Ahh, I think I see what you mean. Just to be clear, the kinds of mistakes you shouldn't be attempting to fix are when you put a mark down on the page, and it doesn't end up going where you mean for it to. Once a mark's been put down, you're committed. In regards to the box subdivisions, little inaccuracies will inevitably occur, and we may adjust our marks to compensate for them, but we're not ever drawing the same line twice.
I have done 4 additional drawings here :
I had to try quite hard not to correct mistakes as I made quite a few. Sorry as the fan turned out a bit of a mess and my ellipses did not go well on that one. I've tried to take on board your advice, but I think I still have a lot of room for improvement.
Thanks again for all your feedback!
All in all, I think these are definitely moving in the right direction. Your ellipses at times are still certainly an area of weakness, but that is simply one of the reasons we allow students to use ellipse guides for this lesson and those that follow. Ellipses require a lot of practice and mileage, more than I expect students to get even when doing regular warmups with the Lesson 1 exercises.
While these constructions are all coming along decently, I'm very pleased with your hairdryer.
I'll go ahead and mark this lesson as complete.
Next Steps:
Feel free to move onto the 25 wheel challenge. I do highly recommend that you pick up an ellipse 'master' template if possible. Master templates give you a range of degrees to work with, all on one sheet, but have more limited sizes. This'll result in smaller wheel drawings, but that's fine. It'll help you focus more on the core of the exercise, rather than on just drawing your ellipses well - and best of all, it won't cost an arm and a leg like full ellipse guide sets do.
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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