TotalTempest

Hello Joserayberth, Congratulations on finishing lesson 2. I'll be giving you feedback, pointing out mistakes you've made as well as thing you did good.

Organic arrows

• Your linework is really good. The lines look confident and flow nicely.The arrows also compress well as they get gradually smaller towards the back.

• Hatching and added line thickness is also applied properly to which way the arrow is flowing. The line thickness is a bit heavy though. Usually only one additional stroke is enough.

• On a few arrows on the first page you've added lines along the length of the arrows. This is sometimes done to show direction/movement. But because we do that with perspective, hatching and line thickness these lines are not necessary.

Organic forms with contour lines

• The lines look good. The sausage shapes are drawn in one continuous stroke and the ellipses are drawn through multiple times.

• You are also varying the degree of rotation of your ellipses which is nice to see.

• Some of the ellipses over- or undershoot their bounds which isn't something to worry about now as we haven't done much with ellipses yet but you may want to pay attention to that with warm-up exercises.

• Some of the sausage shapes taper off to the ends while the goal is to keep them a consistent width. Also not much of a problem but something you want to keep in mind doing this or similar exercises in the future.

Texture analysis

• You've made a clear analysis of the textures and applied it to the gradients.

• Be careful not falling into the trap of using single lines as contours. The goal is to only create shadows and draw them by making black shapes rather than lines.

• The black bar on the left is still visible in your gradients. Try to integrate them into the gradient by adding big shadows on the left side so that there is no straight bar left.

• Also next time write down what the textures are as it helps with giving critique to know what I'm looking at. This also goes for the Dissections exercise.

Dissections

• The textures look very good here as well. It is evident you've put a lot of care in your drawing.

• The gradient from light to dark works nicely here to show the round shape of the sausages. And the added silhouette accentuates the texture nicely.

Form intersections

• Your linework on the base shapes looks good with clean confident strokes. Even the spheres and cylinders look pretty good, especially because this is the first time they appear in the course and they can be very tricky to get right.

• There are only a few obvious mistakes in the intersections: The cubes on the bottom of the first page have corners where two flat planes intersect which shouldn't be there and on the bottom of the second page where de cylinder and sphere meet there should be a corner along the edge of the cylinder. But overall you seem like you have a good understanding in how shapes interact in 3D space.

• When adding hatching on these pages it works best if they are all on the same side of the shapes (all on the left for example). This also requires hatching along the long side of the spheres and cones which you haven't done. How this works is explained here.

• Much like in the arrows exercise the added line weight is a bit heavy.

Organic intersections

• The piles look convincing. The added line thickness help define the shapes. The cast shadows also work well to convey the shapes and how they interact with each other. You've also drawn through the shapes nicely.

• On two of the sausage shapes of the first page there are thick black lines on top. If these are shadows they are in the wrong place and if this is added line thickness then much as before they are a bit much.

It was not required for this lesson but in other lessons please add your reference photo's to the imgur file as it really helps with giving feedback.

Overall very good work. Well done. You are ready to continue with lesson 3.

Hello! Overall you've done a good attempt, but the boxes have some issues:

The linework overall is pretty good and you've done a great job drawing lines cleanly with the ghosting method.

The main issue I could see is that sometimes your boxes have divergences. Boxes do have 3 sets of 4 lines, and these each set of lines converges together. The problem is that on some boxes all lines converge, but on others they don't, so I'm a bit worried you aren't understanding the concepts fully. Here are two examples.

If you have trouble making all lines converge, try following this tutorial. That being said, first I want to make sure if you know which lines are correct and which aren't so if you still have the pages of the boxes, I want you to circle the lines that should converge but that are diverging on the last 10 pages or so, just like I marked the ones on the example. Good luck and keep up the good work!

