mermanomania

Hello Tygerson, I'll be handling your lesson 4 critique.

Starting with your organic forms you're doing a good job of sticking to the characteristics of simple sausages that are introduced here. Sometimes a form has one end larger than the other, like this, try to keep them evenly sized in future.

Your contour curves are well aligned, and most of them are really smooth and confidently executed, nice work.

You appear to be drawing the majority of your contour curves with a similar degree. Keep in mind that the degree of your contour lines should be shifting wider as we slide along the sausage form, moving farther away from the viewer. This is also influenced by the way in which the sausages themselves turn in space, but farther = wider is a good rule of thumb to follow. If you're unsure as to why that is, review the Lesson 1 ellipses video. You can also see a good example of how to vary your contour curves in this diagram showing the different ways in which our contour lines can change the way in which the sausage is perceived.

Moving on to your insect constructions it's clear that you put a lot of thought into how to build your constructions piece by piece, and you're demonstrating an understanding for how the forms you draw exist in 3D space.

You're doing well but I do have some points that should help you get more out of these constructional exercises in the future.

The first of these relates to differentiating between the actions we can take when interacting with a construction, which fall into two groups:

1 Actions in 2D space, where we're just putting lines down on a page, without necessarily considering the specific nature of the relationships between the forms they're meant to represent and the forms that already exist in the scene.

2 Actions in 3D space, where we're actually thinking about how each form we draw exists in 3D space, and how it relates to the existing 3D structures already present. We draw them in a manner that actually respects the 3D nature of what's already there, and even reinforces it.

Because we're drawing on a flat piece of paper, we have a lot of freedom to make whatever marks we choose, but many of those marks would contradict the illusion you're trying to create and remind the viewer that they're just looking at a series of lines on a flat piece of paper. In order to avoid this and stick only to the marks that reinforce the illusion we're creating, we can force ourselves to adhere to certain rules as we build up our constructions. Rules that respect the solidity of our construction.

For example - once you've put a form down on the page, do not attempt to alter its silhouette. Its silhouette is just a shape on the page which represents the form we're drawing, but its connection to that form is entirely based on its current shape. If you change that shape, you won't alter the form it represents - you'll just break the connection, leaving yourself with a flat shape. We can see this most easily in this example of what happens when we cut back into the silhouette of a form.

For example, I've marked on your work here in red where you cut back inside the silhouette of forms you had already drawn. Sometimes I think you accidentally cut inside forms you have already drawn where there is a gap between passes on your ellipses. There is a way we can work with a loose ellipse and still build a solid construction. What you need to do if there is a gap between passes of your ellipse is to use the outer line as the foundation for your construction. Treat the outermost perimeter as though it is the silhouette's edge - doesn't matter if that particular line tucks back in and another one goes on to define that outermost perimeter - as long as we treat that outer perimeter as the silhouette's edge, all of the loose additional lines remain contained within the silhouette rather than existing as stray lines to undermine the 3D illusion. This diagram shows which lines to use on a loose ellipse.

On the same image I marked in blue where you attempted to extend your silhouette without really providing enough information for us to understand how those new additions were meant to exist in 3D space. For the legs, this really highlights the importance of "drawing through" and completing your forms by including the parts you can't see. Imagine you are drawing these constructions like you have X-Ray vision, don't cut your forms off where they get obscured by something else in your reference. For the antennae, a single line is infinitely thin, and doesn't really provide enough information to convey form. I'd suggest using either the branch construction from lesson 3, or sausage forms. This may result in something chunkier than you see in the reference, but remember our goal isn't necessarily to reproduce the reference image at all costs, but rather we treat is as a source of information. What matters most of all is that you hold to the 3D structure you're building up, and that you do not undermine its solidity under any circumstances. If that means the end result not matching up perfectly in some ways with your reference, that's fine.

Instead, when we want to build on our construction or alter something we add new 3D forms to the existing structure. Forms with their own complete silhouettes - and by establishing how those forms either connect or relate to what's already present in our 3D scene. We can do this either by defining the intersection between them with contour lines (like in lesson 2's form intersections exercise), or by wrapping the silhouette of the new form around the existing structure as shown here.

This is all part of understanding that everything we draw is 3D, and therefore needs to be treated as such in order for both you and the viewer to believe in that lie.

