Meta

Hey there, I'm Meta and I'll be your TA today, so let's get started.

Lines

Starting with your superimposed lines, you're doing a great job lining your pen up with the starting point and executing your lines confidently.

This trend of confident linework continues through your ghosted lines and planes, which is excellent to see.

Ellipses

Onto your tables of ellipses and these are off to a great start. Your linework is confident for the most part, you've selected a good variety of shapes and sizes of ellipses to practice, and you've kept them squeezed up tight against each other. Some of your ellipses are looking a little misshapen but this clears right up in your other exercises, which is good to see - sometimes it is just a matter of mileage.

Next your ellipses in planes are looking good, you've made clear attempts to hit the four sides of the plane while remaining confident and not over-focusing on accuracy.

Finally, your funnels are looking good - you're making solid efforts getting the ellipses aligned to the minor axis. Some of them do skew a bit towards the outer edges, but this is quite common and just a matter of mileage.

Boxes

Onto your rough perspective and you've made fairly successful efforts to keep the horizontals parallel and verticals perpendicular to the horizon line, though don't forget that the back of the box also needs to follow these rules. You've correctly applied the line extensions and your perspective lands in a pretty normal margin of error.

Your rotated boxes are off to a good start - you're keeping the gaps between the boxes tight and consistent, which has given you good cues about where to place the next one. You've got some rotation here, which is great to see, though you didn't nail the full range of rotation, tending to follow the vanishing point of the box you previously put down, however any level of success here is to be commended. That said, make sure to try and push through and finish your exercises, even if you're confused. Don't be afraid to mess up here, they're only exercises, not pretty drawings.

Finally, you're getting a good amount of variation in the size and rotation of your boxes in the organic perspective exercise which is really creating a cool sense of depth in each frame. The boxes themselves are diverging a bit in places, however like the previous exercise, this one is simply an introduction to the concepts you'll explore in depth in the 250 box challenge.

Hey there, I'm Meta and I'll be your TA today, so let's get started.

Lines

Starting with your superimposed lines, you're doing a great job lining your pen up with the starting point and executing your lines confidently.

This trend of confident linework continues through your ghosted lines and planes, which is excellent to see. There's a few little wobbles in the planes, so make sure you're not over-focusing on accuracy at the expense of your confident lines.

Ellipses

Onto your tables of ellipses and these are off to a great start. Your linework is confident for the most part, you've selected a good variety of shapes and sizes of ellipses to practice, and you've kept them squeezed up tight against each other.

Next your ellipses in planes are looking good, you've made clear attempts to hit the four sides of the plane while remaining confident and not over-focusing on accuracy.

Finally, your funnels are off to a good start - you're making good efforts getting the ellipses aligned to the minor axis.

Boxes

Onto your rough perspective and you've made fairly successful efforts to keep the horizontals parallel and verticals perpendicular to the horizon line. You've correctly applied the line extensions and your perspective lands in a pretty normal margin of error. There is a little bit of wobbling in some of your linework here too, so make sure you're taking the time to carefully, plan, and then confidently execute each one of the lines that make up the box. If you overshoot, that's preferable to a wobbly line, because we can work to bring the line back to being more accurate with practice.

You've given the rotated boxes a good go and it's great to see that you've drawn through each and every box. The gaps between the boxes could be slightly tighter to give you better cues about where to place the next one. You didn't manage to capture the full range of rotation, tending to follow the vanishing point of the box you previously put down, however this exercise is intended only as an introduction to certain concepts you will explore further throughout the course.

Finally, you're getting a good amount of variation in the size and rotation of your boxes in the organic perspective exercise which is starting to create a sense of depth in each frame. The boxes themselves are diverging a bit in places, however like the previous exercise, this one is simply an introduction to the concepts you'll explore in depth in the 250 box challenge.

Hey there, I'm Meta and I'll be your TA today, so let's get started.

Lines

Starting with your superimposed lines, you're doing a great job lining your pen up with the starting point and executing your lines confidently.

This trend of confident linework continues through your ghosted lines and planes, which is excellent to see. That plane that takes up the entire width of the page is particularly impressive in its execution.

Ellipses

Onto your tables of ellipses and these are off to a great start. Your linework is confident for the most part, you've selected a good variety of shapes and sizes of ellipses to practice, and you've kept them squeezed up tight against each other. Though in this exercise, you were inconsistent in drawing through your ellipses 2-3 times, but this did seem to clear up as you progressed.

Next your ellipses in planes are looking good, you've made clear attempts to hit the four sides of the plane while remaining confident and not over-focusing on accuracy.

