Lesson 1: Lines, Ellipses and Boxes
10:19 AM, Wednesday October 9th 2024
Please check out my homeworks. Thank you.
Hi, good job on going through lesson 1 !
Lines
-Your lines only have fraying on one end, which is the right thing to do
-Your ghosted lines are straighter than your superimposd lines
-Your planes too, nothing to say on them. You overshot some, which is prefered over trying to get the perfect length while having a wobbly line.
Ellipses
-Your ellpises in planes ar edrawn through, and you visibly attempte to keep them in planes, which is good.
Your tables of ellipses are quite close to each other, which is important.
Your funnels' ellipses are aligned with the axis, while they snuggle in, whivh is intended.
Boxes
-Your plotted perspective seems good, as it respects the told instructions.
-Rough perspective has some lines that you went over again, and your lines look less straight than on exercise 1. Keep in mind that it is more important to have straight lines than lines of the good size for the future.
-Your rotated boxes are good, apart for some boxes which should have been a bit more rotated
-Your organic perspective have dramatic forshortening for some of them, try to avoid doing so in your 250 boxes.
I'll mark your lesson as complete, but keep in mind that your lines should prioritize confidence over being precise, and try to avoid dramatic forshortening !
Next Steps:
The 250 boxes challenge !
Thank you for your time.
Marshall Vandruff is a ubiquitous name in art instruction - not just through his work on the Draftsmen podcast and his other collaborations with Proko, but in his own right. He's been teaching anatomy, gesture, and perspective for decades, and a number of my own friends have taken his classes at the Laguna College of Art and Design (back around 2010), and had only good things to say about him. Not just as an instructor, but as a wonderful person as well.
Many of you will be familiar with his extremely cheap 1994 Perspective Drawing lectures, but here he kicks it up to a whole new level.
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