6:49 PM, Thursday October 7th 2021
That's the link. Please let me know if the quality seems off. Thanks again.
That's the link. Please let me know if the quality seems off. Thanks again.
Hey, congratulations on completing lesson 1! The comments i'm leaving here are not meant to encourage you to redo any of these exercises. Your improvement of these concepts are best integrated into warmups.
Superimposed lines -- To reiterate something sikcool pointed out, I think you should be careful to make sure your lines start at the same starting point. Fraying at the end is expected, but not so much at the beginning.
Table of ellipses -- Your lines have some degree of wobling in them, but I also see many lines which flow fine. This can either come down to one of two things: either you're just getting used to drawing from your shoulder (in which case I would prioritize doing the superimposed lines during warmup) or you're not spending enough time in the planning phase (in which case I think you should prioritize the table of ellipses during warmup). If the issue is your shoulder, then your lines shoud improve with time. Just be sure that your spending enough time planning and ghosting your lines. By the time you finally put pen to paper, you should be fairly confident of the mark you need to make.
ellipses in planes -- These ellipses came out pretty well. While its true that each consecutive pass doesn't perfectly overlap, I think that the value in this exercise is in seeing that disparity slowly lessen with time. This is also a good exercise to come back to if you want to get more practice with ellipses.
funnels -- One point I would make on these is to keep an eye on the minor axis. When making ellipses, you want to follow the minor axis as it defines the visibility of the circle (If this comment sounds a bit confusing, don't worry about it too much. For now focus on just making sure that the minor axis and the ellipse match up).
Those are my only major critiques of the work. Keep in mind that most of these exercises were just an introduction to concepts that you will be working with later, so these comments are mainly just to make sure that you stick on the right track. At this point I think you can move on to the 250 box challenge. Good luck!
Next Steps:
Move on to the 250 box challenge.
Good job getting through the 1st lesson! I have a couple of points you might want to keep in mind, but make sure you don't try to grind any of the exercises. Its just a thing to look for in your warmups.
Superimposed lines-- This is a good exercise to come back to from time to time to work on wobbly lines. While the lines in your submission do wobble, that is something that is just going to get better with time. You do a good job of lining up your starting point and the fraying isn't really too bad. Just make sure that you execute your lines with confidence.
ellipses-- Overall, your ellipses are really nice! Keep drawing through ellipses to build up that consistent motion. One point you might want to practice more of though is really pushing yourself in terms of varying the degree of your ellipses.
organic perspective-- Your organic perspective exercise--along with your rough perspective exercise-- do have some issue with perspective, but that is something that will get improved with the 250 box challenge. As you get started with the challenge though, you might want to come back to these boxes to see exactly why the perspective is off.
That's pretty much all of my feedback. I didn't really have something to say for everything, particularly because some of the issues do overlap--like that of the wobbly lines--and I didn't think pointing that out again really offered anything new.
Next Steps:
At this point you should be good to move on to the 250 box challenge. Remember to draw through your boxes!
Sorry about that. Here is the completed revision.
Thanks for the feedback!
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.
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