5:32 PM, Sunday February 5th 2023
:O pretty cool
:O pretty cool
Good progress, I will mark the lesson as complete
Can move on to lesson 3
I'm referring to the last - organic form intersections exercise, where forms are stacked on top of each other. The problem is that some of the "sausages" are non uniform at their width, as explained here.
With regards to the drawing you sent me, A, B and D are good, except for C where there the form gets pinched at the ends.
This is amazing, keep it up!
Starting off with the organic arrows, the exercise is as much about the perspective as it is about the folds, as described here “Mistake: not applying perspective”. You did quite well with understanding how the 2D plane can turn and twist in 3D space, however I would like to see more attempts in pushing the boundries of the 2D paper into the infinite Z axis ???? .
Whereas your organic forms with contour ellipses are pretty good, I can see you are struggling with organic intersections, which is completely natural as it’s not an easy exercise. You have to make sure the width is uniform as otherwise the construction becomes inconsistent. What helped me when doing this exercise is to think of the sausage more as a cylinder with a ball at the each end first, and only then as a sausage.
The reason why I pay attention to this exercise so much is because it’s extremely important in future lessons, especially 4 and 5 where you will use sausages for every construction of an organic shape.
Your texture exercises are very good - you focus on the cast shadows and contours over outlines and explicit drawing.
The form intersections is a quite a difficult one to pull off and you are doing in it quite well too.
All in all, you understood the lesson very well, but I would like to see a few more pages of the following exercises:
One page of organic arrows with deeper perspective
One page of organic intersections with the focus on consistent width
Thank you for the feedback. The comment on how to use cast shadows to create more shape separation and distinction is a very useful one, and I’m still a beginner at it. Following up on that, I have a question regarding the 8th drawing (ship) - I really wanted to add some cast shadows to remove some line clutter, however as per reference, I couldn’t find distinct areas for that, as most of the planes had “different shades of grey” over distinctly dark areas, as could be seen with the truck well. Where would you have the cast shadows drawn? Or maybe it would have been okay to start “lying” - changing the light source and intensity for visual clearness? For example the two major columns in the middle would have cast the shadow on the deck and the base part.
All in all, I want to say Thank You for all the effort put into making this course. You are a superb instructor, always improving and wanting to make the course as best as possible. What’s even more is that you care about the “mental” side of students, in particular providing content on how to “do best to our current ability”. I found this quite challenging at the beginning of every lesson, however as I progressed my confidence would come back and I would be more at peace of whatever the outcome is. Managing expectations is probably one of the most important skills in life in general, and I’m very greatful to have participated in your curriculum that’s not just about the drawing but also about mindset and personal growth.
I also want to add saying “You were right” regarding the 50/50% rule. I’ve burned out multiple times throughout the 2.5 years it took me to complete it as the content here requires a lot of cognitive effort (especially when working full time as a programmer!) and takes time to digest. I would have benefited grately by respecting the black-white space concept of allowing myself to take it slow and do more of personal projects.
wow, this is great! How long did it take?
Love the gesture!
Hi, sorry for late reply. For sure follow the website's course as officially suggested!
While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.
The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.