I think one of the most powerful moments in this video was when you said you do an overlay and then add another element to it.The one part where you had the ramp and added the boat in another drawing/sketch.I thought everything was done as one drawing and it seems really confusing.The secret seems like sketch the design in a grid do a overlay fix problems/ add elements. Simplify the sketch then refine the drawing and then add details. I also realized this rewatching the video again.I hope to one day been a great concept artist/ industrial designer and you are a huge inspiration.Thanks for sharing your wisdom.
If u are trying to "sell" and idea you have to combine both (design and illustration) in a way that the "buyer" will not only understand what you are showing but also be captivated by your work/art. On design, line follows function. So more than looking good it has to make sense. On illustration, as long as it looks cool you can pretty much get away with anything! That's my view anyway! Thanks again for the amazing video! ^_^
Correct. In the end you want to have both a great design/idea that will work and it beautifully illustrated. I just find it hard to do both at the same time.
Thanks for the mid summer fix!!! Enjoy your summer! And thank you again for all that you do!! It's just nice to have your vids on constantly in the background while I'm working. It reminds me of being in the studio in school, with that active, working and creative support you find during that time. Can't friggin wait for How to Render!!!!
Great FTF! I'm glad you have brought this to the attention of those that want to draw this way because many of us try and nail a drawing just on one piece of paper. I know I do. The key words in this video are 'Divide and Conquer'. Thanks Scott and take care.
Thanks for another useful vid Scott. I find your approach to exploring different methods for creating ideas very interesting. Which is helping me to understand the process much more! Thank again.
God bless you! Wanted so bad to know the tehnique behind this and now that I've seen your video it Reveals so much to me! Thanks a lot! You really know how to explain this stuff.
Those guide lines are crazy but necessary! For things that are really complex, I just model it out, depending on the end goal of course. Faster with my skill set. Regardless, thanks for sharing your insanely crisp methods sensei!!
Great video. I struggle with Sketching vs Illustration all the time and it was good to hear your take and method on separating the two. I will def be keeping you advice in mind.k
wow, thanks so much for keeping analogue alive! I love graphite on paper and your real time vids are much faster than the Ps speed paint ones where the artist constantly changes brushes. I think tablets are a dying breed, as soon as a good pen shaped mouse comes out they will go to the museum and sit next to the floppy disk. I paint animals with a mouse and hold it like chalk.
When I listen to you it's like you are reading my mind lol. I do some of the things you explain naturally but hearing my thoughts through your mouth makes me more aware. Sadly I suffer from back pain and arm pain from a job I had before but I can still draw a few hours here and there...thanks for posting all these videos. They are very inspiring and keep me very motivated to keep improving even if I may not do this professionally.
New FTF! Thanks Scott and great video as always. I often struggle with design vs illustration so it's great to hear your thoughts on it. And that hot rod drawing is absolutely gorgeous!
Scott, I love your drawings! I always work on a computer and have made it for years, but I always loved to draw by hand, your drawings and sketches are very inspiring for me.
This is insane. Your line quality and construction is unbelievable. Your subject matter like futuristic cars, engines ect...has a shit load of detail. To be able to draw on that level you must have some kind of background knowledge of cars, engines, and just technology in general. Your work is too specific for you to have just pulled it right out the air. I bet your figure and anatomy drawings are superb.
Scott Robertson’s drawings are pieces of art, being them small drawings or full-on finished designs. Most designers use the same approach as he does: set up your proportions, fix the shape of the drawing and then add in details and polish your creation. Thanks for sharing, Scott!
Hi Scott, this is a little off-topic from the video this week...but after studying your book which shows how to plot curves/points in space and then connect them with surfaces, would you ever encourage 3d modelling in NURBS (as opposed to polygon modelling like in your book, "Drive") as a good way to develop forms after you've drawn them out? I see programs like Rhino 3d and Alias but no one seems to use them in the entertainment industry.
NURBS modeling is much more like the drawing techniques in the book. Poly modeling is a different beast and takes some time to get the hang of. The entertainment industry is driven more by the animation and rendering capabilities of a program and not the precise models that can be more accurately made in a NURBS modeling program or something like Solid Works. If your model is going to stay digital and you do not need to assign very specific dimensions then poly modeling is probably the choice.
