These are looking solid, good work.
I'll be marking your submission complete.
I hope you enjoy the promptathon and best of luck in lesson 3.
Next Steps:
Move on to lesson 3.
Hi there, I'll be handling your box challenge critique.
Not only does the challenge help deepen your understanding of important concepts but it shows your desire to learn as well. That being said I'll try to keep this critique fairly brief so you can get working on the next steps as soon as possible.
Things you did well:
Things you can work on:
You have some noticeable wobbling occuring in your lines. Each line should be planned using the ghosting technique and then drawn in a single smooth confident motion. Remember that line confidence is our top priority and that accuracy will improve as we continue to build up more mileage.
They're not a requirement of the challenge but I recommend practicing applying hatching (more than you currently are) and line weight in your future work. They're useful tools to learn and the only way to improve is to practice.
I'd like you to experiment with rates of foreshortening more. Currently you tend to keep your lines close to parallel and push your vanishing points far from your boxes. Try bringing your points in closer so that your lines have to converge more dramatically. Remember that experimentation is important.
In nearly all of your boxes you're placing at least one of your vanishing points between the viewer and your boxes. This leads to you extending your lines in the wrong direction and your boxes becoming distorted because your lines are actually diverging from where the vanishing point would actually be. Here's a guide I wrote that will hopefully help you place your vanishing points and line extensions more consistently. If you need some more examples you can find them here and a simplified guide below.
There are times when your lines converge in pairs or you attempt to keep your lines a bit too parallel which results in them diverging. This is an example of lines converging in pairs, and this shows the relation between each line in a set and their respective vanishing point. The inner pair of lines will be quite similar unless the box gets quite long and the outer pair can vary a lot depending on the location of the vanishing point. Move it further away and the lines become closer to parallel while moving it closer increases the rate of foreshortening.
The key things we want to remember from this exercise are that our lines should always converge as a set not in pairs, never diverge from the vanishing point and due to perspective they won't be completely parallel.
I won't be moving you on to the next lesson just yet, each lesson builds off concepts in the previous course material so if you move forward with un-addressed issues you end up just creating further issues on top of them.
Unfortunately there are a number of critical issues in your submission and many of them were clearly stressed in the instructions. I'll be asking you to draw an additional 100 boxes please. Focus on improving your line quality following the principles of markmaking introduced in lesson 1, extending your lines consistently in the correct direction, and experimenting with rates of foreshortening, This is a good opportunity to get some more practice in with hatching and line weight as well.
Once you've completed your boxes reply to this critique with a link to them, I'll address anything that needs to be worked on and once you've shown you're ready I'll move you on to the next lesson.
I know you can do this and look forward to seeing your work.
Next Steps:
100 additional boxes please.
Hi, I'll be handling your box challenge critique.
Currently your link just leads to a single page of boxes, please reply to this comment with a corrected link to the rest of your pages and I'll take a look as soon as I can.
Next Steps:
Submit the rest of your boxes.
Hi there, I'll be handling your box challenge critique.
The link you've provided leads to your lesson 1 work, that being said I did take a look at your account and noticed that you had posted your box challenge for non-official critique previously by mistake and was able to pull the link from that to see your boxes. In case you've lost the link you can find your boxes here.
Congratulations on completing the box challenge, it's definitely a lot more work than most people expect. Not only does it help deepen your understanding of important concepts but it shows your desire to learn as well. Be proud of what you've accomplished and that desire you've shown. That being said I'll try to keep this critique fairly brief so you can get working on the next steps as soon as possible.
Things you did well:
Good work drawing your construction lines confidently, this keeps your lines smooth and prevents wobbling.
When hatching you're taking the time to space each line evenly which shows that care and thought is being put into each line. This helps your boxes appear solid and tidy rather than rushed.
Seeing as how line weight is not a requirement of the challenge it's nice to see that you're applying it. It's a useful tool but one that most people need some mileage with before they feel comfortable applying it. Getting an early start like this will help you see better results sooner.
You're doing a great job of experimenting with orientations, proportions and rates of foreshortening. Experimenting is an important habit to build when learning any new skill, it helps form a more well rounded understanding. I hope you'll continue to display and nurture this habit in the future.