Your submission is very good! There is very little for me to critique here, honestly, you seem like you know what you are doing right now. The only real critique that I think might help is that you should ease up on the line weight in some drawings. I would recommend only drawing one extra line over top the initial line for line weight, and not getting too heavy with it. You should only apply line weight when you need a form that overlaps with another form and you need to differentiate them, and you don’t need line weight if they're is nothing behind it you need to differentiate it from. Heavy line weight can make drawings a bit messy especially when you layer multiple lines on top of another. Line weight is a fun thing to experiment with outside of drawabox, and I would definitely recommend messing around with it for the 50% rule stuff you do- but for draw a box exercises, keep it to a minimum of one extra line of thickness.

Maybe I am wrong, but it also kind of looks like you are using a marker or maybe a brush pen for line weight? Only use markers or brush pens for filling in shadow shapes, and use the pen for everything else.

But other then that, you did a seriously great job here. Give yourself a pat on the back and move on to lesson 4!

hi CHESEEY234 i will give feedback to your work

Line

superimposed lines is very well but the taller ones say u didnt make proper confident line with proper speed that what those wobbly lines say but muscle memory should be trained when u add this to warm up so you can build up some accuracy as i saw u did nice job but nothing will said in the shorter lines they are confident and good

This is not much of a problem but keep it in mind and don't put your pen on the paper until you want to draw the line confidently

ghosting lines are okay but thier is better

u forgot to put the ghosted planes but add them as warm up as it great to train ghosted lines

Ellipses

Table of Ellipses : u did nice job with oval but try to make higher digree as circles in the example

Ellipses in Planes: great jobe here but add to the warmup i put great warmup in those it recommended

Funnels: u did great jobe here

Boxes :

Plotted Perspective: Nothing to say here great job

Rough Perspective: in the second page some are not confidently drawn but it can be fixed as u go through the 250 box challenge

Rotated Boxes: i like the job u did u will get better if do it again to be more better

Organic Perspective: This one is not bad. You rushed through your lines and didn't give yourself enough time draw confdently , but there are healthy amounts of intersections and you gave a clear work into this.

Yo Elvenstar! your submission looks amazing keep up the good work mate. between congratulations on completing this challenge :)

Hi! this is Chiran and I'll try my best to provide solid and helpful analysis on your work.

before we jump into it, lets take a look at the abrreviations of (1,2 1nd 3 numbers)

1- The praises ( the job you did well in the challenge)

2- where you should keep an eye on

3- The work you can do to improve them in your warmups.

so yeah! lets start with the LINES;

1.

• The lines looks confident and are drawn from the shoulder so good job on that.

• Ghosting work is nicely done here ( meaning you did take time to plan and plot the starting and end dots of the lines before actually commiting to them)

2.

• there's nothing much to nitpick about. the improvements in the line work can be seen the later stages your submission, so nice!

3.

• continue to remind yourself to draw from shoulder and prioritize confident first always.

now moving on to THE BOXES:

1.

• you did take time to construct and experiment variety of boxes in your work so good job on that

• Checking your mistakes: your mistakes are slowly reducing in the challenge because of the line extention method (that is checking your mistakes by extending the correction lines away from the viewer) , because of this You got some pretty decent amount of convergence on the later boxes so good job on that too!

2.

• Coverging and diverging problem is still present in the later stages of the challenge. its pretty common so no worries but keep an eye on them to and continue to practice in your warm ups.

3.

• THE INNER CORNER PARADOX: In this challenge, we are estimating where our lines going to converge to a point. as we are humans, it is almost impossible to perfectly estimate where our lines will going to converge thereby resulting in an error. this error will continue to accumulate as we construct the box freely rotated in space. finally this accumulated error will be thrown to the back corner. So its pretty normal to have the inner back corner come out pretty off.

I want to take a look at this info here;https://i.imgur.com/8PqQLE0.png

In this image we can know that how each line will behave relating to the position from its neighbouring edges and the VP.So we can arrive at the conclusion that, If the distance between the internal edges and external edges gets reduce more and more they will eventually become parallel to one and another ( but keep in mind they will converge slightly at a negligable amount no matter what). Alternatively If the distance between the internal corner and the external grow more and more the internal line will also converge.

you can also try and start from the back corner if the box is narrower.https://imgur.com/a/DHlA3Jh.

if your aware of these notes, then you need to build mileage by including 1-2 boxes in your daily warm up routine. after that your boxes will get better and better.

try to experiment with your boxes and have fun with it. try to construct some bigger and extreme foreshortening boxes as well in your warm ups. experimentation, observation and results ( like in practicals :D) is always important for our growth.