Yes, I've found blended surfaces to be extremely tricky in poly modelling but I will keep plugging away with them. Possibly in a future FTF, it would be great to see how you set up an existing draw-through sketch in 3d and then build it out as you've done in your books:) I've found that sometimes tinkering around on 3d models has really helped me out afterwards with the draw-through technique when I sit down with pencil and paper. Anyways thanks for all the great work and looking forward to buying How to Render!
Your designs remind me a lot of Santiago Calatrava's architecture. I can see some animalistic inspiration to your work. beautiful rendering and technique thanks for this video it was very helpful.
6:05 how do you relate the new VPs for the angled props, to the original VPs of the body of the copter, yet keep both in correct perspective with each other? 🤔 I have your book, and I love it. I think my above Q is related to auxiliary VPs, but it always confuses me when drawing angled objects (that require different VPs) onto the body of an object, that has its own VPs (VPs that could be considered the 'main' VPs for the composition). Struggling to find much about this type of problem and about aux VPs. Thanks! Thanks
If the AUX VPs are just on an angled plane that has not rotated in another, additional axis to your main VP then it's the relatively straight forward ramp AUX VP construction. In the propeller example the new AUX for the center lines of the spinning props is located out of frame directly below the right VP. You can imagine that these two center lines define the edges of a ramp that slopes downward. Since the engine center lines are parallel to the center line of the copter you place the AUX VP for any rotation of the engines in a side view either directly above or below your right VP depending on the desired rotation. Hope that helps.
@@scottrobertsondesign Thank you so much for your reply! That's great information - I'll be re-reading your message and examining the drawing until I figure out how to apply it :) This is something that has always tripped me up, especially since reading the 'churn' problem posed by Ernest R. Norling in 'Perspective Made Easy' , pages 187-189 - relating a rotated cube on its diagonal to a base object. It's a mission to figure it out, ha. Thanks again for taking the time to reply with that detailed information! Also, I really appreciate your books, as my design lecturers never answered any of my Q's on sketching techniques beyond very basic 2 point, stating, 'computers would do it all' for us so don't waste time on it. However, I'm really eager to understand the construction and how to draw by hand, rather than relying 3D modelling. Really appreciate your help. Take care!
Thank you for a reminding what is hard to remember that ideas( first sketches) dont have that line quality what finished drawing. short video but really helpfull...
Great to see you doing FTF's again Scott! Always enjoy watching these. I had a quick question. Do you do the perspective drawthrough constructions when drawing things organic, like quadrupeds? Or do you simplify it more to just more basic forms? Or something completely different?
Scott Robertson Thanks for the quick reply Scott! I found that my organic forms tend to have a bit more life with quick contour/section lines, rather than careful plotting the way I would do for something man-made. They tend to look more like toys for me otherwise. Could just be something I need to work on more though. And if you have the time, I also have one more question. When you go about to draw something with so many mechanical details and separate forms, like heavy machinery for example, do you simplify it all into those basic forms as well? And then start to add those details? I ask this because I have trouble drawing things that have a lot of individual forms to them, rather than something like a car, which is really just one smooth form with a lot of variation in it. Hope my question makes some amount of sense :P.
Just had an idea for themes in the weekly videos, it would be kind of fun if you can do examples of weird and odd shapes found in real world mechanical objects (or fantasy). Then maybe challenge others to do the same and maybe you can pick a few that are sent to you and show them in the next video for some very short critiques. I mean the shapes don't have to be challenging for you but something you think beginner - intermediate may have trouble doing or what have you. Something like this would be fun to see get drawn out: www.pinterest.com/pin/310396599290980702/ So yah, thought I would just throw that idea out there, not really requesting for the car thing but any odd shape would be fun to watch get drawn out.
Hey scott, thanks so much for this video - it's nice to see FTF are back. I have one question though: Were you always drawing in the these drawthrough way? I have been practicing it through your tutorial and books for the past year and a half and I found that if I don't dont do rough thumbnails first, my forms end up being really boring. I found that starting with a scribble and then "rationalizing" into the proper perspective works better for me. I'm interested to know what's your opinion on that. Hope I didn't tired you with this philosophical comment ;-) Hagai.
That's the same process I use and demonstrate in our How to Draw book. Loose first without much regard to perspective constructions and then tighten it up and refine it for presentation second.
I always think about how you build the grids on which you workout your sketches? Do you use a ruler? Thats the chapter I have a lot of problems with in the book and how to realize this in the drawing. i.e. I tried the Brewer Method but the squares going to the background become bigger than in the front. that's really confusing. Maybe you can make a video to the chapter "grids" in your book!? thank you!
