10:06 PM, Wednesday May 27th 2020
thanks for having a look.
thanks for having a look.
i am also working through same challenge. one thing i have started to do recently is to triangulate the inside hidden corner of the box before finalizing the last corner of the outside of the box.
my process has gone to:
1 start with the y
2 draw two planes, usually bottom of the Y, ensuring adequate convergence
3 triangulate the "hidden" inside corner but dont yet draw the hidden lines to it
4 triangulate the top outside corner with the help of the inside hidden corner
hope that makes sense. it has helped me
nice. you can see clear progression getting better as you went. iblike lastbone
i just finished lesson 1. your work is an inspiration. awsome!
i too just finished lesson 1 and moved on to 250 box challenge. you have done a very good job throughout and this is one of the best i have seen in reviewing about a dozen. good work and cary on
Next Steps:
250 box
i have also just submitted lesson 1 and have been reviewing several others submissions. yours is one of the best i have seen. your lines are confident and wobble free. the last few pages in particular were very well done. no doubt you are ready for 250 box challenge. good work
Next Steps:
very well done. ready for 250 box challenge
thank you so much for your detailed review. i will incorporate your suggestions.
thank you so much for your detailed analysis. i will incorporate your recomendations.
congrats getting through it. i am working through ir right now. your boxes on the early pages were much better than mine right out of the gate. your lines are very confident and seem to hit your end targets very well, almost never overshooting. well done
lines are wobble free and confident. but you seem to overshoot points often. seems to me maybe you could try to slow down your stroke a tiny bit and maybe ghost a couple more times to help better hit your target.
I just finished lesson 1 as well so no expert.
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.