So far, it’s a lot slower than modeling in Maya. The procedural workflow forces you consider every step you make, but it also allows you to backtrack up through your history of steps. So you can jump in a start throwing down polygons if you please, but you’ll end up with a very cluttered workspace.
I’m creating the Krell model in Houdini because I plan on taking advantage of it’s procedural capabilities to create a large variety of Krell fighters. Sanderson, the writer of Skyward, described the Krell ships as being hastily put together. Therefore, the model above needs some messying up.
I’ve recently began to learn the 3D animation software Houdini, and in an effort to learn it more effectively I’ve given myself something that resembles a long-term project.
Brandon Sanderson’s new book Skyward now sits atop my electronic shelf of conquered Kindle books, and like most of his works I finished it wanting more. So, to keep myself in the world of Detrius, why not use the story as a vehicle for a 3D animated project?
As always, I’m biting off more than I can chew. I have a 5 1/2 month old baby, more work than I’ve ever been given, not to mention lame attempts at living a semi-regular life in Spain. Yet, I’m looking forward to see how far I can get before life forces me to throw in the towel.
Fortunately, the book has orthographic views of all the different space jets and enemy vehicles. That’s a huge load-off when developing these models.
The Rapid Failure method is a technique for memorizing the combinations of simple forms that, when combined together, create something complex. Everything we perceive can broken down into simple shapes, which is a key principle in drawing. If we memorize those shapes we can develop a mental roadmap that allows us to depict whatever we want, whenever we want.
I developed this technique while looking for a way to incorporate spaced repetition in drawing, thus allowing me to draw from memory. I wanted something simple and quick and so far, it’s worked. Here’s how to do it.
How to do it.
Attempt to draw the object from memory, as best you can.
The drawing will no doubt be abysmal, but it’s important that you record a starting point for later comparison.
Open up Google and look for clear and precise reference photos, all from various angles.
Don’t dive too deep into details or anatomy just yet — look for large forms that you can commit to memory.
Compare the reference to your previous attempts.
Put the reference away and draw the object from memory.
Focus on one or two major shapes, and draw them several times from several angles.
Look for your mistakes a calibrate accordingly.
If you feel inclined, try drawing the entire object.
Once you understand how to draw a dog, that knowledge is transferable to every single quadruped that lives or has lived on planet Earth.
As the name implies, it’s important that you move rapidly. But when I say rapid, I don’t mean move the pen as fast as you can — it means to not stop, to move steadily and continuously and to fail with purpose.
Use a pen. It should be obvious that you’re not going to be erasing anything, and you want your lines to be bold and visible.
Working this way provides some great benefits…
When you fail on purpose, the fear of getting it wrong evaporates.
Improves line quality.
Line quality comes from confidence and control.
Increased awareness of form.
Form is paramount to a good drawing.
If you focus only on large shapes, you’ll naturally become bias towards depicting form over detail ( which is a good thing ).
The shape, form and construction of various objects is transferable.
Once you understand how to draw a dog, that knowledge is transferable to almost every single quadruped living on planet Earth.
If you have any questions, agreements or feel like antagonizing me, or a way this technique can be altered and enhanced, do me a solid by leaving a comment below.
Everything in existence — be it biology, computers, science, art — builds upon foundations from the past. Singular blocks are combined to create a new structure, which are combined to create something new, which are then combined with something else to create something new.
Always create, and keep everything you make. Finished products come from a collection of small finished products, and everything you make can become a building block for something larger. It doesn’t matter what you do, this method of creation and collection can be applied to everything.
A batch of work from last night at the Artisan Asylum. If you live in the Somerville area and have nothing going on during Tuesday nights, how come you’re not coming to this?
I’ve been using a technique that I had no idea I was utilizing until last night. I suppose it resulted from banishing pencils from my toolbox a while back and sticking with a pen, which forced me to draw the figure on my first and only pass. It don’t know if it has a name, but let’s call it Triangulation, for that’s essentially what I’m doing.
Using the above image as an example, It’s almost impossible to determine the length of the model’s right leg without any other frame of reference. This is why we sketch form and proportions before adding details. I hate doing that — I like going straight to the details. To find the length of the leg, I picture a triangle where one point is on the tip of the shoulder, the other on the tip of the knee, which finishes on the pelvis. This creates the necessary angles, thus the necessary distances, I need to draw correct proportions. I do this all the way down the figure, triangle after triangle, stroke after stroke.
Triangulating the angles of the figure is a simple concept, yet the challenge lies in pulling off the correct stroke in a single attempt. You can see in the above example that I made some errors, particularly in the shoulders of the top two drawings, where my initial angle was off. Errors were made because I didn’t calculate the correct angle before laying down the stroke, thus I had to recalibrate. Other mistakes are due to a lack of confidence, which — I confess — is fucking unacceptable.
The above 5 minute drawings are my favorites, for when you have so little time you don’t have space for second guesses. You do, then you proceed. Drawing this way, it all comes down to the quality of the stroke. Everything else — anatomy, shading, weight, etc — is basic fundamentals.