Do you ever use rulers for perspective drawings? I can draw straight lines and join two points far apart sometimes but when I try to do that in a full drawing it ends up looking bad because of inaccuracies adding up. Do you recommend using rulers for complex drawing or is it possible to master straight lines so well that a ruler isn't necessary at all?
I usually skip using the straight edges unless I need the drawing to be really tight then use them, it's no big thing. Straight edges will add accuracy and speed when cleaning up a looser hand sketch.
Mr. Robertson, which of your publications do you describe the transition from traditional drawing techniques to digital conversion methods? I want to know the best path from 2D scale drawn concept to 3D model...specific tools such as scanners and software, Thanks
What's the advantage in learning to design in a single perspective drawing as opposed to designing in 3-D space with modeling software that permits viewing the design from any vantage point?
Hi Mr.Scott, I had a question. Why do you do a line weight drawing if you know the final will be in values where no lines show up? Is it just the way you work or is there more to it? Thank you for uploading these videos.
Do you explain in some of your books the differences between this kinds of sketches/illustrations? As Ojölén and Olofsson in Design sketching (investigative sketches, explanatory sketches and persuasive sketches).
Yes, a lot in this book: www.amazon.com/gp/product/1933492732/ref=s9_psimh_gw_p14_d3_i2?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=center-2&pf_rd_r=03C5HR0QXKNTC6ZD99YY&pf_rd_t=101&pf_rd_p=1688200382&pf_rd_i=507846
woah..... was kinda gonna go through some of your inspiration videos scott.... thanks for another great lesson!! P.S. : Can you also teach us some industrial design ..... like what you teach at art center?!
Dareios some people can use basic shapes without perspective and create stunning images techniques like perspective were known for a long time yet many self taught artist and hobbyists don't know every rule and technique for drawing and that doesn't affect the quality of their work my art teacher used to say that the human eye is naturally made to distinguish what's wrong
I would love to see how you render the hot rod mixing the 3d modell with the illustration made with photoshop!! Which surface modeling program do you use? Anyways, great video and thanks for the advice.
So Scott, did Kim Jung Gi share anything with you or the workshop audience like tips or maybe a certain way he approaches something? Any little gold nuggets of information...
Yes. He did three workshops at our last SRW events in Taiwan where he showed that he visualizes a basic perspective grid first and then places his figurative work inside of that. He also showed that he uses sections to properly construct the forms of the things he draws. He visualizes all of these construction lines now as he draws since he has done it so much but it all starts with basic perspective understanding and section drawing. It was nice to see.
Scott, do you think that there are still careers for talented people in entertainment/design anymore? I have been reading a lot and there is so much discouraging news about layoffs and studios closing for movies and games. I know a lot of what you read on the forums may not be a good litmus test for the industry, so I was curious to get your thoughts. I guess its just scary when people say "I'm happier now in retail than I ever was working 80 hour weeks in games for a year straight w/ no overtime" Thanks for the videos!
Thanks for sharing! I needed to hear this kind of advices (once again), but this time I could see a great example of this kind of iteration. I have a quick question, what kind of paper do you sketch and overlay on with a Bic pen? I always use regular bond paper sheets so I can't overlay easily unless I use a light table which is not always available. Cheers Scott and congratulations!
Hey Scott, I'm curious what microphone you use to record your more professional video's. What mic do you feel is the best for voice audio recording on a budget? Thanks for your time.
respected sir,I am one of the many admirers of your work.I wanted some advice on design.I am a art student (sculpture) and i have tried to explore a lot on forms,drawing techniques,some of my own concepts etc,but i am a little worried as to what to work on for a better and innovative design,should i explore on the mechanical aspects ,how to brainstorm for more efficiency?
That really depends on what the thing are designing is intended to be used for. When in doubt try and hone in on the three most important aspects of your design. Write them down and research how you might be able to improve those three things. This can be anything from form to function to color or graphics.
I assume that with your talent level you can work with ink to flesh out an idea. normal humans have to start out with a pencil . I would never even dream of using ink to start out with it would be a waste of time and paper .
gosh i love your work, for me you got a body lenguage a natural movement, in everything, i know to find that kind of lenguage its dificult but i have to ask and i hope it doesn't sound to dumb but its that natural movement a product of pure technical theory, well i know the idea of drawing something requires imagination but how i can organize ideas to make them fluid, its a extrange thing sometimes i can draw things whit life a movement but them its just stop it feels like im loosing somenthing its there just i cannot see it, did you ever feel in the same strauggle? hehe i know its more them just one question hope you dont mind and sorry for my terrible english
I think we all struggle with that when trying to do the styling of a functional object. That's why I spend a lot of time trying to arrange the components of an object so that the overall proportions will be more pleasing. This requires so engineering effort and research so do some studying and be patient.
