11:02 PM, Wednesday March 15th 2023
Thank you for taking the time to review my assignments!
Thank you for taking the time to review my assignments!
I appreciate the swift and detailed critique! Thank you!
These videos have been helpful to me, thank you!
Thanks! Lol
You did a really good job with these boxes! I a problem with a few of these however, and that is the inner corner being off, which I didn't see as much in the previous 10 boxes. Drawing the boxes in this alternative method should help with that. That being said, this is a very common problem for this challenge, and it doesn't seem to be too big of a problem for your boxes, but I would keep this in mind as you continue.
Great job with these!
These are looking really good! Go right ahead to the other 50. Feel free to change the orientation a bit for each one, I noticed that the boxes had a very similar orientation on this round.
Next Steps:
50 More Boxes
I have 2 more questions.
How do I construct the muzzle of an animal with an open mouth?
How should I approach the feet if they are obscured in a photo?
The first question I feel was a bit of a problem for me on the fox photo I previously chose. It has also dictated me to find only photos of animals with closed mouths, and honestly felt pretty limiting to me. I have included a bonus construction where I attempted to draw a yawning wolf. It came out nice, but I don't think I really constructed it all that much, and I was wondering if you knew how to approach this? I want to remove this limitation I have.
The second question was a problem that I encountered while constructing the African Wild Dog (the second one), where his feet where obscured by the foliage of the savanna. It was a problem for a few of my previous constructions as well, and I would like to know how to get around this. Should I be finding separate reference photos for the feet?
I appreciate all of the help you have given me thus far. It has been extremely helpful.
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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