You can see this in practice in this beetle horn demo, as well as in this ant head demo You can also see some good examples of this in the lobster and shrimp demos on the informal demos page As Uncomfortable has been pushing this concept more recently, it hasn't been fully integrated into the lesson material yet (it will be when the overhaul reaches Lesson 4). Until then, those submitting for official critiques basically get a preview of what is to come.

I'm noticing a tendency to start your construction off lighter, and then increase the weight of your marks as you progress. This can encourage us to redraw more of the structure than we strictly need to. I would strongly recommend that you maintain roughly the same thickness of line throughout the entire construction, applying further line weight for clarifying overlaps only towards the end.

The next thing I wanted to talk about is leg construction. It's good to see that you’re using the sausage method of leg construction on most of your pages. It's not uncommon for students to be aware of the sausage method as introduced here, but to decide that the legs they're looking at don't actually seem to look like a chain of sausages, so they use some other strategy.

The key to keep in mind here is that the sausage method is not about capturing the legs precisely as they are - it is about laying in a base structure or armature that captures both the solidity and the gestural flow of a limb in equal measure, where the majority of other techniques lean too far to one side, either looking solid and stiff or gestural but flat. Once in place, we can then build on top of this base structure with more additional forms as shown in these examples here, here, and in this ant leg demo and also here on this dog leg demo as this method should be used throughout lesson 5 too.

So, I can see you're working on using the sausage method, and I have a couple of notes that should help you take these constructions to the next level as you move forward.

• The above point about altering the silhouette of forms you have already drawn applies to leg constructions too. Try to avoid altering your legs with single lines or partial shapes.

• There are a couple of pages where you'd added a few extra contour curves along the length of your sausage forms. Here is an example. This is noted on the sausage method diagram as something to avoid, they tend to stiffen the construction.

• Instead, we apply a contour curve for the intersection where the sausage forms join together, as highlighted in red on this coy of the sausage method diagram I can see you've included these on a few of your legs, but not very consistently. These little curves might seem insignificant but they do a great deal to explain how the sausage forms connect together in 3D space, so be sure to remember to include them in future.

Alrighty, you're doing a great job with this lesson. I've given you some things to work on, but they can all be applied to animal constructions so I'll go ahead and mark this as complete. Please refer to this critique as you work through lesson 5, the various diagrams and demos I've shared here should help you tackle your animal constructions. Best of luck.

Hi there. Welcome to Drawabox. I'll be breaking the critique down section by section, so let's get right to it.

Lines

Your Superimposed lines show some common errors. The biggest of these is wobble. It's not too severe, but noticeable enough. I do note, however, that this is less prevalent in the arcing lines you drew, and mostly ironed out by the time you get to the Ghosted Lines and Ghosted Planes exercises, so good work there. There is also a little more fraying at the origins of your Superimposed lines than the ideal. Remember that, while we're prioritising confident strokes, the starting point of a line is the one place you can take time and be sure of full control, so bear that in mind. Again though, I see improvement as the exercises go on, so good work, and keep at it!

Ellipses

You seem to be very comfortable with curved lines, as the linework on your ellipses shows a lot of confidence. You are properly drawing each one twice through, and they all fit fairly snugly in your tables with little to no overlsp. Good stuff! There are one or two spots in your Ellipses in Planes and Funnels exercises where you lose consistency and confidence though, so these might be good exercises to work into your warmups or regular practice until you feel more comfortable with them. Some of the minor axes in your Funnels exercise are a little off-centre, meaning that they don't cut each ellipse into two symmetrical halves like they should, though the majority are fine. For this issue, I can only recommend taking your time to plot your lines when that kind of precision is required. (Confidence is still key, and it doesn;t need to be perfect, but it the halves should at least look symmetrical at a glance.)

Boxes

Your lines are still fairly confident here, though not always exactly in proportion, especially on the Organic Perspective exercise. Again, it's okay to take all the time you need to plot your lines carefully, and this should help push your results to the next level of quality. You are properly drawing through your boxes, and on the Rough Perspective exercise you have done a satisfactory job keeping the lines either parellel or perpendicular to the horizon line. The prespective is not bad for this stage, and hopefully using the line correction method has given you more of a sense for this, which will help you in future exercises. It would have been nice to see some crosshatching on the appropriate faces in the Rough Perspective and Rotated Boxes exercises, but this is not required. I can see that you tried to give some lines extra weight by going over them again, which is good, but again I'd recommend taking more time to plot those lines as they aren't overlapping enough to create the sense of space you're going for. I's also like to congratulate you on applying fairly consistent rotation to your Rotated Boxes; this is hard and many people struggle on their first attempt.

