Lesson 1: Lines, Ellipses and Boxes
1:23 PM, Friday May 10th 2024
Thank you for your time in reviewing!
Hey there, I'm Meta and I'll be your TA today, so let's get started.
Lines
Starting with your superimposed lines, you're doing a great job lining your pen up with the starting point and executing your lines confidently. It would've been nice to see some longer lines here to really get your arm working. Your ghosted lines and planes are similarly smooth and confident, however.
Ellipses
Onto your tables of ellipses and these are off to a great start. Your linework is confident for the most part, you've selected a good variety of shapes and sizes of ellipses to practice, and you've kept them squeezed up tight against each other.
Next your ellipses in planes are looking good, you've made clear attempts to hit the four sides of the plane while remaining confident and not over-focusing on accuracy.
Finally, your funnels are off to a good start - you're making good efforts getting the ellipses aligned to the minor axis and your ellipses are pretty confident.
Boxes
A quick note on your plotted perspective - you may have noticed some of the back lines of your boxes are not vertical - this can happen when there's slight inaccuracies in the lines used to plot the front of the box not going back to the exact vanishing point drawn. Something to keep in mind, as you will encounter this again.
Onto your rough perspective and you've made fairly successful efforts to keep the horizontals parallel and verticals perpendicular to the horizon line. Make sure you're only selectively going over the silhouette of the box if you're going to apply line weight. You've correctly applied the line extensions and your perspective lands in a good margin of error. I did actually have to double check this exercise because several panels have linework that is so tight that I thought it was done with a ruler and then your perspective was super accurate as well. Really nice work.
Your rotated boxes are off to a good start - you're keeping the gaps between the boxes tight and consistent, which has given you good cues about where to place the next one. You didn't quite manage to capture the full range of rotation, tending to follow the vanishing point of the box you previously put down, however this exercise is intended only as an introduction to certain concepts you will explore further throughout the course.
Finally, you're getting a good amount of variation in the size and rotation of your boxes in the organic perspective exercise which is starting to create a sense of depth in each frame, though if you wanted to push it further, you could play with the scale between the smallest and largest boxes as well as trying to overlap the ones closest to the viewer. I did notice your line weight seems to have been done either with a different pen - please stick to just one pen for the meat of the exercises (check lines, etc can be done with another pen). You don't need to do hatching quite that tight if it makes it easier for you to execute with the 0.5mm fineliner.
Next Steps:
Feel free to move onto the 250 box challenge.
Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.
The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.
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