Finally, your funnels are off to a good start - you're making good efforts getting the ellipses aligned to the minor axis.

Boxes

A quick note on your plotted perspective - you may have noticed some of the back lines of your boxes are not vertical - this can happen when there's slight inaccuracies in the lines used to plot the front of the box not going back to the exact vanishing point drawn. Something to keep in mind, as you will encounter this again.

Onto your rough perspective and you've made fairly successful efforts to keep the horizontals parallel and verticals perpendicular to the horizon line. You've correctly applied the line extensions and your perspective lands in a pretty normal margin of error.

Your rotated boxes are off to a good start - you're keeping the gaps between the boxes tight and consistent, which has given you good cues about where to place the next one. You didn't manage to capture the full range of rotation, tending to follow the vanishing point of the box you previously put down, however this exercise is intended only as an introduction to certain concepts you will explore further throughout the course. Do make sure that you draw through all of your boxes, even if it's a bit intimidating.

Finally, you're getting a good amount of variation in the size and rotation of your boxes in the organic perspective exercise which is starting to create a sense of depth in each frame, though if you wanted to push it further, you could play with the scale between the smallest and largest boxes as well as trying to overlap the ones closest to the viewer. The boxes themselves are diverging quite a bit in places, however like the previous exercise, this one is simply an introduction to the concepts you'll explore in depth in the 250 box challenge.

Hey there, I'm Meta and I'll be your TA today, so let's get started.

Lines

Starting with your superimposed lines, you're doing a great job lining your pen up with the starting point and executing your lines confidently.

This trend of confident linework continues through your ghosted lines and planes, which is excellent to see.

Ellipses

Onto your tables of ellipses and these are off to a great start. Your linework is confident for the most part and you've selected a good variety of shapes and sizes of ellipses to practice. The ellipses themselves are a little bit loose here, but that resolves itself as you progressed through this section.

Next your ellipses in planes are looking good, you've made clear attempts to hit the four sides of the plane while remaining confident and not over-focusing on accuracy.

Finally, your funnels are off to a good start - you're making good efforts getting the ellipses aligned to the minor axis.

Boxes

Onto your rough perspective and you've made fairly successful efforts to keep the horizontals parallel and verticals perpendicular to the horizon line. You've correctly applied the line extensions and your perspective lands in a pretty normal margin of error.

Your rotated boxes are off to a good start - you're keeping the gaps between the boxes tight and consistent, which has given you good cues about where to place the next one. You didn't manage to capture the full range of rotation, tending to follow the vanishing point of the box you previously put down, however this exercise is intended only as an introduction to certain concepts you will explore further throughout the course.

Finally, your boxes are looking nice and confident in the organic perspective exercise though you could've pushed the scale the scale between the smallest and largest boxes a little more to sell the illusion of depth. The boxes themselves are diverging a bit in places, however like the previous exercise, this one is simply an introduction to the concepts you'll explore in depth in the 250 box challenge.

Hey there, I'm Meta and I'll be your TA today, so let's get started.

Lines

Starting with your superimposed lines, you're doing a great job lining your pen up with the starting point and executing your lines confidently.

This trend of confident linework continues through your ghosted lines and planes, which is excellent to see.

Ellipses

Onto your tables of ellipses and these are off to a great start. Your linework is confident and you've selected a good variety of shapes and sizes of ellipses to practice, and you've kept them squeezed up tight against each other.

Next your ellipses in planes are looking good, you've made clear attempts to hit the four sides of the plane while remaining confident and not over-focusing on accuracy.

Finally, your funnels are off to a good start - you're making good efforts getting the ellipses aligned to the minor axis.

Boxes

A quick note on your plotted perspective - you may have noticed some of the back lines of your boxes are not vertical - this can happen when there's slight inaccuracies in the lines used to plot the front of the box not going back to the exact vanishing point drawn. Something to keep in mind, as you will encounter this again.

Onto your rough perspective and you've made a good effort to keep the horizontals parallel and verticals perpendicular to the horizon line. You've correctly applied the line extensions and your perspective lands in a pretty normal margin of error.

Your rotated boxes are off to a good start - you're keeping the gaps between the boxes tight and consistent, which has given you good cues about where to place the next one. You didn't quite manage to capture the full range of rotation, tending to follow the vanishing point of the box you previously put down, however this exercise is intended only as an introduction to certain concepts you will explore further throughout the course.

Finally, you're getting a good amount of variation in the size and rotation of your boxes in the organic perspective exercise which is starting to create a sense of depth in each frame, though if you wanted to push it further, you could play with the scale between the smallest and largest boxes as well as trying to overlap the ones closest to the viewer. The boxes themselves are diverging a bit in places, however like the previous exercise, this one is simply an introduction to the concepts you'll explore in depth in the 250 box challenge.

