Svendogee

Wow. Frankly, these are excellent. Everything feels solid, and your use of solid tone to clarify plane separations is handled with a mature and level hand and will come in handy for the wheel challenge. Your note about the table legs for not needing another plane? Spot on! Your use of breaking up curves of the knife block into segments is excellent.

I am sorry I don't have more to give you. You did great work. You are ready for the next challenge.

No apologies needed! You are on your path and your pace.

Thank you for taking the time to go over this again. The spray bottle feels much more solid and purposeful this time. One thing I will point out is your ellipses are skewed and should be aligned to their minor axes (which in this case are perfectly vertical), so keep that in mind, and maybe get some ellipse guides if your circumstances allow. It would definitely come in handy for your next step - the 25 wheel challenge. Keep up the good work.

No need to apologize - spaghetti is what we kind of expect in this lesson. I'd rather that than not enough time and energy being spent on subdivisions etc. Let's take a look at your work.

Your form intersections have a nice foundation. You clearly know how to put down forms in space and you are understanding their relationships with one another. The first thing that jumps out to me is you are getting in the realm of applying clean up passes as described in the lesson material. I'm not going to give you any hassle over it, just something to keep in mind. I can't find many places to correct with your intersections. This cylinder box intersection is about the only thing I could see. You have it drawn as a sphere intersecting with the box, but since the cylinder is straight along its axis, then it would have a straight line intersection with the plane of the box before blending into the radial curve of the cylinder. This is VERY minor, but it's a good spot to point out how to think about how each of the surfaces behave in isolation and when they are interacting with one another.

Moving on to your objects, let's start with the deodorant. The construction is solid, and you took a lot of care with your orthographic projections. Love to see that! Your forms are there, and you're drawing through everything well. I drew up a couple notes here With the ribs, I only did a few, but wanted to show how you can imply things with cast shadows like in lesson 2 textures instead of drawing all the forms. The top just got a bit heavy and messy with the line weight so keep on ghosting and practicing that. On the bottom I wanted to show how to get a more accurate circular form. I started with the green ellipse and then expanded it out for the purple. It's the exact same as doing a cylinder in box from the last challenge. I will fully admit digital makes it infinitely easier, but it's good to practice.

Love the bell. Great job with all these co-axial ellipses. Only thing to note - watch your minor axis alignment with the very top ellipse.

Audio interface. A nice classy box with some good detail work. Make sure your ellipses are lined up as such.

Ellipses are pain, we all will suffer their rage!

The mug looks good. I will admit I went back to check your proportions because it looks odd, but it's all correct! This is a good time to discuss intent when choosing a POV. We normally won't see a mug with dramatic foreshortening like this, so it looks odd to our minds. It's all about intent. Did you want to make it feel like we are way above looking down on this mug? If so, that's fine. You technically did everything you were asked to do, but with students who have a good grasp on the lesson material I like to start giving a bit more to think about. With a cup, most of the time we would just be drawing a cup to show a design, so the top box would be more appropriate, but if we were a fairy coming upon a human land, then the second one would be a good introduction to fairy vs. human scale. Anyways, enough rambling. Good cup!

Scissors and mouse are good, just keep working ghosting your curved lines to avoid the chicken scratch.

I like that you tackled something so complex as the bike pump for your last object. It's good to push ourselves and really apply lesson material in this way. The first thing I checked for was minor axis-ellipse alignment and you didd a great job with all of them. Your lineweight and control is great here, and your forms are solid. The only thing I would have liked to see is a bit more clarity on the pneumatic cylinder. I basically just gave a bit more line weight to the forms in front and then reinforced the silhouette of the cylinder because the bottom plane was heavier on the weight and made it appear as if it were just two floating ellipses (discs) instead of a unified cylinder.

Overall you've done a great job. You are ready to move on. Keep up the good work.

Hi Morsrael, I am going to just rip the band-aid off. I am going to have to ask for a complete re-do of this lesson. There are numerous issues, and I believe I will be able to provide a more complete and useful critique if those are addressed first.

For now, let's go a bit deeper into things.

The first thing that jumped out to me was you were using multiple pens to construct and clean up. This goes against the instructions which state that we are to only use one pen with no switching for "clean up passes." This is displayed in your constructions, as well as your form intersections with stark difference in line weights.

Additionally, you are getting a little too much into texture and we really don't want you worrying about form shading at all in this lesson. (The form shading are those curved hatching lines trying to help convey form). These things are getting in the way of what we want to focus on - solid construction and learning how to study objects, ( i.e. break them down with orthographic studies), and re-build them in space. While orthographic studies are not strictly required, they are a great benefit and I suggest that on your next pass you try and include them on at least some of your objects. You can go back and do the same objects again, but take your time and use all the tools you can to your advantage. For instance, since you can use a ruler, make sure to use it to help visualize how lines extend in space so you can verify your convergences.

