Hey, I hope this question isn't too weird, but how do you draw object heads so,,, shape? I don't know how to explain what I mean, but they're all so dimensional? Like, it's as if I can hold them in my hands,,
disclaimer that this got long as fuck. press J to skip this post if you don't wanna bother with all this Art Tutorialing
ONE MILLION REFERENCES FOREVER!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
literally it's alllll about references. references and practice. i find as many angles of a given phone as i can. it's part of why i collect the actual phones, and part of why i helped assemble the list of the exact models of every character's head. (more concise google doc version)
ebay and etsy are usually the best for finding pictures of models of phones and typewriters and junk from multiple angles. there's also specialty sites like old phone works and typewriter database that are good for this.
i've been itching to go over some basic principles for drawing objectheads for a while so i'mmmmm going to use this as an excuse for that ok? i wanna go over some common mistakes i see in some particular shapes of objectheads and then go on to a general "tutorial" of how i approach drawing an objecthead new to me.
but firstly, disclaimer, i'm not saying any way people draw these characters is bad or wrong, and i don't have anyone's art in particular in mind here- just talking about broad trends i see in dialtown and dsaf objecthead art. i emphasize realism in the shapes of objectheads in my art and i think that enhances the 3-dimensionality and weightiness of them like what's being asked about- not saying that's what anyone HAS to do. SO
a lot of people kind of draw this shape when drawing phone heads:
whether it's not looking at ample reference, Rebornica Residue (likely), or whatever, we've somehow converged on That as the Default Shape for drawing phone heads. which, unfortunately, is not what a rotary phone generally looks like at all. most of the "classically-shaped" rotary phones are far more flat and horizontal than they are tall and vertical. to show you what i mean, here's three famous and influential designs of rotary phone in profile: model 500 (peter), ericsson dbh (gingi/callum/theoroar), and model 302 (harry).
they're long and besnouted. basically the only dialtown or dsaf phone where the main body of the phone is taller than it is long is tango (TA-11541):
(via an expired ebay listing) (wow can't believe that one finally sold it's been up for AGES)
there's other designs to go over- like, jerry and tango are french styles that don't fit the mold i'm talking about here at all, we'll get to that in a bit.
secondly, typewriters. typewriters are fucking hard to draw. i know this. GOD i know this. let's think about typewriter shapes
i think people fall into the trap of- since (outside of some particular weird exceptions) manual typewriters generally have the same Basic shape, while rotaries tend to be more varied (look at like, gingi vs. tango vs. abel vs. bunny. completely unrelated shapes), people end up drawing one singular shape for typewriters without giving them much individuality.
that kinda "box with a swoopy front and some bits on it" shape. and i think that's a fine way to styilize some typewriters for a cartoony style, but i think people fall into the trap of that being the ONLY shape of typewriter they do. because, like, they're way more varied than you think. i think you can divide manual typewriters into two primary shapes.
you've got your older-style Tall ones (royal KMM, woodstock #5):
and more modern, portable style (smith-corona classic 12 (a LOT of smith coronas have this exact shape with just minor doodad differences) and the very modern oliver legacy):
basically just..try not to think of typewriters as a single shape. they have a LOT of variation in overall form, sharpness of angles, blobbiness, so on.
HOW I APPROACH DRAWING ANY NEW OBJECTHEAD (phone, typewriter, monitor, whatever. anything)
the main hurdle i had going from someone who tends to draw very organic shapes to drawing objectheads is that they leave very little room for error. an animal's face will squish and stretch at different angles and different expressions, and you can get away with a lot more unevenness. objects are static- they're the same no matter how you look at them, so there's a lot of importance to getting the shapes right at any angle.
gonna divide this into 2 parts- and this is pretty general advice that could apply to drawing many things (after all, there's nothing that really divides an object from and objecthead's head?), but i think it's the best way to explain this- basic shapes and details.
the most important part: finding the basic shapes in your object
this is about finding what the broad shapes of your object are- what'll form the start of when you draw them, like how you'd start drawing a face with construction lines.
find a reference for it with multiple angles. sales listings on places like ebay or etsy are often the best for this. i'm just gonna use photos of some of my own objects as reference in these images.
the other part: letting the object's individuality stand out with fine details
i think it's so, so important to get little details on objectheads right. it lends them a granularity that makes it feel like you could reach out and touch them, it highlights the individuality of each model.
in most cases, i try to get the number of buttons and other bits right- like, oliver's number buttons are 4 rows high, and 3 columns wide. there are 10 finger-holes on rotary dials, with a blank space in the lower right, where the fingerstop is. typewriters unfortunately have way too many keys for me to consistently number them correctly, though..
it can definitely be hard to fit all the little details on. it took me a while to get oliver's proportions right, so that i could FIT all four rows of buttons. i still have a LOT of trouble doing that with randy's head, you'll notice a lot of the time i draw her with less buttons than she actually has. it's a practice thing.
TL;DR AND MORE CONCISE THOUGHTS:
i think my main point is use LOTS AND LOTS OF REFERENCES, from MULTIPLE ANGLES, to understand how the shapes of each object fit together as one whole. divide the object into planes that fit together like a 3d puzzle, and you'll be able to draw it at whatever angle you want.
use things like corners of shapes as landmarks for where other features connect, or divide the shapes into equal-size portions to mark where certain features begin and end.
highlight the individuality of whatever model you're drawing to differentiate it from other, similar models. think about how peter's "face" is convex, while harry's "face" is concave. roger's head is flatter and more compressed than gingi's, which is quite boxy.
tl;dr of the tl;dr: study the object you want to draw til it works good