*Moving on to the Bonus works ( this includes line weight, hatching )

1.

• good job on utilizing the hatching and line weight ( applied on the boxes silhouette) tool to create a solid box and continue to use them in your warm ups.

• hatching lines and super imposed lines are pre planned before execution so great job mate!

2.

• In my opinion it is best to avoid using whiteners to cover the mistakes. keep the mistakes as it is and try to move on thinking them as it is coreect and take notes of it to avoid in the future

3.

even for hatching and line weights we should continue treat every lines with respect How do we treat with respect?- first we should plan where our lines will start and end by plotting the points and ghost them several times ( hovering in motion) and draw them with confidence and from the shoulder.

MY POINT OF VIEW:

overall this was the solid submission!

we all know, this challenge was very intimidating because of constructing 250 boxes arbitrarily rotated in 3d and yet you did a great job by keeping persistent till the end with lots of effort, focus, energy and time so hats off for that. Be proud of What you have Accomplished

" A BOX A DAY KEEP OUR ISSUES AWAY"

Yes, We've come to the end of this feedback. overall, this was a solid submission Your submission reveals that you did take time to read through the lesson materials, followed the instructions and executed to your best of your ability. so that's good job!..thank you for submitting your assignment to the community.I'm confident that you will improve much better In the future by keeping the mistakes in mind in your Warm ups.

so yeah I'm allowing you to move on to Lesson 2 by marking the challenge as Complete.

Yippee ! we have completed this challenge. congratulations!. I hope this feedback helps . Have a wonderful artistic journey. keep goin. I'm awaiting to see your Progress.

Thank you ELVENSTAR!

Good job for completing your homework! : D

I'll take care of reviewing it, I'll try to be concise with the details.

Let's start

Arrows:

• Your arrows look well drawn, both in the fluidity of the lines and the sense of depth.

  I like that you have no problem folding them in on themselves.

Organic shapes / Ellipses and contour curves:

• The overall shape of your "sausages" looks good, nothing out of the simple.

• The ellipses are well aligned, and you are also trying to change their degree (thickness) properly; I know the latter will improve with time.

• The contour curves don't look bad, either.

• Still, you seem to be focusing a lot on how many ellipses and contour curves you draw.

The more of these you draw, the more likely you are to get tired and the quality of them decreases.

Just draw a couple, but well planned. Calculate the correct curvature that each one should have, and avoid making them look flat.

Texture Study:

• The textures themselves look good. But the transition from dark to light could be extended a bit more.

As in the last section of this image: https://d15v304a6xpq4b.cloudfront.net/lesson_images/7d1f3467.jpg

You'll notice that the dark section will have a denser, more embracing shadow pattern, which blends into the transition's starting bar.

Meanwhile, the light part will have smaller, less embracing shadows that barely touch each other.

Dissections:

• Your textures roll nicely into the sausage shape.

-It is also very helpful if you are modifying the silhouette of your dissections.

This way, you will get a better impact on the description of your shapes.

• In several textures you are focusing too much on outlining the shapes; when your focus should always be on the shadows cast.

Think more about identifying such shadows, and just take care of drawing those, nothing else.

Intersection of shapes:

• All the shapes look like they belong to the same scene because of their similar size and foreshortening, all good on that part.

• I see that you worked a bit with the intersections, if you still don't understand them don't worry; later we will see them again in more detail.

• Your mastery in drawing each shape is also very good, there are not many details I can mention here.

Organic intersections:

• The shapes look good resting on top of each other, that's great.

Still, you can always improve that effect; I recommend you to see the following image to clarify the subject:

https://i.imgur.com/KJQhpn8.png

To get a better sense of solidity and stability try to imagine that you are stacking water balloons.

• I like that you've captured how the shadows cast on the shapes are cast.

I know you will progress even more with practice.

