Used pencil for the isometric grid, Micron pens for the outlines, and copics for the shading.

This was a nice one. Tried to be disciplined and not rotate the page. I've done these exercises for little over a year at drawabox and got proficient but... I always needed to rotate the page, which is fine when I'm playing with dip pens and brushes, the problem is that I never rotate the page when I draw so I need to try to build the habit of drawing straight verticals and horizontals without spinning the page like a DJ. To my fellow older manual laborers with arthritis and hand injuries I would recommend picking up some foam grips at the dollar store they help me a good bit. Just coat the inside foam tube with a q-tip amount of vaseline and they'll slide right on. I did mark and cut the lid to the micron with a pair of scissors so I can get the grip closer to the nib.

oof looking forward to seeing the critique and maybe bit more about the process. Spent entirely too much time with measuring lines/proportions and thinking about how I was going to do something "cool" when really I just need to just practice with the reference for many, many, more hours. It was kind of fun to use the T-square and triangle after so many years away from high school though... so not completely without joy. Hoping to do more on Monday, Happy Veterans day folks.

I really enjoyed doing this assignment; hopefully I did it right.

The perspective lines need a little work on the left hand side. I traced over them in red and blue. You can see how the blue lines are all heading towards the same vanishing point? The red ones need to be doing that as well for theirs. Hope that helps. (Note that I'm on a 100% accurate either but I give it the close enough)

I'm coming into this with a bit of perspective experience from Drawabox where I completed Lessons 1- 4 and the 250 Box Challenge which significantly improved my linework and perspective. I haven't drawn anything in a few months though so I want to to use this course as a way to sharpen my skills while also holding myself accountable by submitting work each lesson no matter how rough I think it may be. A lot of my favorite art comes from the concept art and graphic novel world and if there's any commonality among what I like it's grand scale. I love artwork that has large objects and expansive scenery contrasted with normal or even small elements. It's not shocking then that a lot of the artists I love draw vehicles, mechs, and architecture with some imaginary behemoths in the mix. 1-3: Syd Mead - I loved the original Blade Runner and Tron movies and a big part of that was because of the unique futuristic designs of the vehicles and cityscapes that are all thanks to Syd Mead. When I looked up more of his work I found ads he made for US Steel in the 60s and I love the crazy designs of the vehicles like in pictures 1 & 2 and the greenhouse in picture 3. It's pinnacle retrofuturism. Precision curves on things like architecture and vehicles are probably one of the hardest things I've ever tried in my art journey and I want to achieve the same mastery as him. 4-6: Feng Zhu - Another concept artist who did work for the live action Alita Battle Angel and Transformers movies. His vehicle designs are extraordinary and I love that he shows the different stages to his work. I especially love the 6th image of the train and, just like Mead, I want to have to same mastery of precise curves as he does. 7-9: Longque Chen - Surprise! Another concept artists who combines nature with machinery in incredible ways to make some of the most unique mechs and vehicles I have seen. Image 9 is especially impressive to me because not only is the Turtle shell covered in contour curves that show perspective it also has multiple signs, stairs, and other props hanging off of it to solidify its shape even more. I want to be able to have things perfectly interact in perspective just like he does. 10-14: Yusuke Murata - He seems to be pretty common on here and it's no surprise why. When it comes to the sheer size of creatures and scenes I haven't seen any that get to the same scale or have anywhere near the same dynamism. My favorite is image 10 where he's dynamically showing the perspective of a city-sized centipede, a human-sized robot, and a destroyed cityscape all in one drawing. I want to achieve not only his level of perspective but DYNAMIC PERSPECTIVE as well. 14-16: Craig Mullens - And finally I want to wrap it up with some of my favorite architectural and crowd concept art. I can't pick a favorite. Image 14 has incredible perspective not just for the soldiers but for the banners, elephants, and even the arches in the background. The perspective also gives the sense that there are countless more rows of soldiers just outside the frame. Image 15 has not only a crowd, but a crowd moving down a long path of steps with beautiful architecture right beside them and a unique mechanical Camal right in the middle. And finally Image 16 is probably my absolute favorite piece of architectural concept art just because of the sense of expansive city that the perspective from the top of a ball room gives. The perspective in each one gives a grand scale to each image and that's the mastery I want to achieve in all my drawings. I just love big things, especially futuristic big things, and I want the big things I make to feel imposing while also being sleek and dynamic. The smaller elements I add should interact in just as a realistic and dynamic way to sell the power and scale I want to capture.