1:46 AM, Tuesday November 24th 2020
Thank you!
Thank you!
Hello
Don't try to correct anything, you make a mistake, you continue with it, even if it makes for a deformed result, as long as it looks 3d, even if skewed. If it is really bad, start again on a new paper (for big constructions) or on the side (for little exercises likes leaves). The point is for you to do it well on the first shot, so do more preparing and stuff to calculate how the real trajectory is supposed to be.
All right thank you! Thanks what I understood but I didn't see that in previous submissions!
Okay perfect I will try that!
Thank you for the critique and the tips! I'll try to go for longer studies for proportion (I already read drawing on the right side of the brain, I think I simply need practice) and I will focus on cast shadows for texture. Also for the center ellipses you have it right, my ellipse guide is very limited and I can only choose between 2 degrees. Usually for the center one I take the same degree as the first one, but with a bigger minor axis. In some cases I tried to do them without the help of the ellipse guides (5 and 7), with poor success. Do you have an idea of what I could do? The degrees I have are 15, 30, 45 and 60.
Oh all right! Thank you!
Thank you for the critique!
There is a little part I didn't understand : For the Mug, the form of the object is actually tapered. That means according to you I should add "additional cross-sections along the length of the mug's main cylinder". I didn't quite understand what it meant. Should I add contour lines that are perpendicular to the cylinder's axis?
Thank you :)
Oh okay alright I didn't understand that part!
Thank you! I will try some objects freehanded and some with the ruler.
Thank you very much! I'll go read your previous critiques of other people on the lesson 6 to avoid making the same mistakes.
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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