It's not obvious! This is all very helpful, I think. I'll have to print it out and have it with me for my next round so I can try to think about it while I'm in process. It's so much to think about!
I really appreciate you taking the time to think this through and write it all out.
I'd recommend leaning towards the latter option – thinking about your warmup as a percentage of each drawing session. If you warm up in the morning and then do other stuff for a while, you won't be loose anymore when you come back. A lil' bit warm is better than none warm.
That makes sense.
Thank you!
No worries!
I really enjoyed that one, because it's kind of a game, so hopefully it's fun to attack it again.
I don't have the eye yet for nuanced comments on most of this, but I'm curious how you went at the rough perspective exercises. My understanding of the exercise is that once you've built your boxes, you're to trace the edges of those boxes back to the horizon and see where they land. What you've done is the opposite: tracing rays from the vanishing point to the outside corners to see how those edges diverge. It does give you similar informaion, but I suspect in an official critique they'd have you redo that particular assignment.
Next Steps:
Re-read the directions for the rough perspective exercise and give it another swing.
Hi Rob! I appreciate your thoughtful notes.
I did a whole new page of the rough perspective, as I really enjoyed the gamelike nature of that exercise. Here's the new one: https://imgur.com/a/53oBSjV
The bottom box went so well, I suspect I should have warmed up a little more. Is there any generalized guidance on warming up? I recall Uncomfortable mentioning it on some pages (in the context of: use this exercise as you do), and maybe he talked at length about it early on, but I can't find a specific approach of how much / how to decide which exercises to use.
I have a question about the organic perspective ones. The directions say to build a box with the y-method, and then build more boxes, so that's what I did, sticking with the provided method. When I looked at the sample homeworks, a lot of the boxes seemed more rotated than mine were. Is that what you mean about them relying too much on parallel lines? I wasn't sure how else to approach them, but I did like that in the example they seem to be tumbling through space, while mine feel more locked onto rails or something.
Thank you!
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.
This website uses cookies. You can read more about what we do with them, read our privacy policy.
