Scott Robertson How to Draw
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Ironically the reason it took me so long to finish it was that the more I read and was impressed with his iron discipline it presented the more I felt it was worthwhile to return to the 3D gfx I had abandoned years ago. Funny when you think about it, that a great drawing book would push me away from drawing, but I guess it fits with my hypoth
Well, 1.5 years later I finally finished it. Probably the best book in technical perspective I have read. The author is so rigorous! Very impressive effort!Ironically the reason it took me so long to finish it was that the more I read and was impressed with his iron discipline it presented the more I felt it was worthwhile to return to the 3D gfx I had abandoned years ago. Funny when you think about it, that a great drawing book would push me away from drawing, but I guess it fits with my hypothesis that sometimes a great civilization will probably produce it's most impressive works even as it's slowly being replaced by another. I'm betting if this book could be sent in time even just a few decades it would be considered THE manual for perspective drawing.
Reading it I was left with a great appreciation for the effort and motivation to put in that extra effort to make something professional. Great book. Great addition to his superb youtube channel tutorials and as if that wasn't enough the book also comes with it's own series of explanatory videos. A unique book full of great thoughts and analysis of perspective angles, techniques and many inspiring beautiful designs, all elegantly drawn.
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For instance, three-point perspective is only afforded three short paragraphs, with the recommendation to use 3D software to achieve it. The reason? Real designers rarely have the time for three-point perspective. The result is a feeling o
How to Draw begins almost immediately with delivering its ambitious titular promise of solid fundamental drawing theory, but early on accelerates, eager to depart for the realm of design, with many intermediate topics on perspective drawing left underdeveloped.For instance, three-point perspective is only afforded three short paragraphs, with the recommendation to use 3D software to achieve it. The reason? Real designers rarely have the time for three-point perspective. The result is a feeling of having signed up for a four-year degree program majoring in drawing with a minor in design, but ending up with the inverse.
The design topics covered are without doubt of immense value to students and hobbyist interested in concept art and industrial design, and it's evident on every page of the book that design is a passion and disciplined professional quality a serious commitment of Scott Robertson's, but regretfully, the much anticipated, albeit unadvertised, new standard among perspective drawing textbooks lands with an ambivalent but undeniable thud, unmistakably shy of marrying perfecting the art with encompassment, owing to its own overexcitement about its destination.
As scathing as this criticism is, How to Draw deservedly earns all its many praises: The book offers unparalleled quality in teaching perspective drawing techniques with empowering lessons that any student of the subject would be sore to miss. Those harboring ambitions of joining Scott Robertson among the ranks of professional concept artists and industrial designers have here an introductory textbook for the decades. And that's its intended purpose; those who understand this will not be disappointed.
A more broadly descriptive title, however, might have been that of the yet-unpublished denouement of Scott Robertson's "How to…" trifecta with How to Draw's subtitle retained: "How to Design: Drawing and Sketching Objects and Environments from Your Imagination".
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The second half of this book is mostly tips and tricks on how to draw buildings, cars, and planes, which in my understanding is Scott Robertson's area of expertise (he's an industrial designer turned concept artist and seems to specialize in cars, planes, machinery, etc.). This part of the book explains concept art and design to beginners, but doesn't really provide exercises, it's more to give you tips for designing your own things.
Definitely an excellent drawing book with a lot to offer, particularly if you're into drawing and designing buildings, cars, planes, and any sort of machinery.
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The book focuses on drawing - yes, from your imagination - but almost exclusively those are machines, robots, industrial settings. It puts a lot of emphasis on correctness (in terms of proportions and perspective), so a lot of time is dedicated to getting those right.
The author shares his thoughts on the creative process of conjuring up ideas, which I foun
Great book, although the title doesn't describe what it is with great precision - so it's worth having a look inside if this is what you need.The book focuses on drawing - yes, from your imagination - but almost exclusively those are machines, robots, industrial settings. It puts a lot of emphasis on correctness (in terms of proportions and perspective), so a lot of time is dedicated to getting those right.
The author shares his thoughts on the creative process of conjuring up ideas, which I found insightful, discusses some ways in which digital and mechanical tools can help you to draw precisely, and dedicates several pages to various techniques you may want to consider using.
The whole thing is printed on high quality paper, and gives an impression of a well-thought-out initiative, quite specialised one, so not for everyone.
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Esse é o melhor livro de perspectiva linear quando o assunto é construção de volumes complexos. Ao apresentar seus designs veiculares, Scott Robertson constrói um sólido argumento de que a perspectiva linear pode (e deve) ser usada para criar e recriar quaisquer objetos dinâmicos e complexos de forma espacialmente coesa. O fato do livro fugir dos exemplos simplórios e estáticos encontrados na maioria dos livros de perspectiva é, ao meu ver, o motivo de tamanha autoridade da obra na área.Ainda assim, não temos um livro ideal de perspectiva. How to draw foge em explicar como construir corretamente cenas cuja câmera está em posição de mergulho ou contramergulho (as famosas cenas em 3 pontos de fuga) e, no geral, não me parece dar a atenção devida à construção de cenas em si, para além de objetos unitários.
Essas críticas não invalidam a quase obrigatoriedade da leitura desse livro para quem se preocupa em ter o domínio do volume entre seus instrumentos compositivos e isso inclui não só a criação de objetos, como também o planejamento "cinematográfico" das cenas no papel.
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This book is a bit technical for middling-skill artists, but it is accessible with some effort. If you're trying to improve your perspective and background/prop-drawing skills, you NEED this book.
Scott also has a YouTube channel under the same name which helps to illustrate the concepts shown here.
Honest to God, one of the best perspective and draftsmanship books in publication today.This book is a bit technical for middling-skill artists, but it is accessible with some effort. If you're trying to improve your perspective and background/prop-drawing skills, you NEED this book.
Scott also has a YouTube channel under the same name which helps to illustrate the concepts shown here.
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That said, there are lots of interesting tips here that I haven't found in other books: mirroring planes/curves; estimating rotation when drawing freehand; making grids using ellipses; wrapping labels around curved surfaces; etc.
I wish this book came as a book/DVD combo. It's much easier for me to learn from videos, but the videos included with this book didn't cover all of the book's content.That said, there are lots of interesting tips here that I haven't found in other books: mirroring planes/curves; estimating rotation when drawing freehand; making grids using ellipses; wrapping labels around curved surfaces; etc.
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Source: https://www.goodreads.com/book/show/15808089-how-to-draw
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