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3:59 PM, Friday July 30th 2021
Great work completing Lesson 2! I just finished as well - it was fun to start playing around with round or organic shapes after all of the boxes :D
I love the attention to detail throughout, especially in your texture exercises. One of the things that jumps out at me, and may be an opportunity for practice, would be in your arrows - they look like they are approximately the same width from back to front (for the most part). If your arrows started wider at the "front" and then grew thinner as they moved back in 3-d space, you'd be able to create more of an illusion of depth. You might try doing this in a really exaggerated way at first just to get a feel for it (an arrow that is 2" wide at the point, and then grows smaller to being .5" wide at the back end, for example). This way you'll really get the perspective part of the exercise down, and show the viewer that your arrows are moving closer/farther to the viewer.
Another area where you might practice a bit would be in your texture exercises - you put a lot of great lines and detail in, and you could enhance these by adding some more darkness at the edges of your forms, to really create the illusion of roundness. For example, looking at your melon or mushroom textures, instead of the lines being the same weight from top to bottom, you might experiment with using heavier lines at the top and bottom edges of your form (and leaving the lines thin or non-existent in the middle of the form) to really reinforce the roundness in 3-D space. You could also achieve this by adding in some cast shadows towards the top and bottom edges of the form, just like you did in your texture analysis (and leaving the middle of the form empty or really light). This would help your textures pop!
Great work - keep going!!
Color and Light by James Gurney
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.