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3:09 AM, Tuesday January 31st 2023
LINES / General
Your lines look confident and quite straight, good work!
Superimposed Lines:
I’d recommend having some lines go fully across the page. Some longer lines have a little arc/wobble - to counter arcing, it might be helpful to think of arcing the opposite way just a bit.
Ghosted Lines:
Your ghosted lines are confident, straight, and accurate, well done! Only thing I’d say is it’s fine to let them overlap.
Ghosted Planes:
I can’t tell if this was done, but make sure to plot out points for each line beforehand including the second dividing lines (if you did this and I just couldn't tell, good work!). I’d also recommend putting the planes closer together.
ELLIPSES - General
Your ellipses are drawn through 2 - 3 times and are accurate, good work! Some ellipses do wobble - we want to prioritize smooth and confident ellipses over accurate ones. Ellipses in the correct bounds won’t do much good if they’re wobbly.
Tables of Ellipses
Your ellipses’ minor axis are quite well aligned, and there is less wobble here, good work! There are some minor inaccuracies with sizing and spacing, but these will improve with practice + more confident ellipses.
Ellipses in Planes
Just the general critique applies here.
Funnels
Your alignment here is quite good! Make sure to have ellipses on either side of the funnel's shorter centerline, not one directly on it. The top/bottom left sections of the exercise don’t have curved lines - while this is interesting in itself, it won’t prepare us as much for the more organic forms of Lesson 2.
BOXES
Your boxes are well constructed, and make use of parallel lines and vanishing points, good work!
Plotted Perspective
You’ve set out your vanishing points, used careful hatching, and your boxes are well constructed, good job! I’d only recommend 1 - 2 more boxes per scene, and to push the middle scene’s vanishing points out more.
Rough perspective
You’ve taken your guidelines to the horizon and set out your points beforehand, good work! There’s one box with a bisected face, which isn't necessary for this exercise.
Rotated Boxes
Pretty much all your boxes are rotating correctly, good work! There are two boxes on the bottom right which aren’t drawn, as well as a few lines throughout. Hatching is also missing - it might help to make the exercise larger, to give you more space between lines (making it easier to add hatching and see which lines are/aren't drawn).
Organic Perspective
The swoopy lines have some wobble to them, and a couple boxes have quick foreshortening. Only other thing I’d recommend is a few more boxes per scene.
OTHER
A couple marks are redrawn/give line weight when unnecessary - speaking from experience, it’s hard to resist the urge to redraw lines, but it’s worth it. Your work will look much cleaner, and it's faster as well.
Not much else to put here, except that the critiques I’ve given here don’t mean you’ve done badly/failed the exercises. You came here to learn, and you’ve done just that - you’ve gained a solid understanding of the core concepts Lesson 1 teaches, well done!
Next Steps:
REVISIONS:
You’ve worked hard to get where you are! There are only two revisions I request:
On a single page:
-
Do 4 “8x lines” from the superimposed lines exercise - go across the entire longest side of the page, pushing forward and drawing confidently.
-
Construct 2 funnels, making sure there are two ellipses on either side of the shorter centerline of the funnel. Try to prioritize smooth, confident ellipses, even if it means losing accuracy.
Afterwards, put each Lesson 1 exercise into your warmups selection (specifically the rotated boxes and some ellipses exercises) - I would also recommend reviewing/reading the instructions for an exercise every week or so (which has helped me a lot). Keep moving forward!
The Art of Brom
Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.
The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.