I have a design exam coming up next month.. I think this helped a little.. But now im just worried about how awful my sketches look compared to yours😂😂
+Blah Blah well you may be right, or most 40 year olds think it's too late and never even try. I say, only try if you know you have the time. It usually takes people around a decade. But if you work insanely hard you can reach a decent level. It's extremely difficult.
+Hytherdel Aside from lacking the time there is also an issue with neuroplasticity. Take language for example. As a kid you can pretty much learn any language and reach a fluent level however if you start as an adult you CAN still learn the language but you'll never reach a native level. art is basically a visual language and I understand that there are differences but I think the older you get the harder it will be to learn art.
+Hytherdel Also I don't think it takes most people around a decade to reach a professional level. It usually takes around 3-5 years if they don't achieve it in that timespan then they usually never get it. This can do with talent( some people just have a hard time translating visual information ) or inefficient practice(neglecting fundamentals ) also passion (drawing 1 hour a week vs 4 hours a day ) makes a huge difference
Should be titled- 'Drafting vs Illustration'. WTF, do you mean by "design"? Are you an engineer? They don't mean shit without math, materials and pragmatism-- and a good engineer... Otherwise they are just fancy illustrations, with a bunch of guidelines.
This video still brings allot of value, even more in the starting AI age we living in now, nothing beats a hand drawn sketch or illustration on paper!
I think one of the most powerful moments in this video was when you said you do an overlay and then add another element to it.The one part where you had the ramp and added the boat in another drawing/sketch.I thought everything was done as one drawing and it seems really confusing.The secret seems like sketch the design in a grid do a overlay fix problems/ add elements. Simplify the sketch then refine the drawing and then add details. I also realized this rewatching the video again.I hope to one day been a great concept artist/ industrial designer and you are a huge inspiration.Thanks for sharing your wisdom.
Modularity into the design it seems. Good practice.
If u are trying to "sell" and idea you have to combine both (design and illustration) in a way that the "buyer" will not only understand what you are showing but also be captivated by your work/art.
On design, line follows function. So more than looking good it has to make sense. On illustration, as long as it looks cool you can pretty much get away with anything! That's my view anyway!
Thanks again for the amazing video! ^_^
Correct. In the end you want to have both a great design/idea that will work and it beautifully illustrated. I just find it hard to do both at the same time.
Scott Robertson You are too modest! ^_^
Got your HOW TO DRAW and its a gem! Thank you and cant wait for HOW TO RENDER.
AndrejCilic just bought it myself!
Thanks for the mid summer fix!!! Enjoy your summer! And thank you again for all that you do!! It's just nice to have your vids on constantly in the background while I'm working. It reminds me of being in the studio in school, with that active, working and creative support you find during that time. Can't friggin wait for How to Render!!!!
Thank you. I hope to get a nice run of new tutorials flowing in July and August.
you identified some problems i have always had while illustrating. top notch instruction. great designs. you're an inspiration, sir.
Great FTF! I'm glad you have brought this to the attention of those that want to draw this way because many of us try and nail a drawing just on one piece of paper. I know I do. The key words in this video are 'Divide and Conquer'. Thanks Scott and take care.
These videos are so invaluable as someone who is self taught, thank you!
Thank you, that's nice to hear, has always been part of the intent.
Thanks Scott, another really useful topic to cover for designers/sketch enthusiasts!!
Thanks for another useful vid Scott. I find your approach to exploring different methods for creating ideas very interesting. Which is helping me to understand the process much more!
Thank again.
God bless you! Wanted so bad to know the tehnique behind this and now that I've seen your video it Reveals so much to me! Thanks a lot! You really know how to explain this stuff.
Those guide lines are crazy but necessary! For things that are really complex, I just model it out, depending on the end goal of course. Faster with my skill set. Regardless, thanks for sharing your insanely crisp methods sensei!!
Thank you for sharing your thoughts on these two aspects. Your video on drawing ellipse is so helpful. Thanks for sharing.
