Here are the revisions.
I had no idea there was a wrong way to hatch the boxes! I was literally doing them on a whim. It really does to show how subtly difficult this challenge is. I learn something new with every revision.
I know I didn't exactly hit the vanishing points, but they really helped with visualization.
The grayish lines were done with a sparkly silver pen, so that's why they look weird.
Thanks again!!
Thank you for the thorough critique and for the reasoning and instructions for my revision. The diagrams and examples you gave were particularly helpful.
I also went back to study the official article. Of all the specific advice you gave, foreshortening was the hardest to implement. I feel like trying to make my boxes less basic increased the overall distortion.
I hope these 25 show some improvement however.
Would love to know your thoughts,
Thank you for your thoughful and extensive critique!
I got to work immediately on extending those depth lines (hadn't even noticed, you're right I do have to read the directions more thoroughly).
I have already completed the 250-box challenge (Just signed up the Patreon so I had to resubmit lesson 1). Am I right in understanding that I have to wait 2 weeks from when this is marked as complete to submit the 250 boxes for critique?
Thank you! Wasn't expecting the CEO himself to answer haha, I appreciate your quick and thoughtful response.
(Thx for Drawabox also, I've been humbled and learned so incredibly much and I'm just getting started)
To Patreon I go then!
First off, thank you for the quick and thorough critique. You were absolutely right about me rushing through the ghosting method and not truly understanding the vanishing points. My biggest mistake was not proceeding slowly enough.
I'm still having great trouble understanding the concepts of boxes in 3D space, as evidenced by the organic perspective revision, but I'm not going to give up.
Please let me know if this is adequate,
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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