Hi, Rubydune! Congrats on completing the challenge, I'll be reviewing your submission.
Line quality -
Throughout the challenge, crisp & confident lines. Your lineweight is also good, nice to see that it's pretty subtle. Hatching is also fairly neat. Overall, great job on your linework!
Box construction -
Convergences have improved quite a bit. In the beginning your lines were mainly parallel to each other, but now I see that you've managed to fix that. I recommend for you to experiment with boxes that have shallow and dramatic foreshortening, to further develop your spatial perspective. Here is a resource to further develop your skills. (https://i.imgur.com/8PqQLE0.png) This image mainly focuses on the relationships between all the angles, and how you should utilize them in constructing your boxes.
Overall, you made good improvements. You've grasped the concept of convergence well, at the beginning you were mainly creating parallel lines. After you've recovered from this box overload you should continue to make boxes in your warmup! I'll mark this as complete, and if you haven't already, feel free to start lesson 2.
Next Steps:
Lesson 2!
Now that I've marked your lesson complete, feel free to critique other lesson 1 and 250 box challenge submissions. (It will be greatly appreciated!)
If you are unsure how to critique, check out this link. (https://pastebin.com/u/elodab) It features DaB lesson 1, 2 and 250 challenge critique guides :^)
Thank you so much for your critique Brianna. It is extremely useful and appreciated. I will definitely take your advice and practice different degrees of foreshortening, from shallow to dramatic, when practicing boxes during warmup routines.
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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