Hi Keisari42, I will do what I can to give you some pointers on this lesson

First of all, thank you for actually submitting the reference pictures along with you drawings, it makes it so much easier to critique.

Despite what you said, I actually think your sausages are pretty good! A couple of you tubes end up getting smaller or bigger on one end. Try to think of them as two equally sized balls with a tube connecting them.

For the wasp demo, the basic construction looks good. You did not draw the ribbing and segments on the abdomen and the legs though. I would recommend fully finishing all the tutorial videos like this, because even if it takes a long time to add all those armor plates and little bits of construction, it will be good practice.

You did a very good job here! The insect drawings are very clean. There is not much for me to critique here. The few things that might help you out is to remember to draw the intersections of forms. I I can see that you did this in at least one of your exercises in the legs, but if you had them overlap even more it might be even better. Adding the form intersections, especially in the legs, will make the entire image look more connected and solid. Kind of like this

https://d15v304a6xpq4b.cloudfront.net/lesson_images/7f789bfa.jpg I

Every here and there it looks like you get carried away with detail. Remember to draw the shadow shapes and not the outlines of the texture.

There is the occasional spot where it looks like you lost confidence and tried to redraw a form, and it gets messy. Don’t do this. Even if you mess up badly, stick to the line you drew.

That’s it! Move on to lesson 5!

Hiya! My name is Keisari(42) and I'm here to offer you some thoughts on your submission. Before getting into it, great job getting Lesson 2 done! You've reached farther than the vast majority of people who try out Drawabox, and I'm hopeful you'll go on to finishing the whole thing.

Thinking in 3D

Your Organic Arrows frankly look pretty darn amazing. You're doing great in pushing their foreshortening and exploring 3D space and having them behave accordingly, as well as applying line weight and hatching properly. The main thing I have to point out is that you seem to sometimes be repeating your marks, which should not be done at any point in the course; working with your mistakes is one of the main ideas Drawabox attempts to teach. Another thing I'd suggest is that you should abide a bit more to the fact that each curve of an arrow is but shifted copy of the opposing one, just being stretched by the way perspective works. This image by user betweenskyandsea explain this nicely.

Your Organic Forms are also excellent. They're very well constructed, nicely smooth and confident, and you've shown a pretty good understanding of the way the degree of ellipses shifts as they move through space. I have nothing to add.

Texture and Detail

All of your work in this section of the lesson looks excellent, and I really have little to nothing to say. You're mainly drawing cast shadows rather than outlines and thinking in terms of shapes rather than lines, your marks are very purposeful, you're able to convey texture amazingly well even with the limitation of only being able to use two values, the transitions on your gradients are seamless, you're taking advantage of the silhouette and the textures are wrapping around the forms very well. One thing to nitpick on though is that you probably should avoid textures that rely more on reflection, like metal and plastic, as it's pointless to try conveying them using only cast shadows and you've indicated the way light affects their surfaces instead.

Construction

The main objective of the Form Intersections exercise is to make the forms seem as if they are on the same scene by taking advantage of shallow and consistent foreshortening, and you've done amazing in that regard. The actual intersections are secondary, but even there you've done incredibly. Some of your forms miss hatching, but that's very much so irrelevant.

Following the overarching theme I've set with the rest of this critique, you can probably guess what I think about your Organic Intersections. Terrific job capturing their water balloon properties, making them stable and making good use of line weight and cast shadows.

This is a wonderful submission overall, and I'd be lying if I said I didn't feel some envy from your work here. You have tons of experience, and it shows. Congratulations!

(P.S.: Took a look at your 250 Boxes submission since it looks like you didn't receive any critiques, and those look outstanding as well. Only thing I'd suggest is experimenting with different orders of finding the planes, if you haven't done so already.)

Hello! I'm Keisari42, and I'm here to critique your work today. Before anything, great job on finishing Lesson 1! This journey is a tough one, but simply by taking the first step you've already gone further than many.

Lines

Your lines mostly look fine. They look pretty smooth, and you're doing good in not repeating any lines. However, it looks like you'd benefit from further internalizing the idea that confidence is a higher priority over accuracy by further mentally separating the stages of the ghosting method and perhaps experiment with laying down your marks with greater speed -- the moment your pen touches the paper to draw a line, you are to forget all about hitting any ending points, as that job was exclusively of the ghosting part of the process; you simply go on and do it without any hesitation, its path already having been determined. That point being made, your other biggest technical mishap is that quite a bit of arching is present, and for that I'd suggest further emphasizing the use of your shoulder as the main pivot of your arm, and if even then your lines continue to arch a lot, you may try consciously arching in the other direction.

