Grats on completing the challenge Vaniilo, it's a real marathon.
One thing that jumps out at me right away is how a lot of the center boxes have almost the same proportions and orientation, like 187 to 203. You'll learn a lot more trying all different kinds of sizes and angles than trying to perfect that one box over and over again.
Your line confidence is fairly well done, though I do see a few times here and there where you retraced a line. Try not to overdo it, as retracing the line makes it bolder and more obvious that you made a mistake.
Your angles vary but you seem to have a good grasp on it, seeing that you got several perfect convergences. Just remember to be aware that there's two different kinds of foreshortening (dramatic and shallow), and to practice both.
I like the small notes you did on each page, you clearly knew the most important parts that you needed to work on and fixed them accordingly. I think with enough time and practice, you can easily iron out all the small kinks in your boxes. Keep going!
Next Steps:
I can see that you're already midway through Lesson 2 and well on track! Keep it up!! You got this.
Oh yeah, and thanks again for critiquing my own 250 Boxes. I'm a little late, but hopefully this was enough to return the favor.
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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