Hey there, I'm Meta and I'll be your TA today, so let's get started.

Lines

Starting with your superimposed lines, you're doing a great job lining your pen up with the starting point and executing your lines confidently.

That trend continues throughout your ghosted lines and planes, which is great to see. My only note would be to try to make your dots slightly smaller so that they can disappear more into the line once you lay it down.

Ellipses

Onto your tables of ellipses and these are off to a great start. Your linework is confident for the most part, you've selected a good variety of shapes and sizes of ellipses to practice, and you've kept them squeezed up tight against each other. On your first page, you weren't quite drawing through 2-3 times, but you corrected this in the following pages and I can see your comfort and confidence grow.

Next your ellipses in planes are looking good, you've made clear attempts to hit the four sides of the plane while remaining confident and not over-focusing on accuracy.

Finally, your funnels are off to a good start - you're making good efforts getting the ellipses aligned to the minor axis and your linework remains confident for the most part.

Boxes

Onto your rough perspective and you've made fairly successful efforts to keep the horizontals parallel and verticals perpendicular to the horizon line. You've correctly applied the line extensions and your perspective lands in a pretty normal margin of error. Line confidence definitely took a little hit here, but this is pretty common for students. Make sure you're not automatically trying to correct your errors by redrawing your line and remember to apply the planning/ghosting/confident execution steps for each one.

Your rotated boxes are off to a good start - you're keeping the gaps between the boxes tight and consistent, which has given you good cues about where to place the next one. You didn't manage to capture the full range of rotation, tending to follow the vanishing point of the box you previously put down, however this exercise is intended only as an introduction to certain concepts you will explore further throughout the course.

Finally, you're getting a good amount of variation in the size and rotation of your boxes in the organic perspective exercise which is creating a nice sense of depth in each frame, especially with the overlaps and difference in scale between the smallest and largest boxes. Some of these compositions look really cool! The boxes themselves are diverging a bit in places, however like the previous exercise, this one is simply an introduction to the concepts you'll explore in depth in the 250 box challenge.

Hey there, I'm Meta and I'll be your TA today, so let's get started.

Lines

Starting with your superimposed lines, you're doing a great job lining your pen up with the starting point and executing your lines confidently for the most part.

Your ghosted lines and planes are off to a good start, but make sure you're filling up your pages and not automatically correcting yourself by redrawing the line when you miss.

Ellipses

Onto your tables of ellipses and these are off to a great start. Your linework is confident for the most part, though you will need to keep practicing these in your warm-ups to get the second and third passes to land a bit closer to the first. You've selected a good variety of shapes and sizes of ellipses to practice, and you've generally kept them squeezed up tight against each other, which is good to see.

Next your ellipses in planes are looking good, you've made clear attempts to hit the four sides of the plane while remaining confident and not over-focusing on accuracy.

Finally, your funnels are off to a good start - you're making good efforts getting the ellipses aligned to the minor axis. Though here you are drawing through your ellipses far too many times - the recommendation is 2-3 times. In general, you might need to slow down your ellipses just a little bit in order to balance confidence against getting a reasonably accurate ellipse - of course, you'll need to experiment a bit and assess/seek feedback from the community.

Boxes

A quick note on your plotted perspective - you may have noticed some of the back lines of your boxes are not vertical - this can happen when there's slight inaccuracies in the lines used to plot the front of the box not going back to the exact vanishing point drawn. Something to keep in mind, as you will encounter this again.

Onto your rough perspective and you've made fairly successful efforts to keep the horizontals parallel and verticals perpendicular to the horizon line. You've correctly applied the line extensions and your perspective lands in a pretty normal margin of error. Though it's clear you initially became overwhelmed with the task put before you (as your line confidence dipped), it did improve over the course of the exercise.

Your rotated boxes are off to a good start - you're keeping the gaps between the boxes tight and consistent in the middle, which gave you good cues about where to place the next layer. As for your question about the corner boxes in your post, one of the places you came unstuck was in the second layer of boxes, because you stopped drawing through and started guessing because you didn't have those cues.

You didn't manage to capture the full range of rotation, tending to follow the vanishing point of the box you previously put down, however this exercise is intended only as an introduction to certain concepts you will explore further throughout the course. Make sure you're keeping up your line confidence, even when not 100% sure what you should do.