Ellipses

Your ellipses look pretty good and you're doing a great job in prioritizing confidence over accuracy and keeping them smooth rather than deformed. That being said, you're not-so-infrequently drawing through them way more than 2-3 times which can make them lose a lot of solidity, as well as obscuring your mistakes, so keep in mind that doing so is a crucial part of the process and should not be taken lightly; going for drawing through them 3 times is also rather dangerous as you can easily bypass the range accidentally, so I'd recommend you make drawing through your ellipses 2 times only a main goal in your warmups, even if that makes them look worse for some time. Additionally, you seem to have misunderstood the Funnels exercise a bit -- the shorter line you initially do represents a 0° ellipse, facing away from the viewer, and as such the first ellipses you do should be placed against it, rather than through it.

Boxes

Your boxes look pretty good, and for the most part you seem to have gotten a grasp of all the information that's presented in this section. Your line quality suffered a bit, and for that I'd like to note that every single mark on Drawabox should be made as carefully as you did them on the first sections of this lesson, but that's a common mistake. Rotated Boxes looking weird is very much so an universal issue and as such you did a fine job. One thing I'd suggest is try thinking harder about the spacing and size of your boxes relative to the viewer in the Organic Boxes exercise; their placement in space.

All that having been said, you did a good enough job and you'll have plenty of time to work on all of that with your future warmups, as well as your next step in Drawabox -- the 250 Box Challenge. Good luck!

For your ghosted lines, you are doing fine as I can see they are more confident and straight. Your curved lines could be a bit tighter toward the center if you want to improve on that; yet, you are following the curves you originally laid down.

Your tables of ellipses are better than my first attempt s they are tight around the center and are well focused. The issues I see are mainly on the ends of your ellipses; however, this being you first attempt you are doing very well so don't beat yourself up on the areas I pointed out that could be improved.

For your funnels, you have acheived being able to keep the ellipses within the boundaries very well. What I recommend here is to focus on tightening your additional passes so they are closer to being over your original 1st pass for each ellipse.

Your ellipses in planes are very well done, again you managed to stay within the edges of the planes. Great job for your first attempt.

The drawing you have of your boxes in perspective have lined up with your vanishing points are very well done and each box looks like you have achieved the goal for that exercise and lined up each box perspective to the vanishing points. Bravo, on being accurate with your VP's.

For your sphere of boxes, you have done very well to keep them all within a clearly defined circle from the shape language I see around the edges of all boxes drawn. This is not an easy exercise by any means for anyone during the first attempt. I don't see any need for improvement here. You crafted it very well.

In the rotated boxes exercise, you could work on ensuring each edge of the boxes are straightened more instead of curved. The good of what I see is your diversity of angles and rotations, while still following the curve of the line you had drawn. Very well done!

Don't forget to spend 5 to 10 minutes using some of the Lesson 1 exercises as warm ups in the future so you can keep improving your perspective and muscle memories. The more you are consistent about using Lesson 1 exercises as warmups before doing your next exercises the more you cumulatively improve. Hope this helps.

Don't worry about being perfect with your Lesson 1 exercises. Overall, you passed what was needed to complete lesson 1.

Greetings, Plainquaido! I'm Keisari, and I'll be the one critiquing your Lesson 1 submission today. Before getting into it, great job on finishing Lesson 1! The hardest parts may be still to come, but you've kickstarted your journey and ventured further than many.

Lines

Your lines, and really mark-making in general, look great. They look confident and smooth, show little to no signs of arching nor hesitation, and I can't find a single instance of you repeating any of them. You're doing an amazing job engaging your shoulder and prioritizing confidence over accuracy, although they still undershoot here and there. I praise you for your work here.

Ellipses

Like your lines, your ellipses are also remarkably good. You're drawing through them 2-3 times, with very few instances of bypassing that threshold. They look incredibly smooth and confident, only looking slightly deformed in infrequent occasions. I have nothing to add, although something I'd suggest for your future warmups is practicing smaller ellipses in your Tables of Ellipses, filling the space between the bigger ones.