Your form intersections are good, so just do one page of those with a single pen, but you will be asked to do the 8 pages of everyday objects again. This is just considered a revision, so no additional credits will be required. You can submit your revisions as a reply to this thread.

Hey there. I'll be going over your lesson 6 work so let's get right to it.

Off the jump, I'm seeing you show a solid grasp of how forms behave in space in relation to other forms. For the most part your intersections are clean and well-informed (not to mention your excellent draftsmanship).

I am just going to point out a few places where we could improve on. When it comes to form intersections, I like to think about the "principle contours" that describe a surface. The simplest one, funny enough, is the sphere. It is simple because no matter the orientation or the path you take around a sphere, you are on an ellipse. So let's take this intersection and look closer at it. The principle contour of the sphere is an ellipse. I determined its degree by trying to imagine the degree of the ellipse that would fit into the top plane of the box, to keep the perspective in order. From here, the actual intersection is pretty straight forward.

The same principle applies to this cylinder cone intersection, but a little more complex. The principle contour of the curved surface of the cylinder (and cone) are also ellipses, but they can be oriented a with a little more complexity as I show here. So what we must do is take liberties and design our world. I went with a basic ellipse and left it faint so you can see the subtle difference from yours. Additionally, we must take into account the curve of the cone which causes a subtle transition at the beginning/top of the intersection.

You're on a great start though, and as you move onto lesson 7 where you will get more applied experience with these compound curves, your sense of it all will only get better!

I like the care you took with your orthographic study of the tape dispenser. The only thing I want to point out is your ellipses for the tape itself are not aligned with their minor axis all the way. Ellipses in space are hard! If it helps, you can build a bounding box around where the cylinder will exist, like you do in the 250 cylinder challenge.

Pretty much the same things go for the pencil sharpener. I drew out what I mean, and to show some minor adjustments to align things. When it comes to these lesson 6 objects I like to start trying to get students to think about intent. With dramatic 3 point perspective, it's usually to show well...drama, or scale. There's nothing technically wrong with drawing a sharpener in such a view, but it can over complicate things and give a feeling that something is just off about it. Especially since these objects don't have much discernible convergence at their scale.

Nice job with the mini arcade cabinet! You did a good job aligning your ellipses for the buttons to their minor axes. Just remember that a sphere in any perspective will always be a circle and you can add a contour line to convey form. (This is for the central joy stick)

Great job on the mouse. You did a lovely job analyzing the forms in orthographic views and applying the techniques in the demo to show a proper understanding of the methods. Your line weight looks a bit scratchy where you were trying to reinforce so keep that in mind to try and be deliberate and methodical when applying more weight. Using the ghosting method and your arm, etc.

Great job on the germ-x bottle too! I want to point out when "closing a silhouette" of an object, you should go to the outermost point, as shown here. The way you had it would imply we see none of the side, which obviously is only true in a straight-on view. I also like to sometimes add these contours (in purple) along the front and side of an object when it's a large, somewhat plain, form to help reinforce to the viewer how it looks.

I think the candlestick and holder was a great choice for a final object to push yourself. Because you're doing a great job, I have to find things to nitpick. For these cast shadows, try and stick with solid tone (I used seafoam just so you could see easier).

Overall, you've done a fantastic job and I'm marking your lesson as complete. Keep up the good work and good luck on the 25 wheels.

Oops! Sorry about that...typo messed with link formatting. It is fixed now.

Good job on completing lesson 6, let's get right into it.

Starting with your form intersections you've done a pretty good job managing all of the complex information thrown at you. Before getting into any of the actual intersection stuff, I wanted to take a second to remind you about why we use hatching. It looks like you've gone into the realm of form shading on some areas like here and here to just name a few. We are not trying to convey form through any shading in drawabox, the hatching is used to communicate to ourselves and the viewers things like which plane of a form is facing us, etc. That being said, I'm not seeing much to point out here in your work. I can find a few corrections just so you feel like you're getting your money's worth: this cylinder box intersection - in my opinion the cylinder would be wrapping itself around the corner of the box as I drew in pink. For this cone-sphere intersection, I drew out the wrapping directions of the surfaces - cone, sphere, back to cone. It would result in a minor change, looking like this. This reduces that sharp curve to more naturally follow the sphere's surface as well as wrapping back around the cone at the end. Overall though, you're doing great and I think the compound curves etc. that you will deal with in lesson 7 will be a nice way to continue your growth and understanding of complex 3d space.