Things you can work on:
The key things we want to remember from this exercise are that our lines should always converge as a set not in pairs, never diverge from the vanishing point and due to perspective they won't be completely parallel.
Overall while you did make a few mistakes your boxes are improving so far and with more mileage you'll continue to become more consistent. That being said I'll be marking your submission as complete and move you on to lesson 2.
Keep practicing previous exercises and boxes as warm ups, and good luck.
Next Steps:
Move on to lesson 2.
Hi there, I'll be handling your box challenge critique.
Congratulations on completing the box challenge, it's definitely a lot more work than most people expect. Not only does it help deepen your understanding of important concepts but it shows your desire to learn as well. Be proud of what you've accomplished and that desire you've shown. That being said I'll try to keep this critique fairly brief so you can get working on the next steps as soon as possible.
Things you did well:
You're doing a good job of drawing the lines constructing your boxes smoothly and confidently.
It's nice to see that you're taking the time to plan each of your hatching lines and space them evenly. This helps keep your boxes looking tidy rather than looking like they were rushed on to the page.
Line weight isn't a requirement of the challenge so it's nice to see you're applying it anyways. Most people need to build up some mileage before they feel comfortable applying it so I always recommend starting early. The sooner you feel comfortable the sooner you see better results.
You're doing a great job of experimenting with orientations, proportions and rates of foreshortening. Experimenting is an important habit to build when learning any new skill, it helps form a more well rounded understanding. I hope you'll continue to display and nurture this habit in the future.
Things you can work on:
The key things we want to remember from this exercise are that our lines should always converge as a set not in pairs, never diverge from the vanishing point and due to perspective they won't be completely parallel.
Overall while you did make a few mistakes your boxes are improving so far and with more mileage you'll continue to become more consistent. That being said I'll be marking your submission as complete and move you on to lesson 2.
Keep practicing previous exercises and boxes as warm ups, and good luck.
Next Steps:
Move on to lesson 2.
Hi there, I'll be handling your box challenge critique.
Congratulations on completing the box challenge, it's definitely a lot more work than most people expect. Not only does it help deepen your understanding of important concepts but it shows your desire to learn as well. Be proud of what you've accomplished and that desire you've shown. That being said I'll try to keep this critique fairly brief so you can get working on the next steps as soon as possible.
Things you did well:
Your construction lines are looking smooth and confidently drawn.
It's good to see that you're taking the time to plan and evenly space your hatching lines. This helps keep your boxes tidy and makes them look more solid.
You're doing a great job of experimenting with orientations, and proportions. Experimenting is an important habit to build when learning any new skill, it helps form a more well rounded understanding. I hope you'll continue to display and nurture this habit in the future.
Things you can work on:
Line weight isn't a requirement of the challenge but I do recommend practicing it in your future attempts. It's an incredibly useful tool but one that people often require a fair bit of mileage before they feel comfortable applying it. The sooner you start to build up that mileage the sooner you'll see better results.
I'd like you to experiment with foreshortening more, currently you tend to keep your vanishing points quite close to your boxes which results in your lines convering quite dramatically. As mentioned here we want you to experiment with dramatic and shallow foreshortening so be sure to push your vanishing points further away at times so that your lines become closer to parallel.
There are times when your lines converge in pairs. This is an example of lines converging in pairs, and this shows the relation between each line in a set and their respective vanishing point. The inner pair of lines will be quite similar unless the box gets quite long and the outer pair can vary a lot depending on the location of the vanishing point. Move it further away and the lines become closer to parallel while moving it closer increases the rate of foreshortening.
The key things we want to remember from this exercise are that our lines should always converge as a set not in pairs, never diverge from the vanishing point and due to perspective they won't be completely parallel.
I would normally assign additional boxes if I feel you haven't experimented with foreshortening enough, but seeing as you've done this challenge twice already I don't feel it would be the most beneficial use of anyone's time. Be sure to practice pushing your vanishing points furhter away in your warm ups.
Overall while you did make a few mistakes your boxes are improving so far and with more mileage you'll continue to become more consistent. That being said I'll be marking your submission as complete and move you on to lesson 2.
Keep practicing previous exercises and boxes as warm ups, and good luck.
