Your revision is great! Good job overall, and best of luck with those 250 boxes~
Next Steps:
250 box challenge!
Thank you very much for taking the time to critique my work. I really appreciate it ^-^
Superimposed lines
Pretty good start to the lesson! There's a bit of wiggling here, which tends to be a sign of low confidence in your lines. A tip that I like to use sometimes is where you do the line fast enough that you can't overthink it-like a samurai katana slash. It does carry the risk of increased arcing, but it might be something to try out in your warmups!
Ghosted lines
Most of these are nice and straight, though they suffer from the same occasional wiggle. Definitely something that can be overcome with practice!
Ghosted planes
Same wiggle issues here, but overall good job on these. You may need to sacrifice some of the accuracy you've been working on to deal with your confidence issues, but I have faith!
Tables of Ellipses
Overall these are alright. You seem to do best with the thin ellipses, so maybe try some of those large wide ellipses. The lumpiness here can be worked through by ghosting until things feel natural and then almost closing your eyes as you draw the two loops. That way, you can't overthink and cause the ellipse to wiggle.
Ellipses in Planes
Some of these ellipses are very lumpy, which tells me that you may not have ghosted as much as you needed to. The large ellipse motion isn't necessarily the most comfortable thing and does take some getting used to, but you definitely want to be practicing it for lesson 2.
Funnels
Same issue with lumpiness, though you did a great job on keeping the ellipses in the middle of the funnels!
Plotted Perspective
Not much to say here, you followed the directions and your boxes look lovely.
Rough Perspective
Mostly the same notes from before about making sure that your lines are confident. Let me know if you need any additional guidance on getting the boxes to move towards the vanishing point.
An important side note: make sure that every single line is ghosted, including when you hatch a face to indicate its closeness!
Rotated Boxes
You did pretty great with this one! There are a few missing lines but I know from experience that once you get to those last few boxes in the quadrant the whole thing is a bit messy and things get easily lost.
Organic Perspective
While you technically have 3 pages here, the instructions called for 2 pages with three frames on each (6 frames in total) and you've only done two frames of work here (it looks like one of your photos was duplicated). That means that I do want to see one more page (3 more frames) of organic perspective before I can say you've truly completed the assignment. In the future do your best to make your work resemble the examples as closely as possible in terms of frame amounts and subject density (try to have the same amount of boxes or sausages or animals per page as the example).
Doing an extra page does give a great opportunity though! Your first page here does not have much rotation and while the second page does have more rotation it's still not quite enough in my book. So for your additional full page, make sure that the boxes twist and turn.
Also, you don't have a lot of overlapping boxes. I want at least a third of your boxes to overlap in your next three frames. Treat the boxes in front as semi-transparent and make sure to draw the whole box in the back. Your second page has an obscured box-that's what we want to avoid.
Once you finish that then reply to this comment and I'll make sure you get approved to continue on with the 250 box challenge!
Next Steps:
1 additional page of organic perspective (3 frames worth of work)
I would like to say thank you very much for your feedback. I feel that it makes these excercises far more effective. If I may, where would you suggest one places there eyes when drawing lines? I try to look at my starting point when drawing the line, then to move slightly ahead so my arm naturally follows my eyes to the end point?
I definitely struggle alot with ellipses. Aside from these excercises I usually do a page of ellipses a day(not every day though). I draw from the shoulder and try to ghost, this probably is just going to require alot more practice.
As for the Organic Perspective Excercise, it didn't quite sink in right the first time, I will go back and redo it as requested, your feedback has made it much more clear. Thank you again for your feedback and I will work on getting the requested make up section completed!
I honestly haven't thought much about it, but I think I would suggest looking at your start point to place your pen and then just look to your end point and ignore where your hand is starting...if that makes sense?
I wouldn't recommend a full page of ellipses every day, since there's diminishing returns to grinding like that, but definitely include them occasionally in your 10-15 minute warmups. That said, while not suggested by draw a box I have heard the advice to keep making the circle (not ghosted, pen to paper) until it is circular so that you have a visual helping you see when things are round.
Eagerly awaiting your organic perspective revisions~
Not the most happy with it but I didn't want to get caught up in redo's. I think I might add a few of these to my warm ups to get more accustomed. Thank you for the advice on the circles!
good job . ( i dont know how to critique i newbie to i just comment this for fun )
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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