Conclusion:

It is seen that you have understood the general themes of this lesson, so I will correct your lesson as Complete.

Best of luck in what follows, always with effort!

Hello I’ll be handling the critique for your 250 box challenge-

Linework

-You have done a great job with your lines, they are looking really confident while maintaining good accuracy which definitely helped your boxes look more solid and believable.

-I can see that you did not use lineweight, it is not a necessary requirement but it is important that you get used to it as you will be relying on it in future lessons. It is a useful tool to imbue or form with extra solidity, and it will avoid that your drawing just reads as a set of lines. Make sure to give it a try in the future.

-You only used hatching on a few boxes, this is another useful tool as it helps to clarify the orientation of our boxes in 3D space. The important thing to keep in mind is that you should keep it as tidy as possible, because those lines are sitting on a completely flat surface.

Box Construction

-You did a good job using the line extension method as they were always extended in the right direction, you did not struggle too much with diverging lines and your sets seem to converge, which is correct. Just keep an eye for lines converging in pairs as shown here , the more you practice the better you will get at this and eventually your lines will converge in sets rather than pairs. Also I wanted to quickly redirect you to this image which shows the relationship between each pair of lines and the angles they form respective to their vanishing points.

-I’d like you to play more with boxes with dramatic foreshortening, I think you stuck mostly to boxes with shallow rates of foreshortening with the vanishing points far away from the boxes.

-Also it is important that you try to experiment more with the orientation of the boxes, most of them look similar and I think you did not think much about the angles and proportions of the boxes. If you have trouble imagining or visualizing them, take a look at this image and use it as reference.

Those are the main things you need to keep working on, make sure to try all of the things I suggested here, keep in mind that experimenting is a good habit, as it helps us to better grasp the concepts we are learning and thus it gives us a more grounded knowledge.

Overall you did a good job here, I’ll go ahead and mark this as complete.

Looking over your work, the impression I'm getting overall is that you may feel that you are expected to be able to complete a given exercise in some set amount of time, and as a result of this self-imposed pressure, you're not necessarily giving each exercise, each page, each mark you draw the time and attention it individually requires.

Normally when I see a student who's running into those problems, I look around for other signs to confirm things. In your case, I did find some - for example, you submitted your homework as soon as the "cooldown" between submissions lapsed, which suggests that you may have been treating that date as a deadline rather than as a minimum meant to discourage students from rushing.

But when looking into this, I noticed that you actually submitted the 25 texture challenge for community critique before even having the box challenge marked as complete (due to the revisions that were assigned). In that submission, you mentioned you'd started the 25 texture challenge while working through the dissections... which throws the whole timeline severely out of whack, since you're not meant to move onto the next lesson before its prerequisite has been marked as complete.

The other issue there is that the 25 texture challenge is not something you're meant to complete in one go - students work on it in parallel as they work through the other lessons - starting some time after completing lesson 2 (since you should definitely be getting feedback on the texture analyses assigned there before embarking on this challenge), and completing it much further into the course. Some people don't finish it until they've completed lesson 7, though that's not a set thing. What matters is that they're doing one row of the challenge now and then, spreading it out and allowing the time in between to help what they're learning from it sink in.

At its core, I think the issue is that you're rushing - not intentionally, but your expectation of how long each task should take may be rather misguided. This not only results in you not investing as much time into each mark you draw (remember that you're meant to be applying the ghosting method, going through the planning, then preparation, then execution phases, for every mark you draw, except perhaps the textural marks), but also you perhaps not taking as much care as you should in reading through the instructions.

Now, I'm going to go through each exercise, and point out the overarching issues:

Arrows

• These aren't too badly done, but certain parts of the linework do tend to get a little wobbly/hesitant, which suggests you may be executing them from your elbow, or shifting to your wrist at times.

• The gaps between your zigzagging sections should be compressing as you look farther back, as shown here, to better demonstrate the depth and perspective in the scene.

