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3:12 AM, Saturday January 16th 2021
Hello and congrats on completing lesson one. I'll be taking a look at your submission today. Starting with your superimposed lines these are off to a fine start. You are keeping a clearly defined starting point with all of your wavering at the opposite end. Your ghosted lines and planes turned out well. You are using the ghosting method to good effect to get confident linework with a pretty decent deal of accuracy that will get better and better with practice.
Your tables of ellipses are coming along well. You are doing a good job drawing through your ellipses and focusing on consistent smooth ellipse shapes. This is most carried over well into your ellipses in planes. I'm starting to notice that you are deforming your ellipses a bit in this exercise and it's continuing somewhat in your ellipses in funnels. https://drawabox.com/lesson/1/12/deformed This is likely happening because you are slowing down your stroke for the sake of accuracy. Although accuracy is our end goal it can't really be forced and tends to come with mileage and consistent practice more than anything else. Try and rely a bit more on the muscle memory you build up ghosting and almost make your mark without thinking. Your ellipses in funnels are looking pretty good outside of the deformed shapes you are getting on occasion. Your ellipses are off to a fine start part for the most part. You should worry a little less about accuracy for now and focus on getting consistently smooth ellipse shapes so make sure you keep practicing these during your warmups.
The plotted perspective looks great, nothing to mention here. Your rough perspectives turned out pretty good. You are getting a mix of confident linework here along with some wobble creeping back into some of your lines. Once again this is probably happening because you are more concerned with accuracy now that you are constructing boxes and you are slowing down your stroke to compensate. You are doing a good job extending the lines back on your boxes to check your work. As you can see some of your perspective estimations were quite off but that will become more intuitive with practice.
The rotated box exercise turned out decently. I like that you drew this nice and big as that really helps when dealing with complex spatial problems. You did a good job drawing through your boxes and keeping your gaps fairly consistent. You're not quite nailing your rotations which is perfectly fine given the difficulty of this exercise. This is a great one to come back to after a few lessons to see how much your spatial thinking ability has improved. Your organic perspective exercises are a bit of a mixed bag. You seem to be getting comfortable using the ghosting method and drawing from your shoulder for confident linework. Your organic perspective exercises are looking pretty good. You are getting confident linework for the most part which is good. Your box constructions are pretty solid but there are some wonky ones here and there so the 250 box challenge will be a great next step for you.
Overall this was a solid submission that showed a nice amount of growth. There's still some room for improvement with those ellipses so make sure you keep practicing them. Otherwise, I think you are understanding most of the concepts these lessons are trying to convey fairly well. I'm going to mark this as complete and good luck with the 250 box challenge.
Next Steps:
The 250 Box Challenge
The Art of Blizzard Entertainment
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.