8:10 AM, Saturday October 3rd 2020
Lesson 2 - Dissections redone (using cast shadows):
Lesson 2 - Dissections redone (using cast shadows):
Hey Cybertortoise22,
Thank you for the time and effort you took to analyze my work, I really appreciate it ^^
I now do agree with you that I need to do the dissections exercise again mainly because of the lack of cast shadows (I did interpret the exercise wrongly).
I would like to point out one thing though:
You did mention that you saw quite a lot of mistakes in the form intersections but you did not specify those mistakes.
For example was the problem mainly with the box-box intersection or mby with the box-circle intersection.
What I mean is that "you seeing quite a lot of mistakes that you don't specify" doesn't rly help me.
Best regards,
Teme
Heoo Algebrartist,
I would say that you should try to apply the things you learn with your spare time drawings.
For example if I'm learning about 1-point perspective in my spare time I would try to do stylized barrel or chest in 1-point perspective.
For me 250 box challenge helped me to visualize boxes in different rotations. Once you have box in
certain position and rotation you can begin to construct things inside of that box (or outside), for example that barrel.
I think this video should help:
https://www.youtube.com/watch?v=47d6nsfS-o8
What I draw varies a lot. It could be everyday objects, animals, landscapes etc.
I've had that clicking moment when I have drawn for example pine tree multiple times and then I've compare the latter one to the first one that I've drawn. I try to track my process by comparing my more recent work to my older ones.
For this I'd recommend to watch this video:
https://www.youtube.com/watch?v=k0ufz75UvHs&feature=youtu.be&t=1
Hopefully this helped :)
Thanks a lot for the feedback, really appreciate^^
Hi Loopkin,
Thanks for the critique, I appreciate you taking the time to give a feedback :)
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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