This website uses cookies. You can read more about what we do with them, read our privacy policy.
10:20 PM, Monday June 6th 2022
Printer paper (A4) is highly recommended, here we go.
1. Lines
Superimposed Lines: Good confidence in your lines, but some slight wobble is present along with slight arcing.
Ghosted Lines: (Slight) Wobble and arching is present.
Ghosted Planes: Wobbling is present in some of your lines, don't be afraid, being inaccurate with a straight line is better than being accurate with a wobble-meister. Also, remember to aim for that magic dot at the end.
2. Ellipses
Table of Ellipses: Some ellipses go slightly out of bounds, some ellipses also overlap each other. Most of them also are undershooting the boundaries. Some ellipses wobble here.
Ellipses in Planes: Few ellipses go slightly out of bounds and some are under-bounds. Some ellipses also wobble here.
Funnels: The minor axis does not split the ellipses evenly with the farthest ellipses. Some are egg-shaped and lopsided. Missing some of the bounds here and there
3. Boxes
Plotted Perspective: The exercise was completed accurately.
Rough Perspective: Same errors as the lines section(s). Also remember that vertical lines are perpendicular to the horizon, and that the horizontal lines are parallel to the horizon, as there are some not adhering to this rule.
Rotated Boxes: On the face of the boxes facing the viewer you keep things consistent, but the back side is a different story, you are not being consistent and the gaps are not consistent, too much guessing is present.
Organic Perspective: Try to keep the 'Y' above 90 degrees so the boxes don't look too distorted (this appears on some of the boxes). The same errors that were present in the lines section are also here.
Next Steps:
You should redo the rotated boxes so that the boxes are more consistent.
Keep doing good warmups, and these issues will go away.
Then move on to the 250 box challenge.
:D
Color and Light by James Gurney
Some of you may remember James Gurney's breathtaking work in the Dinotopia series. This is easily my favourite book on the topic of colour and light, and comes highly recommended by any artist worth their salt. While it speaks from the perspective of a traditional painter, the information in this book is invaluable for work in any medium.