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@@rubenmiranda3 thanks I definitely plan to get into just this and how we can transition into drawing soft objects and anatomy from imagination

@@pedrocavalcantesantana7378 Hi, hope you're good, Hmm are you referring to line quality or more accurate lines? I'm not sure what you mean by line marking.

@@zefdraws Hi! I suppose more accurate lines

@@pedrocavalcantesantana7378 for me I would practice drawing things like boxes and straight lines in pen. Then you can just copy things you like to draw but aim for pin point accuracy.

@@7swordsinc909 it's really interesting that you ask this because it intrigues me too and I don't fully understand why but over the past few years I've gone from saying "the pen you use doesn't matter" to saying "it doesn't always matter but it definitely impacts the level of control you have over your lines". In my experience the paper matters a whole lot too. I use smooth paper because it allows me to glide on the paper easier leading to smoother lines but I don't like my paper to be too smooth because I like the resistance the paper provides because I can use it to slow down easier thus allowing for more intricate details. All these things have similar effect to how we tweak our pressure sensitivity and brushes in digital art. In my experience if I go too fast I can't draw that well from imagination but if I go too slow I'm not responding quickly enough to the thoughts streaming from my head and I'm not taking advantage of muscle memory which also results in a bad drawing. So I have to find a sweet spot which I've found by experimenting with a variety of pens and paper types. When it comes to thickness I find it easier to draw from imagination when I have thin lines because it makes it easier for me to see what else forms pop out to me. If the pen is too thick I'm not as effective. Ultimately all these things aren't super important but id say they actually have more of an effect than some people think.

@@alexandreboubault1293 That's exactly it. Thanks for your nice comments!

@@thelads4057 That's exactly it. It will be easier to understand the forms for other pistols and revolvers. Then you can learn about gun attachments and make your own guns or you can tweak the shapes based on your own personal tastes. Once you can manipulate shapes you can make what you want. Only thing limiting you is your visual library. Also thanks for your comments, glad I could help out in a chill way. Keep up the concept art, remember to never stop and you'll eventually get where you want to be.

It's tough for sure. Definitely keep at it and send through your drawings if you want me to take a look and perhaps point you in the right direction

@@zefdraws Sure, I'll send some things your way at your email.

@@7janick7 wow thanks. Im encouraged by this. Glad to see that you're gaining a good 3D awareness!

@@valeriavazquez4995 Ah thanks so much these comments are super encouraging I hope to continue in this path!

@@IsaiahTheMessiah Hey thanks for your comments! I was kinda waiting for more drawings to be submitted but I still do plan on doing a youtube video critique so stay tuned for that.

@@DrawingSources-wm9zu I'm far from that but he's a massive inspiration to me so thanks for this!

@@kashe7285 ah I'm glad they're helping you!

@@patrickcasella thank you for watching. I'm glad it's helping you!

@@derainmusique8751 Hey thanks for your comment. When you say "how do you really learn it" are you referring to rotating boxes? If so I'd say that you can use a circle to help as a guide like I've shown in the video. That being said, this will not be enough to really give you an intuitive understanding. You must find cubes in real life and draw them in different angles to gain that intuition. Then you want to attempt to draw them again from imagination correcting your mistakes using the real life objects again. It takes a while and it is going to be a struggle because visualising rotating objects is hard so give yourself time to make lots of mistakes.

@@ness3963 Hi thanks for your comment! When I’m drawing in this intuitive way, vanishing points are not at the forefront of my mind but yes I do try to visualise a vanishing point somewhere and make sure all lines adhere to it even if it is off the page. What IS at the forefront of my mind is the relationship between other objects. In my first example I showed how I avoid the whole issue of vanishing points entirely by using the boxes on the scene to help visualise where others could be in that space. Now I think I know what you’re actually getting at which is the question of how I establish a grid without concrete vanishing points. It’s sort of a chicken and egg problem. As I said a grid is just many squares. If you can learn to intuitively draw cubes in perspective without a grid you can extrapolate.its up to you to decide how much convergence you add to the lines and depends on the type of camera you are imagining your world to be viewed from. There is no right or wrong answer. I kinda wrote in a scrambled kinda way so I hope that helps

​@@zefdraws Thank you so much for the detailed response! And you're exactly right! My confusion is really just on grid construction derived from a singular box. Take the box at the top right of 0:23 for example. I can see how you extrapolated 4 vanishing lines from that box, as those vanishing lines have the same exact slope as the edges of the box. My confusion comes with the additional vanishing lines in that drawing; particularly the 3 new lines going to the left VP and the 2 new going towards the top VP. Those lines will have a different slope / angle than the ones you derived directly from the edges of the box. So when you're determining how much to change the slope / angle of these new vanishing lines, do you derive the new angles by explicitly tracing a line to a VP inside of your head? Or do you have a more loose, general sense of where the VP is, rotating your vanishing lines by an arbitrary amount that's proportional to how far away you think the VP is, the size of the camera lens, etc. (This sounds a little more like what you described to me, as you said the VP's aren't really at the forefront of your mind).

@@ness3963 yes you are right. I have a very loose sense of where the vanishing point is. A lot of it is by feeling but it can be trained by drawing from life a lot so that your "guesses" line up well with reality.

@@Kaustubhdasdehlvi gotcha thanks

@@iivjoy I'm doing just great!

@@7janick7 glad you find them helpful!

@@altafhossain7793 no I draw quite slow. This is sped up

@@sakshamkumar7765 one can make a living by being an illustrator or animator, concept artist, character designer etc. But not everyone cares to work professionally. Many people just draw because they love it and love expressing themselves.