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2:39 PM, Monday April 20th 2020
Heyo, TA qzhans here!
Before we begin, I just want to congratulate you on giving those 250 boxes a good ol’ pen and ink smackdown. It is a MASSIVE undertaking and you’ve joined the prestiged club of its completers.
You’ve painstakingly drawn through all your boxes and extended every single last line out to check your errors, and your boxes have been better for it. Indeed, you’ve made a marked improvement throughout the set, and your general understanding of convergences is getting pretty solid.
The first advice I can give is to remember that even when reinforcing your lines, draw confident lines using the ghosting method. It seems you started out doing this, resulting in a lot of double lines, and started to reinforce with slower lines, resulting in the disappearance of double lines but the appearance of very wobbly, shaky lines..
Additionally, you have drawn a lot of your boxes quite small. I would say 2-6 boxes is a good number per page, as you want to do some especially big ones. This also allows you to do very flat or long boxes, which you should try.
Also, although you've done a pretty good job with convergences, some of your middle back lines are still stubbornly not jumping in line with the rest of them. That’s okay, and is something that gets ironed out over time, but I’ll offer some advice. When you go to draw a line, think only about the lines that are supposed to be parallel to it (share a vanishing point). Lines closer to an existing line will converge slower, while the opposite is true for lines further away.
Overall, I like how your understanding of convergences developed over the set. As long as you promise to keep track of your linework, I feel good about waving you onto Lesson 2!
Next Steps:
This critique marks this lesson as complete.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.