Had a LOT of trouble with "Rotated Boxes" and "Organic Perspective", but after finishing the "250 Boxes Challenge" I got a MUCH better understanding of boxes.
(The "250 Boxes Challenge" was a game changer for me when it comes to visualizing the boxes in 3D, 3 point perspective space. I loved every second of it.)
Good job on completing lesson 1!
Now, for the critique:
Lines: On the superimposed lines exercise, your lines fray at both ends at times, specifically for the longer lines. Remember to make sure that your lines start at a specific point, always. There's also wobbling and arch in your lines that remains in your lines till the organic perspective, but the confidence and accuracy in your lines will improve with more practice. Make sure to arch your lines the other way if your lines continue to curve one way.
Ellipses: On Tables of Ellipses, your ellipses are (mostly) confident. However, they are not tightly packed together at times, and some of the ellipses are of the same degree(width). Make sure that in each box the ellipses are of the same degree, and are tighly packed. Your did a better job with the tightness and increasing degree of the elippses in the funnel exercise.
Boxes: In the organic perspective exercise, your boxes should get larger as they come closer to the viewer. Your boxes stay the same size as they get closer, which hinders the viewers perception of 'depth' in the drawing. Furthermore, make sure that your boxes overlap to really sell the depth of the picture. I highly recommend for you to re-do this exercise. In the rotating boxes exercise, your corners kept close together and you made an effort to rotate the boxes, solid stuff.
I say you're ready for the 250 box challenge ( which it seems like you've already started). Best of luck to you!
Thank you for the detailed review Mohobolobo. You clarified the organic perspective exercise, which has been messing with my brain.
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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