic shapes and give them wireframes, or put them inside boxes, or put boxes inside them, or any combination. You will have an easier time to put those in perspective, if you already know how to put inorganic shapes in perspective. After you drew your skelet, you put the meat on the bones. By that point you will have yo focus on perspective less, because you already did that when building the skeleton. The single perspective you will have to pay attention is how to draw spheres and variants in perspective at this stage, and that should be easy if you build the skeleton and studied spheres too.

All the things I mentiones are skills which can be trained individually, and which help each other to buils something more than their sum. But miss one and the whole will crumble.

If you dont know perspective, your drawings will be stiff, if you dont know how to build a skelet, your ovals and spheres will be all over the place, if you dont know how to make ovals and spheres, you will only be able to draw boxes and boxed robots.

>>4718639

[Anonymous No.4719138]

>>4719059
Don't worry you're not retarded

Things that move further away from you (or the camera) recedes in space. All the lines moving towards the vanishing point are receding in space. They're moving back.

Things that move forward in space are moving towards us (or the camera). They're getting closer.

These terms are relative, so when I take a sip of water, the bottom of my cup is further away from me in space, and the top of my cup is closer to me in space

If I draw an ellipse for the top of the cup, the rest of the cup will be drawn receding in space, since the top of the cup is the closest thing to me.

Alternatively, if the first ellipse I draw is the bottom of the cup, the rest of the cup will be drawn moving forward in space, since the bottom is the farthest part.

(Also don't forget about gesture or else your figures will look like stiff robots. You mentioned Vilppu so I think you already know, but just in case)

[Anonymous No.4719146]

>>4719138
ahh I think I see. Now that its explained as relative to the view it makes more sense. At first I thought the top of the thigh was always receding or something like that.

I'm also finishing Perspective Made Easy, then Peter han's dynamic figure sketching, then maybe some vilppu. Then I will try to revisit hampton.

[Anonymous No.4719158]

>>4719146
yeah I'm not sure about the exact terminology but in forms like the thigh, I just say the form tapers from big to small.
Like no matter how you rotate it, the size relationship is the same. We just may perceive it differently depending on the perspective we see it in.

[Anonymous No.4720206]

read loomis

[Anonymous No.4720211]

>>4720206
IM GONNA LOOOOOOM

[Anonymous No.4720237]

>>4718729
the desire to be great. it's like a burning flame. when i look at a Caravaggio painting, i think, "I have to do this sort of thing." and there's no other way to do it than practice. if practice is what it takes then I love practice, because I want to be great. every single sketch I do, I love it, because I know it's making me 0.001% closer to becoming the artist I know I can be. every time I think, "man fuck this garbage I really don't feel like doing another study", I do it anyways because that's what separates a scrub from an artist

[Anonymous No.4720276]

>>4718639
Make ur own mannequin to make it easily to understand it either consist of boxes or cylinder

[Anonymous No.4720316]

>>4720237
There are times when I walk on the edge, guess ready to give up. But I always fight that feeling, because it will be the end of my journey. And I don't want it.

[Anonymous No.4720651]

>>4718729
delete the word "motivation" your vocabulary. It is a massive spook and an excuse to not do anything. What everyone needs is discipline, and you only develop discipline gradually by JUST FUCKING DOING WHAT YOU'RE SUPPOSED TO BE DOING JESUS FUCK JUST FUCKING DRAW HOLY FUCKING SHIT YOU FUCKING USELESS PIECE OF SHIT JUST FUCKING DRAAAAAAW

draw everyday even if you don't feel like it. eventually you won't have to ask yourself if you want to draw, you will automatically do it.

just draw. please.

[Anonymous No.4720682]

>>4718729
If you want to draw humans you need to draw humans. That's how the world works unless you make an AI to draw for you.

[Anonymous No.4720812]

>>4718639
Read Framed Perspective 2, it has exactly what you need.
It's available on Libgen.

[Anonymous No.4721039]

>>4718639
When you're good enough you no longer need perspective.

[Anonymous No.4721059]

>>4718680
unironically true.