Am I supposed to cube everything out in correct perspective or do skilled artists just wing it all the time?
>>7773674 (OP)
Box autism is generally more of a a novice thing, because their size and orientation are easy to gauge in perspective. Usually as an artist gains in skill and knowledge they do much more organic, freeform constructing as it lends to better gestural quality and working in a 2D/3D duality where they see the shapes that they draw as being simultaneously 2D shape and 3D volume. More than generally being more efficient and expressive, it's also particularly necessary to do more abstracted styles like western cartoons or anime well. The strength of boxes (and other hard-surface volumes) lie in their easily defined and readable proportions, angles, and sides. The strengths of organic volumes lie in their simplicity and in their less-defined nature. It's not an either-or thing, it depends on your needs, subject, whatever. You can create "bounding boxes" to create a defined volumetric space that you can place organic volumes within to give them place and context to exist within, to counteract the syndrome of drawing things in blank voids without necessarily making a background, for example. As with most things, it's tools, or rather cause and effect, rather than rules that determine your usage of a particular technique. Although for the purpose of learning you should probably put some time into using boxes.
(Artist is kokimantarou)
Box autism is generally more of a a novice thing, because their size and orientation are easy to gauge in perspective. Usually as an artist gains in skill and knowledge they do much more organic, freeform constructing as it lends to better gestural quality and working in a 2D/3D duality where they see the shapes that they draw as being simultaneously 2D shape and 3D volume. More than generally being more efficient and expressive, it's also particularly necessary to do more abstracted styles like western cartoons or anime well. The strength of boxes (and other hard-surface volumes) lie in their easily defined and readable proportions, angles, and sides. The strengths of organic volumes lie in their simplicity and in their less-defined nature. It's not an either-or thing, it depends on your needs, subject, whatever. You can create "bounding boxes" to create a defined volumetric space that you can place organic volumes within to give them place and context to exist within, to counteract the syndrome of drawing things in blank voids without necessarily making a background, for example. As with most things, it's tools, or rather cause and effect, rather than rules that determine your usage of a particular technique. Although for the purpose of learning you should probably put some time into using boxes.
(Artist is kokimantarou)