Organic Forms with Contour Lines

• Your sausages are quite irregularly shaped, and are not adhering to the characteristics of simple sausages. While this is definitely not an easy thing to do, using the ghosting method, drawing from your shoulder, and slowing your execution down a little (while maintaining a confident stroke that doesn't hesitate or wobble) can help a great deal. Of course, make sure that you understand what these characteristics are, and keep them in mind as you draw. We're aiming for two circular ends of equal size, connected by a tube of consistent width.

• Your contour ellipses are very loose, suggesting that they're being drawn more from the elbow than the shoulder, and that you're not using the ghosting method.

• The unevenness of your contour curves suggest that they're probably being drawn more from the wrist - and again, not using the ghosting method.

• Also, remember that the degree of our contour lines will shift from narrow to wide as we slide along the form away from the viewer. This is explained in the lesson 1 ellipses video.

• You don't appear to be drawing through the ellipses at the tips of your organic forms 2 full times before lifting your pen, as discussed back in lesson 1.

Texture Analyses

This exercise is definitely meant to be challenging, and I don't by any means expect students to be able to nail it here, or even come close. That said, there are some definite areas where you're missing things from the instructions.

• Most notably, that solid black bar along the left side isn't there just to look pretty. It serves a specific purpose, to define the darkest, densest extreme we want our textural gradient to reach. Its edge would ideally blend seamlessly into the textural gradient, making it impossible or at least difficult to identify where the bar stops and the gradient begins. All of your bars are very clearly visible, because you didn't appear to be aware of this, and thus didn't attempt to blend it in. This is explained here.

• Reference images are extremely densely packed with visual information - they require a lot of patient, careful, consistent, and frequent observation in order to identify each individual textural form first, then to determine what kind of shadow shape it would cast. Your textures are very rushed, not showing that care and patience. I think you underestimated quite significantly how long this exercise should take you. As with everything, you should not be setting your own expectations or deadlines - your only focus is to take as much time as you can to complete each exercise to the absolute best of your ability. As soon as you assume that it should take a certain amount of time, you make that more or less impossible. Sometimes students will feel that they're expected to get whatever they're working on done in that sitting, or by the end of that day - but that's something they're making up for themselves.

Dissections

While these demonstrate the same impatience in a lot of areas, there are definitely some that are coming along better. This one for instance is quite well done, specifically because you took the time to design each and every cast shadow shape, then filled it in, instead of trying to design and fill them in all at the same time. As a result, you were able to convey much more clearly the actual 3D form structures that run along the surface of that object. This attention to how the shadow shapes actually relate to the textural forms themselves is exactly what we're after.

Form Intersections

The only issue here is that they're sloppily executed. The steps you're taking are correct, and the intersections themselves are coming along fine. Not all perfect, but the intersections themselves are not the focus of this exercise, and instead serve as an introduction to the challenge of thinking about how these forms relate to one another in 3D space. As far as the main focus - which is constructing forms that exist consistently with one another within the same scene (without inconsistent foreshortening and so on), you're doing fine.

It's just that you haven't taken the time with each mark that you should have, likely not investing as much in the planning phase of the ghosting method. I recommend you review the ghosting method notes to refresh your memory on what each individual step is meant to serve.

Organic Intersections

A lot of the same issues that come up with the organic forms with contour lines exercise come up here as well. Aside from that, the other thing to keep an eye on is your cast shadows. A lot of them still have a tendency to cling too closely to the form casting them, rather than being allowed to fall upon the surface beneath, wherever that surface may be, and however that surface might be turning in space. This is something you appear to be somewhat mindful of however, and I think you're moving in the right direction.

Conclusion

As a whole, the main problem is as I've mentioned many times - you're rushing. I can't say exactly what the cause of that rushing is (though I've called out a few possibilities that are not uncommon amongst students), but the marks you're drawing do indeed require more time - specifically in the planning and preparation phases of the ghosting method - to be executed to the best of your ability.

That's the key here - what you've submitted isn't your best, and accepting that this work does indeed take a considerable investment of time and that it cannot be avoided, will help you yield better results overall.

Unfortunately, I think the only way forward here is to have you do the lesson over. When you're done, submit it as a new submission, which will cost you 1 credit.