8:12 PM, Saturday March 28th 2020
Thanks again!
Thanks again!
Thank for the critique, Uncomfortable. I'll work on my line weight for the next lesson. I see that exaggerated how much I used it in this one. Actually, this was because after adding many construction forms, the lines would get pretty messy and I'd have throuble handling them all. This got a bit easier by the end of the lesson, so maybe it will continue to get easier in the future.
As for the cactus, I was actually trying to work addictively, but clearly my construction doesn't show that. I tried to draw contour lines in the sphere and then add organic forms on top of each of them. Thing is, I didn't quite get how to make the organic appear "on top" of the sphere, an as I result the drawing got quite flat. Maybe using a more geometric form instead of an organic would make it easier to combine it correctly with the sphere?
Anyway, thanks again for your feedback!
Thanks!
I see, thanks! So, it's okay to use cast shadows in all pages of the homework, right? Even the first four.
Thanks for clarifying. I always feel a bit bad when I don't do a lot o pages, as it seems like I'm not practing enough. Anyway, I'll stick to the plan of using A3 paper, since I just bought it.
Yes, I've read that. I'm considering using an A3 paper so I can fit two drawings per page.
Thanks for the review, Umconfortable! It was helpful :)
The spreadsheet looks great, I copied it :)
I don't do more than 3 exercises per day, but I do a full page of each one, so it takes a while. Or maybe I'm just slow, which is probably something I should work on, haha
Well, I must definitivly be defeating the purpose of the warm-ups, then. Sometimes, mine take almost one hour. It seems nice to measure the warm-ups in minutes rather than in pages, I'll give it a try.
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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