Lesson 1: Lines, Ellipses and Boxes
1:30 PM, Saturday February 1st 2020
I wrote some notes under each page.
Hi, Joao! I'm here to give you your badge (and hopefully some tips, too!)
So, first things first, there's a missing page- page 1 (or 2) of the superimposed lines exercise. I can't find this on discord, either. It's not a huge problem, since I can judge them fairly confidently from the page that is present, but this isn't, technically, a full submission, so I shouldn't, technically, mark it as complete. I'll keep your secret if you keep mine, though...
So! The superimposed lines look good! The ghosted lines, too! In the planes exercise, remember to plot start/end points for the non-diagonal center lines. Also, if a line stops short, don't extend it. Next, the ellipses! They're, quite honestly, some of the best I've seen. I was surprised to read your complaints, actually. I'd recommend rotating around them 2 times, though, not 3. Either is fine, however. Finally, the box section looks, as I've come to expect from you, fantastic. The only issue I notice is the one I pointed out on Discord, and that improves soon enough.
Congrats on a phenomenal submission, and GL~ on the box challenge!
Next Steps:
250 Box Challenge
Thanks for the critic. I'll start rotating the ellipses 2 times instead of 3. Is three times too much, or do you think that two times is enough for my current level?
10/10 Great review. I hope you review the homework of my future lessons too. :)
3 times is not too much! The recommended amount is 2-3 times, and it's up to you to decide if you'd like to do it 2 times or 3 times, but, since your ellipses are quite accurate, I figured that they'd look a lot cleaner if you did it 2 times. Generally, you'll jump to a 3rd rotation if the first 2 are too far apart, and you'd like to have a third one there to inform how the ellipse actually looks. If they're not, there's no need to.
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.
This website uses cookies. You can read more about what we do with them, read our privacy policy.