Finally finished all the exercises. I found it hard to figure how the box rotation in Rotated Box because of the amounts of lines inside the drawing, is there anyway to examinate each rotating angle individually or a clearer way of thinking about it?
Hiya! I hope it's okay if I start from the box section, since I've already looked at (& commented on) parts 1 and 2.
So, first things first- please don't use lined paper. It's fine for some exercises, but for others, like the rough perspective exercise, it's super cheating. Regarding the exercises themselves... The plotted perspective exercise looks good! The rough perspective exercise looks quite good, too, but in one of the pages (cough...), you'll have some trouble making the parallel/perpendicular lines be parallel/perpendicular. Remember that it's important for them to be, because those VPs are at infinity. Also, be careful to not correct incorrect lines. If a line is wrong, it's wrong. Spend some more time ghosting the next one, instead. Nice job on the rotated boxes exercise! As for your question, at this stage, we're constructing boxes by looking at their neighboring forms, nothing else. We don't start to think about them on an individual level until the box challenge, so, for now, don't worry! Finally, the organic perspective exercise looks good, too, but here, too, be careful not to redo lines. Also, line-weight should be applied locally, rather than to the entirety of the line. (So, clarify the overlap, then taper it off!)
Anyway. Despite all of this, this is a solid submission. Nicely done, and good luck on the box challenge!
Next Steps:
250 Box Challenge
Thanks, I was using the graph paper to save time on drawing the frame mainly, I tried my best not to just follow those printed lines on the paper. As my excuse on redoing line, sometime I draw broken line with my fine liner, because ink does not flow probably onto the paper (may be a broken tip or paper). So I need to redraw it to see the line. Anyway, I need to draw more boxes now.
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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