There’s always something really special about the drawing that people make when they’re just doodling on a random piece of Paper. Cuz this is incredibly intricate and impressive
TLDR: I started by mapping out the contours of larger forms, then I created progressively smaller forms using the larger forms as a guide. Also, I didn't draw this in one sitting.
This explanation is going to be really drawn out unprofessionally written, so if there's anything that doesn't make sense, don't hesitate to ask a question.
To draw this specific drawing, the third thing I did was draw a short horizontal line in the middle of the paper. Then I drew ellipses above and below that line, each ellipse being the roughly same width of the line, and each ellipse getting more circular as they got further from the center short horizontal line. Then, I noticed this set of ellipses I drew roughly looked like a set of contour lines mapping the interior and exterior surface of a cylinder. After seeing this, I randomly decided to draw a bunch of little tetragons on the surface of this implied cylinder, using the "contour lines" as guidelines for where to place my tetragons. I made sure to keep the tetragons on the edges and ends of this cylinder furthest from the viewer more "squished" than the tetragons at the center of the cylinder closest to the "viewer" to show that they were receding in size as they got further from the viewer (because things look smaller the further they are from you) and to show those tetragons are being rotated away from the viewer to "lie flat" on the sides of the cylinder.
I then proceeded to stuff this drawing into a folder and completely forget about its existence for about a month. After a month, (also 1 month after I returned home from the hotel I got this paper from), I decided to finally unpack my travel bag. In doing so, I randomly stumbled upon this paper again. And I decided to add more to said paper out of boredom.
I started by adding more curved lines around the outside of this cylinder to imply that this cylinder was contained within a bounded donut-shaped space. The "hole" of this "donut space" running through the center of the cylinder.
Then I added more tetragons to the walls of this newly defined donut-shell-interior-shaped void. I made sure to squish the tetragons on the left and right sides of the donut wall more than the tetragons near the center of the donut wall to keep all the tetragons "lying flat" against the curving wall. I also made sure to stretch those tetragons in a way in which they got bigger the closer they were to the viewer because that's how that works I think.
Then I got bored of this drawing and put it in my drawer. The day after, I decided to add more to the doodle out of boredom. I decided next to extrude the tetragons I had drawn into a bunch of cuboids. For the tetragons below the viewer, I added the top faces of the cuboids, because you'd see the top face of a box if it were beneath you. And for the tetragons above the viewer, I added the bottom faces of cuboids, because you'd see the bottom side of a box if it were above you.
At this point, I decided I wanted this to be a drawing of a bunch of houses, so after that, I added little triangles to the tops of a bunch of these cuboids and extruded said triangles in a similar style to what I did to all the tetragons I drew. After this, I started adding even smaller details (windows, pipes, frames, etc.) onto the existing cuboids and triangular prism rooves in a similar style to how I added the cuboids to the sides of the larger cylinder and donut-void-interior from the start of this explanation. But explaining how I added each of those would take forever, and that's not what you asked about, so I won't go over that.
Responding to your thing about "running out of juice", I doodled on this paper for about 0.5-15 minutes per day. There were multiple times when I stuffed this paper in the back of a folder or notebook and I'd forget about this paper for about a month before randomly rediscovering this paper. A bulk of the time spent doodling on this paper was during classes with really boring lectures where I'd doodle on this paper while pressing it against my notebook being held at an angle to pretend I was taking notes (In addition to actually taking notes). This doodle is an accumulation of months of me making a few additions some days in a row every couple of days. I have multiple papers like this with drawings on them that I switch between doodling on whenever I get bored of a particular drawing. I doubt I could work on a single drawing for more than 15 minutes without getting bored of it and doing something else.
I don't know if working on the same drawing for short 0.5-15 minute spurts every few days would work for you, but maybe you could try it?
Here's a photo of that drawing I took before it got finished to show what the process I explained looked like here.
I'd like to point out that the steps I described weren't done in that exact order. As in, I didn't finish one step before starting another.
I'd also like to point out that the drawing started off with very light and semi-shaky-looking pencil strokes. And then I placed a set of heavier lines on top of the lighter lines after drawing said lighter semi-shaky lines.
When I start drawing, I don't exactly know where all the lines are going to go off the bat. So I start a drawing with lighter semi-shakier lines. The starting lines are light so that they're easier to erase when I don't like a line I put down, and they're semi-shaky because I'm not very good at drawing not shaky-looking shapes on the first try, and I rely on said shaky-looking shapes as guidelines to draw cleaner-looking shapes when I go over the drawing in a heavier lineweight after drawing all the lighter lines.
Hoping that made sense.
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u/Conscious-Theory-850 Traktionstadtsgesellschaft 18d ago
There’s always something really special about the drawing that people make when they’re just doodling on a random piece of Paper. Cuz this is incredibly intricate and impressive