dollsarescary

Thank you, Tofu.

I can see the points you talked about looking back at my work, and I'll try hard to improve on and implement the things you suggested. Thank you again for your critique and belief in me!

Thank you, great sage! Now could you explain curved intersections please?

Wow Uncomfortable, thanks so much for sharing your experience with this and recommitting me to the proper path! I think I was stuck because I kept vacillating. Now it's clear continuing to do the turtle with tremors thing isn't going to get better.

https://www.dropbox.com/s/3rw3crn4hz5075t/15%20Box%20Revision.pdf?dl=0

"15 Box Revision"

Hi, good ScyllaStew,

I reviewed all your material, practiced, and tried to increase the size of the boxes, push the convergences, make the silhouette weight lines taper more, and ghosted every single line including shade hatching.

Thank you very much for your attention and wisdom.

Daniel

Hi, ScoobyClub!

Thank you for your wisdom and encouragement! I actually watched that video before, but, wow, did it speak to me more germanely this time. I really do think I've past that first plateau, and I guess this is just a bit of a valley. But I realized how far I have to go, and I can't let the perfectionist expectations and negative appraisals counterproductively keep me from reaching my goals faster or at all. Also, I was inspired by your improvement in "see[ing] and draw[ing]" because the main reason I wanted to do Drawabox was to improve with 3D space and Construction, as well as that great quote I've never heard before.

Thanks again,

Daniel

Thanks for being so cool, ScyllaStew! Okay, in the future I’ll just let the work the speak for itself, and wait to commiserate until after the grading. Your encouragement really meant a lot, and I appreciate your substantial critique and respect your veteran wisdom. Also, I’ll definitely implement your method of plotting all the points first, as I always ran into the situation you describe of getting to the invisible corner and having two sets of lines working alright and one way off, but because I had already drawn all the other lines, I just had to go with it.

Please before I begin your follow up assignment could I ask you about three things?

1. About the line weight, I read somewhere Uncomfortable talking about adding line weight to only “localized” parts of a line, and the example you provided showed the weight not extending the full length of the line. For the silhouette of a box, do we want the extra weight lines to just match the original silhouette lines as much as possible though? And please, am I correct that this procedure of adding weight is similar to the first exercise of Superimposed Lines, but with ghosting of course, and as for the tapering and seamless blending, if I’ve already frayed by the end of the weight line I should just leave it right?

2. For the hatching, I think I was trying to make it too tight and ghosting that many lines seemed daunting—I think it was in your fineliner review videos where I saw you ghost the first line of hatching and then just continue on after that, but I know I’m not advanced enough to do that. If I have to ghost every single shading line could I make the hatching less dense?

3. And as for the convergences, I really cherish your hint you gave me about the middle lines appearing close to parallel, and I’ll work to make the other parallel lines not appear parallel but really converge in real 3-point perspective; however, is there any relationship you could describe about where to chart the vanishing points relative to each other? Should they all be at roughly the same distance? I just noticed when I mapped one significantly further or closer than the others, that box appeared more distorted, but I don’t know if an object would actually ever appear like this in reality.

Thank you so much again and I hope I didn’t overwhelm you with my requests and I look forward to getting more practice before moving on to Lesson 2.

P.s. I really love you and Uncomfortable and I feel honored to be one of your students.

Daniel

Hi, Liska.

Thanks so much for replying, and your encouragement really means a lot! I felt like a few dozen boxes was a lot, and I was bummed I wasn't getting better, but I guess that's why you have to draw 250...and do the whole rest of the course after. I've been using the Y generator for my first 100, and all the Ys appear to have obtuse angles. I never mastered perspective before getting into Drawabox, but I was just blissfully going along picking rather arbitrary VPs (and obviously attempting to make all the parallel lines go to their respective ones); then I started thinking--the first VP may have some variance in where it could be because that could do with the distance or size of the box, but after one VP is established (and the length of one line from each set) doesn't that actually lock in where the other two should be if the form is made of perpendicular and parallel lines? I don't know if this theory pans out.

Thanks again, and I wish you well with your own art!

Daniel

Hi, Rob. Thank you for your congratulations, your encouragement and corrections! I reviewed my work and noticed the problems I was having that you mentioned, but also noticed my own growth which I didn't really realize until you pointed that out also, so I'm very grateful to you. I'll definitely keep in mind which exercises you said to incorporate in warm-ups and come back to later and which concepts I need to review and be more conscious of. Also, I'm excited to take on the Challenge now! Please could I just ask, this is my official critique, right? Pardon, I'm still a bit confused about the process. I see you've completed the whole course, which is awe-inspiring to me and definitely my goal, and worked on many assessments, and you upped my status. I certainly value and appreciate your wisdom, so just so I check "Submit for Official Critique," my review will always come from a teacher, is that right? Thank you very much again, good Rob!

Thank you, Uncomfortable!

Please, should references be used for this 50%, or is it supposed to be all from imagination? I know I’m not supposed to care about the results, but when I tried using references I felt like I was just mindlessly copying the outlines, and from imagination, I realized I had not idea what anything actually looked like I wanted to draw (even things I’ve drawn from reference before). I read you saying it will be frustrating and hard at first, and thank you so much for the freedom of drawing like a child again and drawing all the things we want to draw but feel we’re not ready for yet; I know I need this breakthrough and time bisection as I obviously have a lot of resistance and experience misery where should be fun.