My thoughts exactly, only I wasn't able to wrap them in words half as well. Thank you!
Great video. I struggle with Sketching vs Illustration all the time and it was good to hear your take and method on separating the two. I will def be keeping you advice in mind.k
wow, thanks so much for keeping analogue alive! I love graphite on paper and your real time vids are much faster than the Ps speed paint ones where the artist constantly changes brushes. I think tablets are a dying breed, as soon as a good pen shaped mouse comes out they will go to the museum and sit next to the floppy disk. I paint animals with a mouse and hold it like chalk.
When I listen to you it's like you are reading my mind lol. I do some of the things you explain naturally but hearing my thoughts through your mouth makes me more aware. Sadly I suffer from back pain and arm pain from a job I had before but I can still draw a few hours here and there...thanks for posting all these videos. They are very inspiring and keep me very motivated to keep improving even if I may not do this professionally.
Thank you for taking time to make these videos and shared them. It is inspirational.
Thanks Scott just found your channel, stoked ive got lots to get through before i have to wait. Much Respect from New Zealand, cheers
New FTF! Thanks Scott and great video as always. I often struggle with design vs illustration so it's great to hear your thoughts on it. And that hot rod drawing is absolutely gorgeous!
These advices are very cool and useful !
Scott, I love your drawings!
I always work on a computer and have made it for years, but I always loved to draw by hand, your drawings and sketches are very inspiring for me.
Very awesome work
you are very talented!! keep up the great work and video!
Great process and advice!!!
This is insane. Your line quality and construction is unbelievable. Your subject matter like futuristic cars, engines ect...has a shit load of detail. To be able to draw on that level you must have some kind of background knowledge of cars, engines, and just technology in general. Your work is too specific for you to have just pulled it right out the air. I bet your figure and anatomy drawings are superb.
Thanks. My education was in industrial design, transportation specifically.
Good. Now I dont feel like crap for not being able to think on that level. Ha!
Do you have any figure or anatomy construction drawings. I would love to see them.
Scott I'm enrolling into the Art Center this October for Industrial Design. Would you recommend the school?
Darius Shojaei Well, that is the school at which he teaches, sooooo.
Scott Robertson’s drawings are pieces of art, being them small drawings or full-on finished designs. Most designers use the same approach as he does: set up your proportions, fix the shape of the drawing and then add in details and polish your creation. Thanks for sharing, Scott!
every time i watch your video I get tis itch to start drawing fantastic motivation!!!!
Hi Scott, this is a little off-topic from the video this week...but after studying your book which shows how to plot curves/points in space and then connect them with surfaces, would you ever encourage 3d modelling in NURBS (as opposed to polygon modelling like in your book, "Drive") as a good way to develop forms after you've drawn them out? I see programs like Rhino 3d and Alias but no one seems to use them in the entertainment industry.
NURBS modeling is much more like the drawing techniques in the book. Poly modeling is a different beast and takes some time to get the hang of. The entertainment industry is driven more by the animation and rendering capabilities of a program and not the precise models that can be more accurately made in a NURBS modeling program or something like Solid Works. If your model is going to stay digital and you do not need to assign very specific dimensions then poly modeling is probably the choice.
Yes, I've found blended surfaces to be extremely tricky in poly modelling but I will keep plugging away with them. Possibly in a future FTF, it would be great to see how you set up an existing draw-through sketch in 3d and then build it out as you've done in your books:) I've found that sometimes tinkering around on 3d models has really helped me out afterwards with the draw-through technique when I sit down with pencil and paper. Anyways thanks for all the great work and looking forward to buying How to Render!
Great video, Scott!
I hope to be able to draw stuff like this one day
Thank you for sharing your experience with us.
Your designs remind me a lot of Santiago Calatrava's architecture. I can see some animalistic inspiration to your work. beautiful rendering and technique thanks for this video it was very helpful.
Great video, cool to see that you use Tombow pencils as those are my favorite drawing pencils.
6:05 how do you relate the new VPs for the angled props, to the original VPs of the body of the copter, yet keep both in correct perspective with each other? 🤔
I have your book, and I love it. I think my above Q is related to auxiliary VPs, but it always confuses me when drawing angled objects (that require different VPs) onto the body of an object, that has its own VPs (VPs that could be considered the 'main' VPs for the composition). Struggling to find much about this type of problem and about aux VPs.
Thanks!
