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1:54 AM, Tuesday August 25th 2020
Hi, ArceWirz!
I thought it was really cool that you did a distortion zone in the Plotted Perspective exercise, because it gave you a different view of the exercise, and it's really good to try new things.
However, it seemed to me that you did not use the ruler to perform this exercise, as described in the instructions. I would recommend redoing this exercise, paying attention to the use of the ruler as a tool and weighing the lines, to give a three-dimensional effect to the objects contained in the drawing.
In the Organic Perspective exercise, I really liked the fluid movement of the boxes, which demonstrated the commitment of the lines, but I would recommend working more on the weight of the lines, explaining the issue of objects being close to or far from the viewer.
But in this next part, I don't know if it was on purpose, but I realized that the submission of the Rotated Boxes exercise was missing, and this exercise is really very important. This exercise helped me a lot to develop the perception of how objects behave in space.
Furthermore, based on my current experience, I believe that your exercises have had a great result, with room for improvement.
I hope that I was as pleasant as possible in this Critique, because of course, the intention is to help in the improvement.
Next Steps:
Work a little more on weighing the lines, as well as completing lesson 1, doing the Rotated Boxes exercise.
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.