Next Steps:
Move on to lesson 2.
I'll be the TA handling your Lesson 2 critique.
You're making progress towards understanding the concepts introduced in this lesson and hopefully this critique will help you in your future attempts.
Starting off with the arrows section you want to be making sure you're drawing confidently to keep your arrows as smooth as possible, accuracy will come with mileage. You're doing a good job maintaining a consistent width as your arrows widen while moving closer to the viewer and with more mileage you'll become more consistent. It's good to see that you're trying to implement line weight, just remember that you want to keep your applications subtle and you'll become consistent with mileage. here are some things to look out for when applying it. I'd like you to experiment more with foreshortening in your future attempts, by utilizing it in both the arrows themselves as well as the negative space between their curves we can create a stronger illusion of an object moving through 3D space as demonstrated here.
Moving into the organic forms with contours exercise you're doing a good job keeping your forms simple, plenty of people tend to over-complicate them. You're keeping your line work confident here which is great, if you feel uncomfortable working with contours still don't stress, with more mileage it'll become more natural. Speaking of contours I'd like you to try and shift the degree of your contours more. The degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here.
In the texture exercises (more so in your dissections) you're focusing largely on outlines and negative space rather than cast shadows created by forms along the texture itself. This makes it difficult to create gradients with implied information which we could then use to create focal points in more complex pieces, by doing so we can prevent our viewers from being visually overwhelmed with too much detail. For more on the importance of focusing on cast shadows read here. I'd also like to quickly direct you to this image which shows that when we're working with thin line like textures if we outline and fill the shadow we will create a much more dynamic texture than simply drawing lines.
It's quite common for people to feel like they don't fully grasp the form intersections exercise, if you feel like you may fall into this category try not to stress too much. This exercise is just meant to get students to start thinking about how their forms relate to one another in 3D space, and how to define those relationships on the page. We'll be going over them more in the upcoming lessons.Your forms are looking quite solid here and they believably appear to belong in the same cohesive 3D space, good work.
While wrapping up your submission with the organic intersections exercise you show that you need a bit more time becoming comfortable with thinking of how these forms interact in 3D space and how they'd wrap around one another. Currently you're drawing the forms over one another rather than wrapping them around the forms below, try imaginging a plate of sausages being stacked upwards. I recommend trying to stack your forms perpendicularly rather than trying to keep them headed in the same direction to help make wrapping them around one another a smoother task. You're keeping your forms simple and easy to work with which is a good strategy to help produce good results. When it comes to your shadows you're pushing them enough so that they cast rather than just hugging the form that creates them which is a great start. Your shadows appear to be following a consistent light source, be sure to experiment with different angles and intensities when trying this exercise again in the future. I recommend pushing your light source to the top left or right corner of the page to start with, it's easier than working with a light directly above your form pile.
Overall this was a solid submission, while you may have some things to work on I have no doubt you will improve with more mileage. I'll be marking your submission as complete and move you on to the next lesson.
Keep practicing previous exercises as warm ups and good luck in lesson 3!
Next Steps:
Keep practicing previous exercise as warm ups.
Move on to lesson 3.
No problem.
Looking at your rhino skin, bricks and fugu skin as examples notice how you outline a form that would create a shadow (like the spines or bricks themselves) but don't really create the cast shadow itself, there's not really any shape for the shadow itself to fill. Compare this to the shadows you create for your organic forms in the organic intersections exercise.
I'll include a texture explanation that I've written down below as well which may help provide some clarity.
Explanation
First things first, open up this leaf texture picture, I find leaves are a good example and a texture that people are often drawn to and do incorrectly.
The first thing you may notice is that this image isn't in colour and instead in black and white, this is helpful because people often get distracted by shifts in colour and will try to darken an area in their drawing if the colour happens to be darker. We shouldn't rely on converting images to black and white but it is helpful and something you may want to consider when practicing.
Now if I handed a student this image and told them to use it for their texture exercises there are two typical outcomes I would expect.
The first is that they would draw all of the veins (or many of them if they aren't extremely patient), and this would be an example of focusing on outlines.
