Finally completed it! I had a tough time with foreshortening the boxes, so any tips for that would be helpful. I used red and blue pens for checking accuracy. Im looking forward to hearing feedback!
Also, i did 2 extra since my cat ripped a hole through one of the pages
Hiya! Let’s see~
So, though there’s quite a bit of improvement throughout the set, there’s still some issues present, that need to be taken care of before you move on to Lesson 2. The biggest one is that not all of your lines converge towards the VPs- some of them diverge. 246 and 237 are some recent examples. Since the goal is to get the foreshortening to be as shallow as possible, this is certainly not uncommon, though it’s still a problem. Personally, the way I go about it, is that I’ll ghost my lines as if they’re parallel, but plot my points ever so slightly towards the Y. But, regardless of the method you use, the ghosting stage should take up the bulk of your time. Don’t commit to a line until you’re 100% sure it’s correct. Another issue is that the lines don’t converge at the same rate. That is to say, one set of lines converges more dramatically than another, making your box look skewed on one side. This is not as big of an issue, but it does still look unnatural, so see if you can aim for the amount of foreshortening to be consistent. That said, this is to be taken care of after you’ve nailed the diverging issue. Finally, there’s the issue of the line quality. Despite the occasional scratchy-ness, the line quality itself looks good, but I do notice a tendency to extend a line that stops short. This is discouraged. This, too, is improved by spending a little more time on the ghosting phase, so see if you can. If you make a mistake, that’s perfectly fine- but don’t correct it, leave it.
So, let’s take this one step at a time...
Next Steps:
Step #1: I’d like to see one more page of boxes, where the first one has really dramatic foreshortening, and each subsequent box becomes more shallow, the last one having really shallow foreshortening. That is to say, the VPs for the first box should be on the page, then a little further off for the 2nd one, further off still for the 3rd one, and so on. The VPs for the last box should be so far from it that the lines are nearly parallel, but not quite. Do that, and we’ll continue on to step 2. GL!
http://imgur.com/gallery/IVJndmz
I messed up on the very last one where the VPs should be way off the page... >.<
Thanks again for helping me out!
Looks good! The main thing I’m noticing is a problem with the center lines. One thing I like to do to aid that, is to ghost all 3 lines separately, and see how’d they look if they all headed to their respective VPs, and then pick a point that’s equally off of all of them. That way, I don’t run into that issue where 2 of my convergences are extra correct, and one of them is extra incorrect. The box is still just as bad as it would’ve been, of course, but it doesn’t look as bad.
In regards to the thing that you asked me on Discord, boxes that have shallow foreshortening have VPs that are waaay off the page. Nonetheless, even if all we do is extend our lines to twice their length, we can still learn a lot about their rate of foreshortening.
Next Steps:
Okay, so, for step #2, I’d like you to do 1 more page of boxes (shallow foreshortening- think #5), and this time, aim for all of the VPs to be equidistant from the center of the Y. To ease you into it, I’ll recommend the first 4 boxes being cubes (i.e. having lines of equal length), and the last one having lines of separate lengths. For those of equal length, simply ghost the lines as if they’re parallel, and then offset them a little bit, towards the Y. For the one that has lines of separate lengths, spend a little more time on the ghosting phase, because the lines need to converge at different rates. I explained this to someone else some time ago- here it is: https://imgur.com/a/rSoeK2g
GL!
My bad, I did shallow for the first step when you said dramatic, didnt I? >.
Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.
The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.
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