0 users agree
5:12 PM, Thursday March 5th 2020

Nice work! Starting with your super imposed lines, you're doing a pretty good job of keeping your executions confident, so as to maintain a consistent trajectory throughout each stroke. I definitely think that the following two exercises build on this through the introduction of the ghosting method - initially your results are still a little wobbly, but you quickly start to get your feet under you and achieve straighter and smoother marks whilst continuing to hit your intended targets. By the time you hit the ghosted planes, your linework starts looking really solid.

You carry this through into your ellipses, which frankly are looking fantastic. They're confident, evenly shaped, and fit snugly within their allotted spaces. You do a great job, for the most part, of keeping them from getting distorted or deformed as you fit them into the ellipses in planes, and your funnel ellipses are aligning quite nicely to their minor axes. There are a handful here and there where I think you might be drawing through your ellipses a little too much, so try to pull that back a little while maintaining the same confidence. I generally recommend doing it no more than 2 or 3 times around the elliptical shape, with 2 being ideal.

Jumping ahead to your rough perspective boxes, you've done a great job with the core focus of this exercise, but I am noticing a definite drop in your line quality. I think because we're drawing boxes now, you're thinking more in terms of investing less time into each individual stroke as you focus more on the "big picture" rather than each individual component. We both know you can draw lines that are straight and smooth, so always remember back to how the ghosting method separates the markmaking process into three distinct stages (planning, preparation and execution) and don't try to tackle all of those things while actually making the mark.

Your rotated boxes are coming along well - you've kept your gaps nice and narrow so as to eliminate any unnecessary guesswork, and you've covered a pretty good range of rotation. It would definitely help to exaggerate the rotation along the outside a little more, but again this is coming along well.

Lastly, your organic perspective boxes are looking good, but watch out for that tendency to go back over your lines when you make mistakes. This only draws attention to them - generally it's better to just leave them alone. There's also room for improvement with getting your sets of parallel lines to converge more consistently towards their shared vanishing points, but we'll continue to work on that as it's expected at this stage.

All in all, great work. I'll go ahead and mark this lesson as complete.

Next Steps:

The 250 box challenge is your next destination!

This critique marks this lesson as complete.
3:33 AM, Friday March 6th 2020

Thank you for taking the time to give such an in depth review! I really appreciate it.

I'll keep your advice in mind when I re-practice the pages, intermittent with the box challenge.

See you at 250 boxes!

The recommendation below is an advertisement. Most of the links here are part of Amazon's affiliate program (unless otherwise stated), which helps support this website. It's also more than that - it's a hand-picked recommendation of something I've used myself. If you're interested, here is a full list.
The Art of Blizzard Entertainment

The Art of Blizzard Entertainment

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.