On the thumbs you need to work on loosening up and creating more. Need to have a page or more of just masses that suggest interesting compositions to you. You're too tight.
On the lines, same problem Alyssa is encountering, newness to linear perspective. Same advice, sit down with some arbitrary perspective grids and work out random simple shapes, then moving them to more elaborate shapes, carving in and out. Think about the difference in drawing a box versus a square. Right now the majority of your linework is making "squares" not "boxes" every edge should be conveying mass, just like the edges of a box do. for example, look at the ceiling of the upper left. There's a flat line running horizontally, but there's not another "edge" to tell me what this line is for, is it a thin box, a think box, a cutaway, a wall? Each time you place a line it needs to be communicating to the viewer some important piece of information.
I like the intent with the piece and think you should revisit it when you're more comfortable with linear perspective.
The perspective in your line art looks good, but like Alicia said, there are a lot of lines suggesting edges, but it's hard to tell what those are the edges of. It's hard to tell the purpose of each part of the composition, so edges with mass would help with that a lot and also give the drawing more depth.
On the thumbs you need to work on loosening up and creating more. Need to have a page or more of just masses that suggest interesting compositions to you. You're too tight.
ReplyDeleteOn the lines, same problem Alyssa is encountering, newness to linear perspective. Same advice, sit down with some arbitrary perspective grids and work out random simple shapes, then moving them to more elaborate shapes, carving in and out. Think about the difference in drawing a box versus a square. Right now the majority of your linework is making "squares" not "boxes" every edge should be conveying mass, just like the edges of a box do. for example, look at the ceiling of the upper left. There's a flat line running horizontally, but there's not another "edge" to tell me what this line is for, is it a thin box, a think box, a cutaway, a wall? Each time you place a line it needs to be communicating to the viewer some important piece of information.
I like the intent with the piece and think you should revisit it when you're more comfortable with linear perspective.
The perspective in your line art looks good, but like Alicia said, there are a lot of lines suggesting edges, but it's hard to tell what those are the edges of. It's hard to tell the purpose of each part of the composition, so edges with mass would help with that a lot and also give the drawing more depth.
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