Hi!
I redid the extra pages you recommended. I still don't realy feel confident about them. I get fustrated a lot, especialy when I start making mistakes on the third or forth sausage. I feel that i shoul continue with these exercises. i'll focus on them as oart of my warmups.
These are phenomenally better. Your organic intersections are looking very solid now, and you've done a much better job of nailing the simple sausage forms in your organic forms with contour lines. I do feel that you're still struggling with getting your contour curves/ellipses' degrees correct. With the contour curves they all seem consistent once again and with the contour ellipses I think you're getting them a little backwards.
You tend to put the widest ellipse in the middle and the narrowest ones out towards the ends. If anything, it'd be the other way around - narrowest one in the middle and widest ones out to the sides, assuming this sausage is sitting directly in front of you. Alternatively you might have it narrower on one end (the end closest to you), and wider on the other end.
Anyway, this is something you can continue working on in your warmups, so make sure you're paying special attention to this concept. You'll also run into it in the branches exercise from the next lesson. I'll go ahead and mark this lesson as complete.
Next Steps:
Move onto lesson 3.
Thank you for the feedback. I understand now what you mean by getting the ellispes backwards, I will try to focus on that. I still feel that all my form intersections all look a bit samey. I think I need to force myself to experiment with them more.
Should I start doing the texture challenge in parallel with lesson 3, or should I wait to start that? What about the cylinder one?
You're welcome to start the texture challenge in parallel with lesson 3 and onwards. Cylinder challenge is best done after lesson 5, and it is a prerequisite for lesson 6.
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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