0 users agree
10:56 AM, Sunday May 3rd 2020

Hey there, good job making it through the 250 box challenge! It's definitely a bit of a slog but you made it and improved along the way.

Your line confidence is pretty good the whole way through and it's good to see you applying hatching and line weight to each and every one of your boxes. I did notice a tendency for some of your superimposed line weight to wobble a little bit so make sure you're still executing these with confidence.

In terms of your convergences, this starts off pretty strongly albeit with a few divergence issues here and there and improves over the course of the challenge. I did notice that you drew almost exclusively boxes with shallower foreshortening so it would've been good to have seen more of a balance with more extreme foreshortening. That said, by the end you're fairly consistently getting your lines to converge together mostly towards their shared vanishing point. There are some where they are still converging in pairs, so it might help you to think about the concept exhibited in this diagram, which shows the relationship between the angles of your lines - those on the outer silhouette converge at a steeper angle towards the shared vanishing point than those in the interior.

Overall, you've done a good job of the challenge, thanks to your consistent application of check lines, which has helped you improve your convergences.

Next Steps:

Feel free to move onto lesson 2.

This critique marks this lesson as complete.
3:47 PM, Sunday May 3rd 2020

Thanks for the feedback! Appreciate all the help. Moving on to Lesson 2.

Alan

This is an advertisement. Most of the links here are part of Amazon's affiliate program (unless otherwise stated), which helps support this website. It's also more than that - it's a hand-picked recommendation of something I've used myself. If you're interested, here is a full list.
Color and Light by James Gurney

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.

This website uses cookies. You can read more about what we do with them, read our privacy policy.