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7:20 PM, Saturday July 18th 2020

Your work here is vastly improved over your last attempt. You've clearly found areas that demanded more of your time and attention, and delivered it conscientiously, and with far more patience. While I fully understand that being told to redo the whole challenge was a bitter pill to swallow, I think you showed excellent work ethic in the fact that you accepted it (even if you were obviously frustrated with the idea, and also were terrified the whole way through that you'd be asked to redo it again).

I really meant it when I said all I was looking for was the best you had to offer - having done thousands of critiques over the last five years, I've become pretty adept at identifying situation students aren't doing that, though in this case it was fairly clear.

So, just a few things to note:

  • Try to push yourself to draw your cylinders bigger. There's a lot of room there on the page, and giving yourself more room to work through these spatial problems is definitely valuable.

  • You're demonstrating pretty good ellipse-drawing skills, which is great to see. You're still drawing through them, which is entirely correct, but they're notably coming out quite tightly drawn. Nice work.

  • You're largely showing a good understanding of how the foreshortening ties the shift in scale and the shift in degree between one end and the other together - though in cases like #30, I think you did end up exaggerating that degree shift a little too much, relative to the amount of scale shift. Not a big deal, but just shows there's still room for growth there.

  • You're visibly doing a much better job of getting your ellipses to fit within the planes of your boxes. Previously they tended not to touch all four edges, now you're much more mindful of that, which makes all the line extension stuff much more meaningful and useful.

  • You've shown a good deal of improvement in terms of the main focus of this exercise - which is about developing your ability to intuitively construct boxes that have an opposite pair of planes that are proportionally square. This will come in quite handy throughout the last two lessons.

As I mentioned before, this critique was certainly going to be more succinct than the last, as I'd addressed most of the things to keep an eye on and you've applied them quite well here. As such, I'll go ahead and mark this challenge as complete. I hope you'll keep up this newfound patience and care with the rest of your work.

Next Steps:

Feel free to move onto lesson 6.

This critique marks this lesson as complete.
8:02 PM, Saturday July 18th 2020

Thanks so much!, can't wait to get going with lesson 6

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The Art of Brom

The Art of Brom

Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.

The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.

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