5:44 PM, Tuesday August 18th 2020
Sorry, I can only see 1 exercise of your assignments. Try to repost a link.
If you struggle with Google Drive, I recommend you to use Imgur, like most of the students do. But it's up to you!
Sorry, I can only see 1 exercise of your assignments. Try to repost a link.
If you struggle with Google Drive, I recommend you to use Imgur, like most of the students do. But it's up to you!
It's a legitimate question. It's easy to get a little bit lost when starting drawabox: you're learning a lot of new things, and it may be hard to "use the techniques learned".
There is to important things to consider while drawing apart from drawabox (which is absolutely needed btw):
first, have fun. drawing boxes all day long can discourage you and is not a lot of fun. So, just enjoy. Draw whatever you'd like, without always having in mind "I must think this as an organic shape".
second, really get the most of the lessons and to progress faster, the best way is to try to draw "what you'd like to draw", but applying the lessons techniques. It makes more sense when you passed lesson 2, but for example, if you draw a plant in a drawing "for fun", don't draw the same basic tree anyone could draw, but try to draw it as organic shapes or whatever.
If you don't understand all this, no worries. Trust me, you'll progressively understand by going through the lessons, and it's not a big deal.
Just, if something you're drawing for fun rings a bell and tells you "oh yeah, I've been doing this with drawabox", try to approach it like you'd do in the lessons.
Hi!
No worries, getting a review from anything but lesson 1 is soo long, it's ok to move on before getting reviewed.
This texture analysis is way better than the first page, due in part of the better-adapted reference. Still, try not to draw each individual rock outline for example, but focus more on shadows. Anyway, this exercise is hard, but we can see that you put a real effort in there. You'll manage to progress on this topic through the 25 textures challenge.
Good job, and keep going!
Next Steps:
You've almost fully understood Lesson 2 topics. I don't know how far you are, but continue to go through the different lessons and challenges!
Hi! I just finished the 25 boxes you asked for. I'm kinda proud of theses ones, definitely feels the improvements. Some of them still have extend lines trouble, but at least I realized it. What do you think?
I added the shallow foreshortening page here. Thanks for taking all this time to guide me
Thanks for this good critique - I've done the 1 more page you've asked for, what do you think about it?
You didn't post neither the Plotted Perspective neither the Rough Perspective exercise. Please add these exercises to the imgur post, or if you haven't already done it, draw them before getting reviewed. Good luck!
You haven't done any error checking, which is as important for you and for the reviewer. It's already late, but could you do the error checking for all your boxes and re-submit it? Thanks
Have you done the demos too? If you do, please had them to the post before getting reviewed.
First, your organic arrows don't give the feeling of depth that's needed. Watching closely, we can see that you tried, but that's not convincing at the first look. Try to make more regulars and flowing ribbon, like int the examples on the exercise page. Also, the shadows must be in the inside of the fold, not outside: it's the shadow of the part of the arrow who's behind.
Your organic shapes can be improved a lot: the ellipses aren't centered on the minor axes, they often never touches the edge of the form, and they're sometimes wobbling. Contour lines is what will give the feeling of 3D, so they're even more important than the shape itself.
The texture analysis part is half understood: the left square is good, even thought you could focus a bit more on the shadows. However, you've done the black to white gradient in the right rectangle too fast. The transition between full black and texture black is way too strong, and the 3 rectangles didn't look like the original texture you've drawn. Take more time to do it, and keep watching the reference. Also, try to fill the space more, the rectangles are too empty, especially on the dark part.
Same thing for texture dissection. First, focus on cast shadows and little bumps, not lines. Second, try to wrap your texture around the form, it's not a flat surface. Third, be more patient, take your time. You looks kinda hurry when you've drawn this: it's hard and it takes time, so don't rush it.
Forms intersection: I'm sorry, but your boxes are really bad. Once again, take your time, think about vanishing points etc for each box. A box isn't some random lines connected to each others, its the representation of something who exists and has right angles, think about it when you draw a box. Then, when you'll understood and applied that, think about the intersections of the forms between each others, but that's the next step.
Your organic intersection are pretty hesitating too. Your lines are woobling, you didn't drawn the shadows. The second one is way better, but put more shadows, not only at the end of each form.
Next Steps:
I'm sorry but I can't mark the lesson has complete, you've made too many big mistakes. However, don't worry, but learn from this mistakes, read the advices I told you and try to apply them, exercises by exercises.
To mark the lesson has complete, submit at least one page of:
Form intersection, with intersection drawn
Texture analysis, at least 2 different textures
Texture dissection
I strongly encourage you to redo some of the others exercises too, as well as the ones from the Lesson 1. The only way you'll get better is by practicing, and correcting your mistakes.
Good luck and keep going!
Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.
The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.
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