The second result that I would expect is that instead of drawing the veins themselves they would either fill the veins in completely with black or they would fill in everything but the veins completely with ink, and this would be them focusing on negative space.
This is where students get a bit confused at the start, they feel like they're looking at the image and drawing what they see but it comes out wrong. I should clarify that it's not necessarily incorrect, there is a time and place when obsessing over small details can be helpful but this is largely an exercise about learning how to imply information and thinking in 3D space. Remember that what we're learning here isn't observational drawing, it's constructional and while observation is definitely a part of the construction method there's an extra step that people tend to neglect in the beginning.
With that in mind let's go over the correct way to tackle these problems, bring up the leaf image (it's here if you closed it) and let's break down what we're working with. What people tend to neglect is that we're trying to think about the 3D space of the image we're observing and drawing. If we look at this leaf the veins are really just long organic forms, or cylinders if they're particularly rigid. The fleshy bit of the leaf could be thought of as either a plane or a thin box, and due to gravity's effect it will likely curve a bit (we don't need to think too much about it curving in this case because we're working so close up, but it's good to think of how the environment can have an effect).
To put it simply, a leaf is just organic forms that are intersecting with each other and a plane/box, just like the forms we practiced with in the form intersections exercise. With all of these forms in mind we can place a light source and depending on it's position and intensity we can create cast shadows much like we did in the organic intersections exercise.
An example of this can actually be seen in the picture itself. Let's just focus on the large main vein as well as the branching vein on the left. You'll notice that if you look along the bottom edge of the main vein there's a cast shadow, and on the right of the branching vein there's a shadow. From this information we can assume that the light affecting the leaf the most is somewhere to the upper left of the image and it's creating the cast shadows we want to draw.
This is an example of what drawing cast shadows might look like, it comes up early on in lesson 3 when Uncomfortable shows the process of drawing a leaf. You can see that he's not actually drawing the veins themselves, and instead just implying that they exist by creating cast shadows. Keep in mind that this leaf is fairly evenly lit and the point of the texture exercise is to work with light gradients but regardless it's a good example of what we're trying to achieve. There are times where capturing shadows doesn't immediately give the impression of what you're attempting to draw but it's just a single tool that you can use. You may not think that drawn leaf looks like a leaf, but if it was green, had a stem, and was attached to something that resembled a plant your brain would begin fill in the gaps until it goes "oh that's a leaf".
Implying information helps both the creator as well as the viewer, it saves the creator time from having to obsessively capture every tiny detail and it prevents the image from becoming too visually noisy and overwhelming for the viewer.
Craig Mullins is a painter whose work I appreciate a lot and I feel does an amazing job of implying information through shadow, colour and brush strokes. I highly recommend looking up some of his work if you'd like some examples of just how powerful implied information can be.
Hope this all helped, if it didn't feel free to ask any more specific questions that you feel may help provide you with a bit more clarity.
Also keep in mind this is all just something to keep in mind as you move forward, texture is difficult and we don't expect you to nail it first try, if you're actively focusing on cast shadows you'll continue to see improvement as you progress through the course.
Hi there, I'll be handling your box challenge critique.
Not only does the challenge help deepen your understanding of important concepts but it shows your desire to learn as well. That being said I'll try to keep this critique fairly brief so you can get working on the next steps as soon as possible.
Things you did well:
Things you can work on:
You have some noticeable wobbling occuring in your lines. Remember that line confidence is our top priority and that accuracy will improve as we continue to build up more mileage.
When hatching you want to have both ends of the lines touching an edge of the form they're being drawn on rather than being left floating. Usually when left floating like this it's caused by people hesitating while worrying about accuracy. Remember to take your time to space each line with the ghosting method, and then draw them confidently just like any other line, accuracy will improve with more mileage.
Line weight isn't a requirement of the challenge but I do recommend practicing it in your future attempts. It's an incredibly useful tool but one that people often require a fair bit of mileage before they feel comfortable applying it. The sooner you start to build up that mileage the sooner you'll see better results.
I'd like you to experiment with rates of foreshortening more. Currently you tend to keep your lines close to parallel and push your vanishing points far from your boxes. Try bringing your points in closer so that your lines have to converge more dramatically. Remember that experimentation is important.