Thanks
If the AUX VPs are just on an angled plane that has not rotated in another, additional axis to your main VP then it's the relatively straight forward ramp AUX VP construction. In the propeller example the new AUX for the center lines of the spinning props is located out of frame directly below the right VP. You can imagine that these two center lines define the edges of a ramp that slopes downward. Since the engine center lines are parallel to the center line of the copter you place the AUX VP for any rotation of the engines in a side view either directly above or below your right VP depending on the desired rotation. Hope that helps.
@@scottrobertsondesign Thank you so much for your reply! That's great information - I'll be re-reading your message and examining the drawing until I figure out how to apply it :) This is something that has always tripped me up, especially since reading the 'churn' problem posed by Ernest R. Norling in 'Perspective Made Easy' , pages 187-189 - relating a rotated cube on its diagonal to a base object. It's a mission to figure it out, ha. Thanks again for taking the time to reply with that detailed information! Also, I really appreciate your books, as my design lecturers never answered any of my Q's on sketching techniques beyond very basic 2 point, stating, 'computers would do it all' for us so don't waste time on it. However, I'm really eager to understand the construction and how to draw by hand, rather than relying 3D modelling. Really appreciate your help. Take care!
fantastic video, very helpful to me, thanks!
Thank you for a reminding what is hard to remember that ideas( first sketches) dont have that line quality what finished drawing. short video but really helpfull...
Hey!!!!!!!!!! Broooooo!!!!! You are a grand Master!!!!!!!!!! Good Luck!!!!!!!!😝
You are truly amazing sir
I just noticed what I think is a Great White Shark influence, dead centre at 10:56 :)
Great to see you doing FTF's again Scott! Always enjoy watching these.
I had a quick question. Do you do the perspective drawthrough constructions when drawing things organic, like quadrupeds? Or do you simplify it more to just more basic forms? Or something completely different?
Basic geoforms first and then organic sculpting, but the basic perspective construction methods of section drawing stay pretty much the same.
Scott Robertson
Thanks for the quick reply Scott! I found that my organic forms tend to have a bit more life with quick contour/section lines, rather than careful plotting the way I would do for something man-made. They tend to look more like toys for me otherwise. Could just be something I need to work on more though.
And if you have the time, I also have one more question. When you go about to draw something with so many mechanical details and separate forms, like heavy machinery for example, do you simplify it all into those basic forms as well? And then start to add those details? I ask this because I have trouble drawing things that have a lot of individual forms to them, rather than something like a car, which is really just one smooth form with a lot of variation in it.
Hope my question makes some amount of sense :P.
Muckspreads Yes. Start with the larger simple forms and then add detail as the form becomes more defined.
Scott Robertson
Thanks a bunch Scott! Really helps to give me something to shoot for when practicing.
Just had an idea for themes in the weekly videos, it would be kind of fun if you can do examples of weird and odd shapes found in real world mechanical objects (or fantasy). Then maybe challenge others to do the same and maybe you can pick a few that are sent to you and show them in the next video for some very short critiques. I mean the shapes don't have to be challenging for you but something you think beginner - intermediate may have trouble doing or what have you.
Something like this would be fun to see get drawn out: www.pinterest.com/pin/310396599290980702/
So yah, thought I would just throw that idea out there, not really requesting for the car thing but any odd shape would be fun to watch get drawn out.
You are f***ing SIIIIIIIICK with it Steve!
Hey scott, thanks so much for this video - it's nice to see FTF are back. I have one question though: Were you always drawing in the these drawthrough way? I have been practicing it through your tutorial and books for the past year and a half and I found that if I don't dont do rough thumbnails first, my forms end up being really boring. I found that starting with a scribble and then "rationalizing" into the proper perspective works better for me. I'm interested to know what's your opinion on that.
Hope I didn't tired you with this philosophical comment ;-) Hagai.
That's the same process I use and demonstrate in our How to Draw book. Loose first without much regard to perspective constructions and then tighten it up and refine it for presentation second.
incredible work
fantastic video!!
I always think about how you build the grids on which you workout your sketches? Do you use a ruler? Thats the chapter I have a lot of problems with in the book and how to realize this in the drawing. i.e. I tried the Brewer Method but the squares going to the background become bigger than in the front. that's really confusing. Maybe you can make a video to the chapter "grids" in your book!? thank you!
Do you ever use rulers for perspective drawings? I can draw straight lines and join two points far apart sometimes but when I try to do that in a full drawing it ends up looking bad because of inaccuracies adding up. Do you recommend using rulers for complex drawing or is it possible to master straight lines so well that a ruler isn't necessary at all?
