Humans in Perspective

>>2713423
Do you sit there and just quickly feel how the forms would look after you designate the position of the limbs, or do you break it down into a box and think about how that box looks in accordance with the eye level, what direction it recedes to, etc.

>>2713426
>>2713423
Is perspective applied to the human figure a waste of time aside from deciding the basic orientation to the eye level?

I'm shit at perspective so take this with a grain of salt, but it mostly depends on your goal for the drawing.

If you're doing some some odd angle where the perspective of the individual is important to the composition - say, giantess porn where they're about to step on you or someone reaching towards the viewer or some shit - you'll probably want to take more care with perspective on a limb by limb basis. If you're doing a relatively static pose you can probably just do a general one for the body.

>>2713423

I've yet to see a professional artist use vanishing points when drawing figures from imagination. At most, they'll draw out a freehand grid to place them on. It's impossible to accurately plot everything anyway. You are actually going to have more accuracy going by what looks right in the end.

>>2713445
OP here

I'm kind of worried about that.
The issue with this is you really don't know if they're using a vanishing point or not due to their immense experience.

I think you're probably right about this though.
I find my drawings are better when I don't stress over the vanishing points. It allows me to mainly focus on the way the muscles/form look;

I don't plot out vanish points when I draw people but Im working on being conscious of the perspectives of the individual elements/forms of a person as well as the overall form. Like, making sure if you're simplifying something to box that all the lines at least look like they're going towards the same VP

>>2713423

Piece importance and focus OP. If the character is actually interacting with the environment in a typical location an not taking up most of the screen than it's reasonable to keep them in perspective, mainly those actively in the background or on the plan. But they can be doing an good mix of things so it's not always the case. Don't threat too much. Just make sure the focus of your composition is the most correct, not the overall piece an you'll generally be okay.

Can you draw cylinders in perspective, because that's how i draw people from imagination.
As long as you establish your horizon line, and you keep everything consistent, you'll be fine. The most important parts of a believable figure in an environment is the balance/weight and the foot placement/angle. Everything else can be fudged except those two things.

>>2713481
Vanishing points (in figure drawing) only matter if you are placing one or more figures in a room or setting.

However forcing a perspective onto your figure can achieve a dynamic effect, making it imposing, intimate, exciting, etc. Just making note of the horizon can usually accomplish this I think.

All that said, if there was some magic bullet to it someone would have probably figured it out already, there seem to be pros and cons to every approach. (i.e. box construction can produce stiff poses and setting up the boxes can be a pain, but gestural construction needs a lot of experience from life drawing to get it to work)

>>2713481
Vanishing points are a key point to perspective, so yes, they do use them. It's confusing as a beginner because you're taught to place the VP on the page which is good for teaching, but it also shows how skewed perspective gets when it approaches the VP. If you place the VP far away, like off the page, perspective is more lax and therefore as long as the lines are going the right general direction, it looks all good.

>>2713428
really depends on if you know the scale of the human relative to the composition or not, if you are plotting a finished picture in perspective boxing out Ur basic human works to help make sure it relates, if u are just noodling or building an image from the human u can eyeball the form and build the perspective from the human.

>>2713481
You need to stop thinking about perspective as a ruleset and start thinking about it as a tool to make things easier on you. When you draw a figure, you should always know at least roughly where your horizon line is supposed to be. Once you got that figured out, you can eyeball a vanishing point and draw a few quick guidelines from the horizon line to help you with foreshortening and how limbs might receed in perspective.