Yup- well done!
Next Steps:
Next, let’s have the vanishing points be just off the page. Not so far off that the lines are parallel, or even close to parallel, just barely off the page. What this means is that you won’t (or rather, can’t) plot or label your VPs, but you will still visualize them. Give me one page of these boxes.
Hmmm.
Box 285 is well done. The lines all converge to their respective vanishing points, which are further off than last time, though still dramatic. The other boxes have a mixture of mistakes, some new, some old. Box 281, for instance, has its vanishing points on the page, quite close to itself, too (new mistake.) Conversely, boxes 283 and 284 have some lines that seem ignore them entirely, like the blue lines on the former, and the red lines on the latter (old mistake, which I thought we’d fixed.) I’m, in all honestly, not 100% sure on how to go about fixing this, so what I’ll recommend you do is move on to lesson 2, but continue practicing these in your spare time. I’ll further recommend sticking to dramatic foreshortening (even plotting the vanishing points down, if you wish) until comfortable, before moving on to more shallow foreshortening. Do so gradually, too. Good luck.
Next Steps:
Lesson 2
i appreciate all the time you've spent helping me out. i can notice things ive messed up after ive drawn it but i have a really hard time knowing how long to make a line or what angle to make it before i have drawn it. if you have any tips on this that would be super. how many boxes would you recommend i should draw daily until i get it down?
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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