I usually skip using the straight edges unless I need the drawing to be really tight then use them, it's no big thing. Straight edges will add accuracy and speed when cleaning up a looser hand sketch.
Mr. Robertson, which of your publications do you describe the transition from traditional drawing techniques to digital conversion methods? I want to know the best path from 2D scale drawn concept to 3D model...specific tools such as scanners and software, Thanks
What's the advantage in learning to design in a single perspective drawing as opposed to designing in 3-D space with modeling software that permits viewing the design from any vantage point?
Scott I'm enrolling into the Art Center this October for Industrial Design. Would you recommend the school?
Hi Mr.Scott, I had a question. Why do you do a line weight drawing if you know the final will be in values where no lines show up? Is it just the way you work or is there more to it? Thank you for uploading these videos.
Habit and if I need to show the line drawing before it's rendered it's easier to understand.
Thank you for the answer. Waiting for more videos.
Good stuff. Thanks.
Cheers Scott - yeah was a little worried there for a second... been a while ;)
:)
Do you explain in some of your books the differences between this kinds of sketches/illustrations? As Ojölén and Olofsson in Design sketching (investigative sketches, explanatory sketches and persuasive sketches).
Yes, a lot in this book: www.amazon.com/gp/product/1933492732/ref=s9_psimh_gw_p14_d3_i2?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=center-2&pf_rd_r=03C5HR0QXKNTC6ZD99YY&pf_rd_t=101&pf_rd_p=1688200382&pf_rd_i=507846
Thank you vers much for this educational video, for me 15min of eyegasmness!!
woah..... was kinda gonna go through some of your inspiration videos scott.... thanks for another great lesson!!
P.S. : Can you also teach us some industrial design ..... like what you teach at art center?!
Very nice , why you don't draw personal caracters ? because i love your illustration and i would like to see your caracters ;) i'm french
I do, just not that often. I have a figurative sketch book as well. I has doing a lot of character work for our past book Alien Race.
A great video as usual. But I also just wanted to comment that I really like your watch.
Thanks. It's an older simple Columbia Sports model.
The level of perspective lines are intense! most illustrators I've seen don't use half as many lines
That's why I'm wondering if I should just trust my intuition rather than learn such advanced perspective.
intuition comes from knowledge, a good artist will intuitively know where to place a line because of previous studies.
of course different people will develop intuition faster than others, its just muscle/mind memory.
Dareios some people can use basic shapes without perspective and create stunning images
techniques like perspective were known for a long time
yet many self taught artist and hobbyists don't know every rule and technique for drawing and that doesn't affect the quality of their work
my art teacher used to say that the human eye is naturally made to distinguish what's wrong
Scott, what paper are you using here?
Thanks for the great video!
A wide variety, but most of them are either done in a Strathmore sketchbook or on Borden & Riley 100s marker paper.
I would love to see how you render the hot rod mixing the 3d modell with the illustration made with photoshop!!
Which surface modeling program do you use?
Anyways, great video and thanks for the advice.
So Scott, did Kim Jung Gi share anything with you or the workshop audience like tips or maybe a certain way he approaches something? Any little gold nuggets of information...
Yes. He did three workshops at our last SRW events in Taiwan where he showed that he visualizes a basic perspective grid first and then places his figurative work inside of that. He also showed that he uses sections to properly construct the forms of the things he draws. He visualizes all of these construction lines now as he draws since he has done it so much but it all starts with basic perspective understanding and section drawing. It was nice to see.
Scott Robertson
your wirst watch is nice. what model is it?
Scott, do you think that there are still careers for talented people in entertainment/design anymore? I have been reading a lot and there is so much discouraging news about layoffs and studios closing for movies and games. I know a lot of what you read on the forums may not be a good litmus test for the industry, so I was curious to get your thoughts. I guess its just scary when people say "I'm happier now in retail than I ever was working 80 hour weeks in games for a year straight w/ no overtime" Thanks for the videos!
Thanks for sharing! I needed to hear this kind of advices (once again), but this time I could see a great example of this kind of iteration. I have a quick question, what kind of paper do you sketch and overlay on with a Bic pen? I always use regular bond paper sheets so I can't overlay easily unless I use a light table which is not always available. Cheers Scott and congratulations!
+Pedro Arturo Ruiz Thanks. I use layout marker paper which is more see-through than a bond paper.
