Anxious pumpkin
Hi, Ron—
I discovered after playing with what is now an entry-level modeling program that I had no problem navigating the representation of 3D space on (or in) the modeling window. Maybe being left-handed, or just plain weird helped.
Now that a significant portion of working in a modeling program tucked away, I had almost a year for nothing else to do but work with CorelDRAW v2, and a modeling program. I had to have bilateral hip replacements and once I learned how to approach the P{C side-saddle style, I practiced and practiced.
By creating scenes that have lighting, reflections on objects, and shadows, I saw how a simulation of real-world stuff should look, Imitation, imitation, imitation in CorelDRAW, and then in Xara. and more than 20 years later, the "extras" in a drawn scene are more easy for me to approximate.
THe best feedback device ever taught to me was from the book, Drawing ion the Right side of the Brain.
"Draw what you see, not what you think you see."
{People draw smilies to represent a human face because they're not looking, examining a human face. These people presume an eye looks like a dot, a smile is totally contorted to go from ear to ear.
A good teacher of physical art would tell you to draw a still life, and a critique of it is simple. If the fruit or whatever don't look like the source, you're not looking at it correctly.
This is a cartoon, drawn out of my mind (I'm frequently out of my mind) with no reference. Once I had a pencil sketch of it the living room real world, I scanned it and then put the bitmap in Xara, locked on a bottle layer.
Then the textures and colors. You'll see an awful lot of shapes in the wireframe version. Look at the close-up. All those different shapes have slightly different shades of orange. I think I showed, a long time ago, how to make clouds by adding alter after layer with different gradients and transparency values.
This is how I achieved a mottled surface, suggesting bumps, on the pumpkin skin.
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