Working my way through the 250 boxes challenge, here is an example page:
I'm going to submit this for official critique once I'm done, and I was wondering if this is too cluttered for the instructors to review? If so, should I do less boxes per page, or switch from using just red to using different colors for different axes?
I asked the same question when I was doing it and 5 or 6 per A4 page is fine. Remember to vary size and foreshortening so as you are testing different perspectives.
I think different colours for each axis is very helpful, I think the only actual requirement is that it is different to your inking pen.
Thanks for the advice! :)
It's not too cluttered, but another separate issue is that you appear to be drawing these boxes as though all their vanishing points are at infinity. That is not correct - all these sets of lines should have concrete vanishing points with actual convergence to them, be it gradual or rapid.
Hi uncomfortable!
I try to mix it up a lot, going from very close vanishing points (with dramatic foreshortening) to vanishing points very very far away, which is what this page was.
I take it I should skip the infinite vanishing points completely and just do distances where the convergence is visible?
Thanks for the advice ^^
It's more that the infinite vanishing points aren't something you choose - they occur based on the orientation of the box (or rather, a given set of lines). If a set of lines are running perpendicular to the viewer's angle of sight (so straight across from left to right, or straight up and down, without slanting towards or away from the viewer), then the vanishing point will be at infinity. If not, there should be a concrete vanishing point.
Due to the nature of a box, you can only ever have up to two sets of lines in a box that meet this criteria (hence why there's no "zero point perspective" - that's more the territory of axonometric/isometric projection, which is a separate method of depicting 3D space from perspective projection). Furthermore, since these boxes are being rotated randomly in space, we can pretty much assume that they'll never align so perfectly with the viewer's angle of sight, so it's better to stick to 3 concrete vanishing points for all of them.
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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