Boxes

Following the trend set by your work in the previous sections of this lesson, your boxes look excellent. Your line quality seems to have suffered a bit, but that's normal. You've demonstrated a great understanding of everything that's presented in this lesson and I really have little to nothing to say. One thing you seem to have missed, however, is that the further the boxes in Rotated Boxes are, the greater the space to neighboring boxes should be, and you're not quite pushing that enough. That's quite nitpicky however, and you'll have tons of time to work on that and everything else with your next step here at Drawabox -- the 250 Box Challenge! Don't forget your warmups.

Hey, Doc! Perhaps you recognize me, but anyhow, I'm Keisari and I'll be the one responsible for critiquing your Lesson 2 submission today. Before we proceed, congratulations on going through Lesson 2!

Thinking in 3D

Your Organic Arrows look good. You're drawing confidently, making correct use of line weight and hatching, and making good use of space. Some of them are sloppy, but that'll improve with practice. One thing I'd like to suggest, though, is that you push their foreshortening further and be more adventurous exploring 3D space -- try and make them approach or get distanced from the viewer at more extreme rates; let arrow segments overlap other segments of the same arrow; vary the spacing between and size of each fold more... Experiment and exaggerate. That will further your understanding of 3D space.

Your Organic Forms also look great and I don't have much to say about them, although it seems you should work on the confidence of your ellipses.

Texture and Detail

Overall, your textures are fantastic and I struggled to find anything to critique. Something I noticed in your Texture Analysis exercise is that the black bars are pretty clearly visible, so you should try and push the shadows more in order to achieve a more seamless transition. On your Dissections, I noticed you seem to do form shading on a couple textures, such as this one and this one. As tempting as it might be, you should not fill in anything but cast shadows, be it form shading, color variation or anything else, even if it's difficult to convey a texture that way. Generally, if you can't properly convey a texture with only cast shadows, you should probably stay away from it in Drawabox's approach.

Construction

For your Form Intersections exercise, you did well abiding to the main goal of doing consistent and shallow foreshortening, albeit there are some cases where you did more extreme foreshortening, mainly in your box-only page, but I presume that to be unintentional. Your forms are very well constructed, you're applying hatching correctly and although it's secondary, you also did great on your intersections. Even then, if you wish to understand them further, I'd recommend checking out the Forms Intersection First Aid Pack and this website, if you haven't already.

Your Organic Intersections also look pretty good -- they're simple, drawn through, confident and you did very well regarding their contour lines and making them stable, capturing their water baloon properties, although I suggest you push their physics a bit further in that regard -- for example, this sausage should sag into the crevices inbetween the sausages below it, although I understand it can be difficult to get that right markmaking-wise.

Hello, my fellow Random_Broke_Arteest! I'm Flippy, and I will be critiquing your submission today. Let's get right into it!

Superimposed Lines

Your first page of lines looks very good. There's a bit of curvature to some of your lines, but it is minimal, so don't worry about this. It will decrease with milage.

On your second page, the longest of your lines have some wobbling. This could be a case of not drawing from your shoulder. https://drawabox.com/lesson/1/2/pivots It could also be that you are drawing them too slowly, giving yourself the opportunity to correct your the line's trajectory by eye.

A final point I'll make here is that some of your lines don't begin from the same point as the starting line, causing fraying on both ends. Remember to take your time when beginning your stroke, aligning it to the same starting point as the previous strokes. https://drawabox.com/lesson/1/9/fraying

Ghosted Lines

Your ghosted lines look good. There are some instances of undershooting/overshooting, but it's nothing too major. Keep the information in the aforementioned links in mind, and your lines will continue to improve.

Ghosted Plains

It appears you were a bit confused as to which points to connect your lines to. Just remember that the plains should end up looking like simple squares with Xs connecting all four corners, no matter how distorted the plain becomes. https://drawabox.com/lesson/1/11/step3 The majority of your lines drawn, however, look good.

Ellipses in Plains

Your ellipses look very well placed and evenly shaped, for the most part, with a few becoming distorted. My only advice here is that you cut down on the number of passes on your ellipse, drawing through them only 2-3 times. This will help clean them up further, as the overlapping passes become tighter.

Funnels

Again, very good job in placing the ellipses here. They fit nicely into the confines of the curved lines.

There is one example of your ellipses coming unaligned with your center line/minor axis, but I can see the real issue was with the center line/minor axis being off centered in the first place. It happens to me too.

I like how you experimented with different sizes of ellipses. In the future, I'd encourage you (though this is optional) to try putting more emphasis on the shift in degrees of the ellipses, starting very narrow in the middle, and increasing the degree as you move towards the ends of the curves, ending with close to a full circle. https://drawabox.com/lesson/1/14/step3

Tables of Ellipses

On the first page, your ellipses look good. They look well placed, and symmetrical, like they would divide nicely into two even halves. 

