Thanks Veritas! I remember that thread, I discussed there too (and used several Garcia Lopez images to help clarify myself with Smitty's help), it was really helpful! In fact I since then put my figures in place using the method Smitty teached us there! The ideas described helped me measure the car I'm working on today, using the height of one of the characters (the one in the middle) I've put in the scene as you can see Smitty explained with the GL example in page 2 of the thread (the measurement of the table in the police office compared to the figures is just the same I'm trying to do now with my car). This is really invaluable knowledge that we were lucky they recorded to video. I will say that about 99% of the art world does not know station points. If you want to keep them get a free screen capturing software and record them to your computer. Think its 7 days, and watch those 3 videos. What I suggest is using the free trial period that is on the site. He has 3 videos on Gnomons site that cover the whole thing, and he is a very good teacher so it's easy to understand. So what it comes down to is station points, and the best instructor to teach it is Gary Meyer. The reason the short hand is so effective is that people aren't really going to notice if everything isn't 100% accurate in terms of the proportions.īut sometimes it's good to just have the knowledge in case you run into a problem you cant fix with the shortcuts. I ran into similar problems when I was trying to figure how perspective really worked not just the short cuts they show in most books. I think that I give too much importance to be exact, I probably just have to go ahead and draw it! Something like finding measurement points in an easy way (instead of the diagonal vanishing point). Of course, if there's an alternative to draw that car, I'd like to know it. By the way, it reminded me of Smitty, he, he. But I hate not to be precise if I can avoid it. The answer to my problem is given by the book too with this panel. The car lines vanishes to the same points as the street (so it is parallel to the buildings), so it is in theory very easy to do the drawing, but without that point I need to guess the measures eyeballing them from references and I liked to draw it with the correct proportions. What I'm drawing is a car in perspective (part of a panel I'm working on) and I'd like to use the height of one character to know the height of the car, then use that measurement to put the lenght and width in perspective to create a box to draw the car inside. It is a very useful point to do measurements. Over paper is simple to do it (well, if the VPs aren't too far apart), but in CSP, that should be even simplier, is not that easy (you need to make the canvas enormous to be able to work with it in case it is out the paper area). But features with Medibang Paint feels weaker.Yeah, I knew that, but what I was trying to do is find this point: I haven't used Medibang Paint that much, but I feel the UI are similar. Of course, you can paint too with blending brushes too if that's your style. You can even use 3d assets as a tool to help you draw certain things in specific perspective. If you have trouble with perspective, can use a perspective ruler or download a 3d grid for that. I really like how much art variety you can do with CSP, if you want to do manga, there's manga tones, g-pen brushes, etc. The only feature I would say I miss is the tool presets from photoshop, CSP have something called auto action, but the two aren't the same still. Photoshop and Painter just felt too bulky for my work. I have dipped my hands in many various art programs, my preference is still CSP. I've been using it for my comic and other doodles, it's well worth the price.
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