You are so awesome
Hey Scott, I'm curious what microphone you use to record your more professional video's. What mic do you feel is the best for voice audio recording on a budget? Thanks for your time.
Scott Robertson realy good ! i subscribed :)
Are these drawings going to be used in an animation? They're amazing! High tech "Bond-style" transportation machines...
I prefer design. Gives me reason to stay inquisitive.
I kinda want to be a concept artist. Except my problem is detail gets lost in my drawing becuase I have so much lead down on the paper. :(
+Joshua Feldhacker Just do an overlay or sketch with a pen. Or try to do your block-in drawing with a light value marker first.
Scott Robertson Ok, thank you.
respected sir,I am one of the many admirers of your work.I wanted some advice on design.I am a art student (sculpture) and i have tried to explore a lot on forms,drawing techniques,some of my own concepts etc,but i am a little worried as to what to work on for a better and innovative design,should i explore on the mechanical aspects ,how to brainstorm for more efficiency?
That really depends on what the thing are designing is intended to be used for. When in doubt try and hone in on the three most important aspects of your design. Write them down and research how you might be able to improve those three things. This can be anything from form to function to color or graphics.
thank you sir
as a illustrator you can exploration imagination, but as a designer you have think to make into happen
this is great thank you!
wow more videos...
That's the result when the obsessionfor design and sketching meets THIS guy.......BOOM.... PERFECTION BEYOND FUTURE
I need these cars to be real
I assume that with your talent level you can work with ink to flesh out an idea. normal humans have to start out with a pencil . I would never even dream of using ink to start out with it would be a waste of time and paper .
dill doe the best way to get comfortable using ink is by using ink. It isn't really a waste if your learning
no
What paper is it, it looks very transparent?
gosh i love your work, for me you got a body lenguage a natural movement, in everything, i know to find that kind of lenguage its dificult but i have to ask and i hope it doesn't sound to dumb but its that natural movement a product of pure technical theory, well i know the idea of drawing something requires imagination but how i can organize ideas to make them fluid, its a extrange thing sometimes i can draw things whit life a movement but them its just stop it feels like im loosing somenthing its there just i cannot see it, did you ever feel in the same strauggle? hehe i know its more them just one question hope you dont mind and sorry for my terrible english
I think we all struggle with that when trying to do the styling of a functional object. That's why I spend a lot of time trying to arrange the components of an object so that the overall proportions will be more pleasing. This requires so engineering effort and research so do some studying and be patient.
thaks mr robertson ill kep fighting wit the paper and patien ;)
are you a industrial designer aswell??
Yes.
Is this you draw yourself or created on computer?
Hand drawings. You can watch me drawing on some of the other videos on this channel.
Currently, im in college but im planning to start a career in car engineering.
You think they will teach me how to draw these in university ? :v
I have a design exam coming up next month.. I think this helped a little.. But now im just worried about how awful my sketches look compared to yours😂😂
Muito bom!
thanks a lot :D
a big hug
🎆🎇🎉
I'm 42.....is too late for me to even try art?
+William Freeman Might be too late to reach a professional level.
***** what makes you so sure ? Do you know of any examples of artists who began drawing at 40 plus and became pro
+Blah Blah well you may be right, or most 40 year olds think it's too late and never even try. I say, only try if you know you have the time. It usually takes people around a decade. But if you work insanely hard you can reach a decent level. It's extremely difficult.
+Hytherdel Aside from lacking the time there is also an issue with neuroplasticity. Take language for example. As a kid you can pretty much learn any language and reach a fluent level however if you start as an adult you CAN still learn the language but you'll never reach a native level. art is basically a visual language and I understand that there are differences but I think the older you get the harder it will be to learn art.
+Hytherdel Also I don't think it takes most people around a decade to reach a professional level. It usually takes around 3-5 years if they don't achieve it in that timespan then they usually never get it. This can do with talent( some people just have a hard time translating visual information ) or inefficient practice(neglecting fundamentals ) also passion (drawing 1 hour a week vs 4 hours a day ) makes a huge difference
How do you remain so humble?
learn something today
You are much cute than bicaso
Should be titled- 'Drafting vs Illustration'. WTF, do you mean by "design"? Are you an engineer? They don't mean shit without math, materials and pragmatism-- and a good engineer... Otherwise they are just fancy illustrations, with a bunch of guidelines.
boy I can't even draw a cylinder.