4:25 PM, Friday February 9th 2024
Thank you very much!
Thank you very much!
Hello again, I wanted to take the opportunity to ask about the textures you are mentioning. I usually default to dots and lines on plants and mushrooms because usually I don't really see "anything". And if I had to see something it would be a porous surface.
Looking into L4 insects with smooth surface and onwards, how could I face these cases without clear textures?
Thanks!
Thanks again!
Hi, thanks for the insightful feedback and apologies for the late response.
Here are the pages: https://imgur.com/a/uGdoF82
Got it.
Thank you again!
Hello,
Thanks for the quick reply.
I've also noticed that most of my boxes have trouble with the back lines. Box 246 in ther vertical axis (red) is one example, but you can find many. Usually the problem is that the back line converges too early with the front line.
I read that by not leaving back lines for the end you would alleviate the problem of having weird back lines. The "weird" back lines are better now, but I still can't solve those early convergences, even though I don't do them last.
In the same way, sometimes an edge line converges too early too, which is the last one I do.
I hope you could give me some insights on how to solve those problems.
Thank you very much.
Best regards,
Understood, thank you!
Thank you for the feedback!
I have a question to ask, specially related to the rough perspective exercise. At the start of the course it's implied (or at least that's what I interpreted) that we should commit to the lines and to not try to correct mistakes. In that sense, when I was doing the converging lines of the box, some of them would end up being too short or long compared to the others, leading to the issue of not prioritizing parallel and perpendicular lines enough.
In that case, should I try to correct the length of the converging line to facilitate making correctly the perpendicular and parallel ones?
Thanks again!
Some of you may remember James Gurney's breathtaking work in the Dinotopia series. This is easily my favourite book on the topic of colour and light, and comes highly recommended by any artist worth their salt. While it speaks from the perspective of a traditional painter, the information in this book is invaluable for work in any medium.
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