Mouse demo looks quite good. Just remember that the top of the body intersects the top of the box where I pointed to in light blue. I mirrored the curve across in green, then I found roughly where the curve of the body turns into the hard angle of the buttons (in blue). I just eyeballed this because I don't have the mouse, but a student should take more care and time to actually pin point where this is located. Then in pink I just followed the arc until the blue line and then transitioned to the hard angle.

Barrel demo is hard because ellipses are hard. I drew over it here. Just remember to draw through all of your ellipses, and it really helps to bound them in planes (like I did in blue and green) then connect the ellipses at their extremes (pink/purple). In doing this, it also highlighted some extreme perspective issues. Remember that when you use a ruler you can use it to extend your lines to make sure your perspective is looking right. Overall though not bad.

Bluetooth speaker is fine, just make sure to be mindful of the perspective of all parts. The button got a little skewed.

I really like your shoe. You did a good job of making orthographic studies, and applying them to the final construction. Great work there.

I can't comment much on the microphone since there are no orthographic studies or reference images, sadly.

The kettle is constructed well, minus some line work issues. If you want to put down contours to describe a surface like here make sure they got all the way to the ellipse. I would have liked to see the kettle turned 3/4 so you could have shown more and had a bit more interesting construction, but that's just personal preference.

As a bonus I drew a little cast shadow demo for you.

In step-by-step format, it goes like this:

1. Choose light direction and project that out from all your spots casting a shadow.

2. Project down your light angle from the top of all the spots casting a shadow.

3. Find those intersections.

4. Connect (and make sure to draw through form).

That's the approach for simple objects, but it'l get you started.

With this, I am going to mark your lesson as complete. You are ready to go on to the 25 wheel challenge. I do want to point out that while you were able to pass this lesson with minimal orthographic studies, for lesson 7 they are mandatory, so just make sure to get in that head space. Keep up the good work!

Good job on getting all the way to lesson 6, let's get right to it.

Starting with your form intersections you're showing a pretty good grasp on intersections involving two flat planes. I drew over some of your intersections here to clarify some curve-curve situations. The big thing here is just mileage and getting a feel for these situations, and you'll continue to get exposed to these in lesson 7 as we deal with vehicles which very commonly have these compound curves. You did pretty well with a lot of these situations but I still like to link this informal demo that Uncomfortable drew up to further illustrate the thinking process. I also drew up a cone sphere intersection because yours were so small we can't really catch the nuance. I tried to label how the curves follow on form then the other: the cone, then the sphere, back to cone, back to sphere, and finally along the cone again. You're on a great start here and you'll keep getting better with more practice.

Looking at your objects, the trend I'm seeing throughout is lack of orthographic studies. Myabe you did them and just didn't post them, but it would have made things easier to check your methodologies.

Your remote is a good start. Just remember that since you are allowed to use rulers, take advantage of that and use it to visualize how your lines will extend into space so you can better nail down your perspective.

The pot lid had some troubles with the lid, and in the absence of knowing exact perspective etc from an orthographic study I am showing how to build it out with my own proportions (still using subdivision method). I start with a build of the middle plane and then for demo purposes I need to lower the opacity to show how to build it out front and back I simplified a few things, like just having lid+handle and omitting the platform the handle is on, but this should show you how to think about this stuff. You can see how yours ended up pretty off center by not first establishing center planes and not using mirroring techniques. That's ok though, this is the first time many students have seen this way of drawing and it can take some time to get your brain to shift gears.

Lantern: great. no notes.

The perfume bottle is a big offender of no orthographic (and therefore proportional) information. The neck and lid are added on, and the structure is solid, but arbitrary. At the very least, I would have liked you to build out the top box from the neck like this so you can ensure all of the main forms are centrally aligned. You did a much better job on this with the charger.

There's something very pleasing about the slipper. I think it's because you kept it simple and didn't try to shade or texture the drawing which is a trap many of us would fall into. I'm obviously not sure of the actual structure of this slipper, but adding some thickness to the part that goes over the foot would take this drawing to the next level.

Overall you're on a good start. Just really watch out for respecting proportions and orthographic studies as with lesson 7 everything lives and dies by it. Keep up the good work and I think you're ready to move on to the wheel challenge.

Hey there, good job on getting through your first assignment in drawabox. Let's get started.

Starting off with your superimposed lines, i'm seeing a fair bit of wobbling, which usually indicates that you aren't making your marks with enough confidence (which also means you're drawing slowly and carefully instead of swiftly to give a swift, smooth mark), as discussed here. Interestingly enough, your longer lines are much more confident and have better flow, so keep that mentality with your shorter marks and you'll be set for success.

