Congratulations on doing 250 Boxes. This is trully a challenge, and one where it's easy to get lost in your drive to finish them that the quality drops near the end for many people. This isn't true for you, you kept your construction careful, and I feel you improved from the first box to the 250th.
That said, there is a certain kind of mistake that you tend to make a lot, and you've noticed it. You underestimate the angle of the back frame, and that ruins the whole construction.
Noticing it is the first step, and it's a good sign that you saw it. What you didn't do, and it's the second part in learning, is work to fix it.
You know that you understimate the angle. Now, when you construct your boxes, overestimate it. You think it's good, give it a bit of a more angle. Try it a few times, and you'll find out exactly how wider you should make it, and it'll become second nature.
Next Steps:
I would kindly ask you to construct 20 more boxes, keeping in mind the angle mistake you make most often.
Thanks for the critic. I tried my best to overestimate the angle, but some still did opposing (Seems like I need to do more boxes in warm up). For now, I try to think about how all those planes parallel to each other when I draw them.
It's quite alright, this course isn't about becoming perfect (hint: you won't). It's about realizing what works and what doesn't. And now you have a very good idea what doesn't and how to approach it.
Congratulations on finishing the challenge!
Next Steps:
Please proceed to Lesson 2, and keep practicing the exercises of Lesson 1 in you warm-ups.
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.
This website uses cookies. You can read more about what we do with them, read our privacy policy.