Finally, you're getting a good amount of variation in the size and rotation of your boxes in the organic perspective exercise which is starting to create a sense of depth in each frame, though if you wanted to push it further, you could play with the scale between the smallest and largest boxes as well as trying to overlap the ones closest to the viewer. The boxes themselves are diverging a bit in places, but your line confidence picked up again a bit more here, which is great to see.

Hey there, I'm Meta and I'll be your TA today, so let's get started.

Lines

Starting with your superimposed lines, you're doing a great job lining your pen up with the starting point and executing your lines confidently. Good work!

This trend of confident linework continues through your ghosted lines and planes, which is excellent to see.

Ellipses

Onto your tables of ellipses and these are off to a great start. Your linework is confident, you've selected a good variety of shapes and sizes of ellipses to practice, and you've kept them squeezed up tight against each other.

Next your ellipses in planes are looking good, you've made clear attempts to hit the four sides of the plane while remaining confident and not over-focusing on accuracy.

Finally, your funnels are off to a good start - you're making good efforts getting the ellipses aligned to the minor axis and your linework is still nice and confident despite the additional constraints.

Boxes

Onto your rough perspective and you've made fairly successful efforts to keep the horizontals parallel and verticals perpendicular to the horizon line. You've correctly applied the line extensions and your perspective lands in a pretty normal margin of error. Your line confidence takes a little hit here, so make sure you're taking the time to plan each line before confidently executing.

Your rotated boxes are off to a good start - you're keeping the gaps between the boxes tight and consistent, which has given you good cues about where to place the next one. You've managed a pretty good range of rotation here - any degree of success in this exercise is commendable since it's intended as an introduction to certain concepts that are explored further in the 250 box challenge.

Finally, you're getting a good amount of variation in the size and rotation of your boxes in the organic perspective exercise which is starting to create a sense of depth in each frame. Again, your line confidence has taken a hit here - when drawing boxes, try to treat each line as its own separate unit of work, as you would for one ghosted line or ellipse. Don't go over lines unless you're consciously trying to add line weight.

The boxes themselves are diverging a bit in places, however like the previous exercise, this one is simply an introduction to the concepts you'll explore in depth in the 250 box challenge.

Hey there, I'm Meta and I'll be your TA today, so let's get started.

Lines

Starting with your superimposed lines, you're doing a great job lining your pen up with the starting point, however there is a fair amount of wobbling in them as you try to course-correct. Speeding up a little can help you overcome this tendency.

This trend continues through the ghosted lines and improves significantly by the end of the second page of ghosted planes, so it's excellent to see that kind of growth, as it indicates you are assessing yourself and making small tweaks as needed.

Ellipses

Onto your tables of ellipses and these are off to a great start. Your linework is confident for the most part, you've selected a good variety of shapes and sizes of ellipses to practice, and you've kept them squeezed up tight against each other.

Next your ellipses in planes are looking good, you've made clear attempts to hit the four sides of the plane while remaining confident and not over-focusing on accuracy for the most part.

Finally, your funnels are off to a good start - you're making good efforts getting the ellipses aligned to the minor axis, though the linework here is slightly less confident, possibly because of the pressures of additional constraints - remember, it's okay to overshoot, as long as your linework remains confident.

Boxes

Onto your rough perspective and you've made fairly successful efforts to keep the horizontals parallel and verticals perpendicular to the horizon line. You've correctly applied the line extensions and your perspective lands in a pretty normal margin of error. Try not to correct your lines when you realise they're incorrect, as this undermines the principles of confident markmaking and adds unintended line weight, which you should only add when you intend it.

Your rotated boxes are off to a good start - you're keeping the gaps between the boxes tight and consistent, which has given you good cues about where to place the next one. You got a pretty good range of rotation in there, so we're not too worried about the edge squares, since their intent is as cue to the student to rotate their boxes.

Finally, you're getting a good amount of variation in the size and rotation of your boxes in the organic perspective exercise which is starting to create a sense of depth in each frame, though if you wanted to push it further, you could further push the scale between the smallest and largest boxes as well as trying to overlap the ones closest to the viewer. The boxes themselves are diverging a bit in places, however like the previous exercise, this one is simply an introduction to the concepts you'll explore in depth in the 250 box challenge.

The idea of the ghosting method is that you don't strictly need to look at your end point, because your muscles are primed from the ghosting, so I wouldn't necessarily say it's a problem. I would recommend trying to plan out your points first, ghosting a little to see if they still feel accurate and then placing another point as needed. Dots are free, lines are a commitment. :)

As for this other question:

Thank you for the input, just one question though: What do you mean on the organic perspective exercise that the boxes are diverging?

This just means that the lines of your boxes aren't consistently converging to their respective vanishing points. It is covered in depth in the 250 boxes material.