Your ghosted lines are having some similar confidence struggles, but not nearly as bad. The thing I'm noticing is a lot of wobble at the end points, indicating you're slowing down to try and "land the plane" so to speak. Instead of trying to hit the exact end point, focus on keeping consistent pace throughout the line and lift your pen up when you're at the end. As illustrated in the figure I linked in the last paragraph, we're focused on flow more than accuracy at this stage.

Your planes are showing a lot of progress in this regard, great job! Much more confident and swift.

In general, your ellipses are the thing you seem to be struggling with the most in this assignment. In all three assignments you're doing well drawing with a concrete goal and within the bounds you have imposed on yourself, be it the tables, planes, or funnels. What you need to keep working on is drawing through your ellipses confidently. Remember to warm up each ellipse with sufficient ghosting and then commit to the marks once you set your pen down. You can also do what I mentioned with the lines and instead of slowing down, lift your pen up when you're finished.

Good job on plotted perspective, no notes.

Rough perspective isn't bad. I see you're trying to keep your vertical lines vertical and horizontal lines parallel to the horizon. Your converging lines are trying to go to the vanishing points, and accuracy will improve with time. Your line confidence is up and down but nothing to be too concerned about in this point in your development. Just keep working on ghosting and swift mark making in your warmups.

Honestly, you did a great job with your rotated boxes! You keep your lines [adjacent]https://drawabox.com/lesson/1/21/guessing), and you do a pretty good job trying to make sure to rotate your boxes. My one nitpick would be about your hatching. You're doing it correctly in theory, but in application we could afford to clean things up a bit. I know it's tedious, but try to keep your hatching uniform and consistent; there are times where you have curling lines or a bunch of hatches together then a big gap. It's a pain in the but, but it's worth it.

Finally let's look at your organic perspective. First thing I notice is your hatching. Make sure to only hatch in one direction and keep lines parallel. I'm seeing a concerted effort to make your lines all converge to some unique vanishing point for each box, so great job there. Your lines are a bit arced at times so make sure you're using your shoulder, but they are confident so that's a plus. It's a lot to juggle but you'll get it. I see you playing with scale to try and convey a sense of depth, and that's a great start. To push the depth more, try getting more adventurous with overlapping like I have drawn up here. Do you see how the bottom one has much more flow into the background compared to the top illustration?

Lastly, you could utilize some very, very large boxes to help the viewer "enter" the image. These "super foreground" elements are a key component to many successful illustrations. You aren't really expected to know that right now, but something fun to drop in your brain for later on in your art adventure.

Anyways, good work, you're ready to move on to the 250 box challenge. Make sure to incorporate these exercises into your warmup before every drawing session.

Hi there. I empathize - ellipses are quite difficult and take a lot of practice, but it'll get better as you keep putting in the mileage.

Anyways, before I begin, I want to point out the tool limitations imposed for this lesson. As you can re-read here, you are only to use one pen for your entire object from start to end. You obviously have used multiple colors here as well as black for clean up passes which goes against the instructions. I am going to briefly go over some of your work, but be warned now that you're going to need to go back and do more while following all of the instructions.

Your form intersections look really nice. Your marks are confident, and most of your intersections are spot-on. I love what I'm seeing, and just made a few small corrections. The big one I want to point out is the cylinder-cylinder intersection at the top. Note how the intersection first follows the curve of the more horizontal cylinder, transitions into the curvature of the more vertical cylinder before finally going back to following the first cylinder. You can read more about it in this informal demo that Uncomfortable drew up.

Looking at your bottle, I noticed a few issues with your orthographic studies. Looking at your bottom view here you kind of just marked down arbitrarily where the vertical lines should go. Something like this shouldn't be eyeballed while you're working through the lesson. You can see underneath your drawing I showed how I would locate that yellow line. I first split the right half of the box in half, then took that and divided it in half one more time. You can see that it's pretty darn close to where the yellow line is and that's where we can call it "good enough" for our purposes. It shows you're looking at proportions and using the subdivision methods. I also noticed that you seemed to have changed/omitted certain aspects of the top of the bottle like the top curvature, lid shape, and little handle. Make sure you sticking as close as you can to your references and not leaving things out if they seem hard.

Another thing I would like to point out is when we use rulers, it offers more advantages than just straight lines. In this drawing of a spray bottle you have a lot of divergences in your perspective. Make sure to leverage your ruler to project your lines to check the perspective.

From here, I'm going to ask you to do 4 more objects. Make sure to include orthographic studies for each one, and only use one pen from start to finish. Once you complete those, post them back here and we will keep moving forward. Keep up the good work and let's clean up some little mistakes and we'll get through this together.