Hey Benj, thanks for the detailed feedback, I really appreciate it!
I just had two quick questions:
When you say line quality referring to rough perspective, do you mean accuracy of the lines in general?
When you say lineweight referring to Rotated Boxes, I assume you mean that heavier lines should be two lines (a.k.a one superimposed lines) only?
Will get started on the 250 boxes challenge right away ^^
No, actually; I'm referring to their confidence, which is not to the same standard set in the planes exercise. If I had to guess, I’d say you drew these lines a little too fast, either because you didn’t ghost enough, or because you simply drew them at too high a speed.
Correct. You’re aiming to suggest things to the viewer, rather than scream them at them – a superimposed line is enough for this purpose. Further, you want your work to be clean, rather than scratchy, so a single, confident line is the way to go.
Thanks a lot! In the end I decided to skip superimposing and instead do the shading of one of the closest faces.
I have a question regarding the 250 box exercise, I hope it's okay to ask here.
If I drew a box, and I messed up a line so that it's crooked and not angled to where I was "aiming", should I then draw the review line (red in my case) from the crooked line, or from where I was aiming?
I've been drawing them from where I was aiming since I want to check if I had the right idea to begin with but I'm not sure if that's correct.
It is - it's more valuable to check whether your planning was correct (though, ideally, this is not a distinction you'd have to make).
These are my favourite sketchbooks, hands down. Move aside Moleskine, you overpriced gimmick. These sketchbooks are made by entertainment industry professionals down in Los Angeles, with concept artists in mind. They have a wide variety of sketchbooks, such as toned sketchbooks that let you work both towards light and towards dark values, as well as books where every second sheet is a semitransparent vellum.
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