There are times when your lines converge in pairs or you attempt to keep your lines a bit too parallel which results in them diverging. This is an example of lines converging in pairs, and this shows the relation between each line in a set and their respective vanishing point. The inner pair of lines will be quite similar unless the box gets quite long and the outer pair can vary a lot depending on the location of the vanishing point. Move it further away and the lines become closer to parallel while moving it closer increases the rate of foreshortening.
The key things we want to remember from this exercise are that our lines should always converge as a set not in pairs, never diverge from the vanishing point and due to perspective they won't be completely parallel.
I won't be moving you on to the next lesson just yet, each lesson builds off concepts in the previous course material so if you move forward with un-addressed issues you end up just creating further issues on top of them.
I'll be asking you to draw 30 more boxes. For the first 15 I'd like you to draw all 3 of your vanishing points explicitly on the page after you've drawn your initial Y shape, this will force you to work with vanishing points closer to your box. For the latter 15 you can go back to the original method which should hopefully be easier an easier task after the first 15.
Once you've completed your boxes reply to this critique with a link to them, I'll address anything that needs to be worked on and once you've shown you're ready I'll move you on to the next lesson.
I know you can do this and look forward to seeing your work.
Next Steps:
30 more boxes please.
Hi there, I'll be handling your box challenge critique.
Congratulations on completing the box challenge, it's definitely a lot more work than most people expect. Not only does it help deepen your understanding of important concepts but it shows your desire to learn as well. Be proud of what you've accomplished and that desire you've shown. That being said I'll try to keep this critique fairly brief so you can get working on the next steps as soon as possible.
Things you did well:
You're doing a good job of drawing the lines constructing your boxes smoothly and confidently.
It's nice to see that you're taking the time to plan each of your hatching lines and space them evenly. This helps keep your boxes looking tidy rather than looking like they were rushed on to the page.
Line weight isn't a requirement of the challenge so it's nice to see you're applying it anyways. Most people need to build up some mileage before they feel comfortable applying it so I always recommend starting early. The sooner you feel comfortable the sooner you see better results.
You're doing a great job of experimenting with orientations, proportions and rates of foreshortening. Experimenting is an important habit to build when learning any new skill, it helps form a more well rounded understanding. I hope you'll continue to display and nurture this habit in the future.
Things you can work on:
You tend to draw fairly small, I'd like you to draw larger in the future. Drawing large will help you become more comfortable working from the shoulder and allow you to see any mistakes you've made more clearly.
There are times when your lines converge in pairs or you attempt to keep your lines a bit too parallel which results in them diverging. This is an example of lines converging in pairs, and this shows the relation between each line in a set and their respective vanishing point. The inner pair of lines will be quite similar unless the box gets quite long and the outer pair can vary a lot depending on the location of the vanishing point. Move it further away and the lines become closer to parallel while moving it closer increases the rate of foreshortening.
The key things we want to remember from this exercise are that our lines should always converge as a set not in pairs, never diverge from the vanishing point and due to perspective they won't be completely parallel.
Overall while you did make a few mistakes your boxes are improving so far and with more mileage you'll continue to become more consistent. That being said I'll be marking your submission as complete and move you on to lesson 2.
Keep practicing previous exercises and boxes as warm ups, and good luck.
Next Steps:
Move on to lesson 2.
This is another one of those things that aren't sold through Amazon, so I don't get a commission on it - but it's just too good to leave out. PureRef is a fantastic piece of software that is both Windows and Mac compatible. It's used for collecting reference and compiling them into a moodboard. You can move them around freely, have them automatically arranged, zoom in/out and even scale/flip/rotate images as you please. If needed, you can also add little text notes.
When starting on a project, I'll often open it up and start dragging reference images off the internet onto the board. When I'm done, I'll save out a '.pur' file, which embeds all the images. They can get pretty big, but are way more convenient than hauling around folders full of separate images.
Did I mention you can get it for free? The developer allows you to pay whatever amount you want for it. They recommend $5, but they'll allow you to take it for nothing. Really though, with software this versatile and polished, you really should throw them a few bucks if you pick it up. It's more than worth it.
This website uses cookies. You can read more about what we do with them, read our privacy policy.
