0 users agree
##### 6:14 AM, Wednesday November 17th 2021

Absolutely not! Though I will recommend saving the backsides of your pages for warmups. By the time you end up needing them, you’ll have already taken their picture (in my experience). Hi! I’m TA Benj, and I’ll be taking a look at your Lesson 1 submission. Let’s see.

The superimposed lines are nicely done. They’re smooth, and properly lined up at the start, though not always of a consistent trajectory, so be mindful of that. I’m also not 100% sure that you’re superimposing all of these 8 times, as instructed, though you might just be very good at it! The ghosted lines/planes look fairly confident, though I notice a little hesitation near their ends. What’s likely happening is that you’re slowing down, here, in an effort to not stop short of, or overshoot the end point. As this is causing your lines to lose their confidence, in pursuit of accuracy, however, it is incorrect – it should be the other way around, if anything. In other words, maintain a consistent speed throughout!

The wobbly nature of your ellipses suggests something similar – that you’re more concerned with them fitting inside of their frames, than being smooth, and rounded; it should be the other way around. One thing that might be hurting you, further, is that you’re using the edges of the page as the edges of the frame, thus making it so that you’re less likely to be bold, for fear of clipping the corners. Draw the outer frames inside of the page, instead. Save for this issue, which in this exercise has taken the form of bumpy and pointy ellipses, the ellipses in planes exercise is well done. The funnels are a little better in this respect, but still not quite there. Also, you’ve drawn through them a little too much – remember that the recommendation is 2-3 times, 2 being ideal. Also, be sure not to add another ellipse at the edge of the funnel if there’s no(t enough of a) minor axis to align it to. An ellipse aligned to nothing is of no use to us, in this exercise.

The plotted perspective exercise looks solid, though the lineweight is a little too uniform. By the way, if the box that has an arrow (of sorts?) pointing at it looks strange to you, that’s because you’ve hatched a far plane (this is to say, one that’s meant to be facing away from us).

For the rough and organic perspective exercises it seems like you’ve missed the instruction to split your page into framed compositions. As a result, you’ve not gotten enough practice to be able to improve to the point where we’d like, but I’ll judge these as they are, nonetheless. The rough perspective exercise starts off strong, and improves considerably throughout the set. However, though the convergences are solid, the linework is not, as per your automatic reinforcing habit. Remember that each line is to be drawn once, and only once, regardless of how it turns out. Adding more ink to a mistake doesn’t fix it, it just draws the viewer’s attention to it.

The pencil of the reminder boxes, in the rotated boxes exercise, is a little worrying (why would you use it, instead of a pen, and where else have you?), but I’ll assume that that’s the only instance of it in this submission. The boxes themselves look fine – snug and properly rotating – though they’re a little small, and not exactly drawn through in the diagonals. This is why it’s important to draw big – because, in giving your brain some room to think, it helps you avoid mistakes like these. Also, where you’ve drawn them, the far planes are a little flat, though we’ll address that, and more, in the upcoming box challenge, so no need to stress about it now.

The organic perspective exercise is a little lacking, far as the number of boxes go, but the exercise itself is well done. I do wonder if you’ve plotted start/end points for all of these lines, however (the occasional overshooting seems to suggest no). Anyway, as per their size, and foreshortening, they flow well – nicely done.

Next Steps:

Solid work on this submission. I’ll mark it as complete, so you may head on over to the box challenge. GL!

This critique marks this lesson as complete.
##### 6:28 PM, Tuesday November 23rd 2021

Thank you! I will work on your suggestions for the future exercises and look forward to your future critiques.

Melanie

The recommendation below is an advertisement. Most of the links here are part of Amazon's affiliate program (unless otherwise stated), which helps support this website. It's also more than that - it's a hand-picked recommendation of something we've used ourselves, or know to be of impeccable quality. If you're interested, here is a full list.

### The Art of Brom

Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.

The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.