On the second page, they still look good, however, there are larger gaps between some, and it appears you've drawn through certain of them only one time, while for others, you've drawn through more than three times. I know I already mentioned this, but just try to keep the number of passes between 2-3 times (two, preferably, and three at maximum). https://drawabox.com/lesson/1/12/drawingthrough

Plotted Perspective

I see a lot of extra lines at first, and I'm unsure of their intended purpose. It could be that you were getting confused or lost in all of the overlaps and lines converging towards the vanishing points. This is understandable. Your boxes themselves, however, look fine, and there are fewer instances of unnecessary lines on the third panel.

Try puting thicker line weight on the outer lines, that make up the silhouette, rather than the inner lines. https://drawabox.com/lesson/1/15/step8

Hatching, in the context of this course, is used to define the plain that is closest to us. You used it correctly for the majority of the boxes, but there is at least one drawn incorrectly. (I'm looking at the rightmost box on the third panel.) I just thought I'd point that out. For the most part though, hatching is optional.

Rough Perspective

Some of your angles came quite close to their intended targets, while others were far off. This is expected when starting out, and your ability to make educated guesses concerning perspective will improve in time.

Some of your lines are beginning to wobble/curve again. Always remember to take your time and ghost through them. This applies to the course as a whole. 

Keep in mind that, in one point perspective, all width lines are horizontal. https://drawabox.com/lesson/1/6/infinity

Rotated Boxes

Now, let me first say that this exercise is supposed to be difficult, and you did an excellent job with it.

The whole point of the exercise is to observe the angles of neighboring boxes to then make educated guesses of the next stage of rotation. You did great with this. All I can say here is to keep at it, sharpening your understanding of objects in relative space. Good work!

Organic Perspective

Great job conveying depth by varying the sizes of your boxes. This is especially noticeable on your second page, as you made greater use of overlapping boxes.

Always remember that boxes consist of three sets of four parallel lines, which converge to their own vanishing points. https://d15v304a6xpq4b.cloudfront.net/lesson_images/bef4343d.jpg You will learn more about this in the 250 Box Challenge.

As a final note, I noticed that you redrew some of your lines in these exercises. Please refrain from doing this in the future. I know it is difficult to resist the urge to correct our mistakes, especially when we know we could have done better, (I still struggle with this myself!) but it's for the best we draw the line, then move on, regardless of how good or bad the result. Allowing ourselves to redraw a line disincentivize us to draw it properly the first time. Don't worry too much about it though, there will always be another line for you to draw with the best of your ability.

And that concludes the critique! I think you did a great job with the first lesson, and I am confident that you are ready to move on to the 250 Box challenge!

Key points to remember:

• Draw through ellipses 2-3 times (two, preferably, three at max)

• Boxes consist of 3 sets of 4 parallel lines

• Do not redraw lines

•  And, as always, prioritize confidence over accuracy

I won't request any revisions, but just remember do the exercises learned in lesson 1 from time to time, as warm ups, to keep your skills sharp!

Hey there! I will be looking over your homework today ^^ Congrats on making it through the first lesson :>

I will be pointing out what I think you did well before explaining where I believe you have room to improve. If needed, I will ask you to do some revisions before sending you on your way.

Lines: I think you're doing a good job with the lines. You're aiming to place one confident line, bringing it from Point A to Point B. Fraying in the first assignment is normal to this degree and you'll improve on it if you decide to incorporate this assignment in your warm-ups, but I think this is totally fine. Throughout the lessons you also seem to be improving.

Ellipses: Your ellipses are looking good as well! Confident and smooth. One thing I noticed is that you seem to have trouble reaching all of the borders in the Table of Ellipses assignment. The assignment is to fit all the ellipses neatly within their respective boxes, also neatly against each other. You tend to have several openings here and there. I think you're improving by the Ellipses in Planes assignment, but you might want to keep an eye on it!

Boxes: Your boxes look good as well! Your lines are confident and smooth most of the time. The rest is just a matter of exercise so I wouldn't bother worrying about it. Just keep working on these things in your 15 minute warm ups and you'll be good to go!

This should be all, I don't think there's anything I could ask any revisions for, good job! You can head onto the 250 Box Challenge. Wishing you lots of luck and patience!

Also, your nail polish looks amazing!