Lesson 1: Lines, Ellipses and Boxes
4:58 PM, Monday June 24th 2024
A big thank you to whoever is gonna check on my homework
Hello! Today I'll be critiquing your submission. Above anything else, Congratulations in completing the Lesson. I will be dividing the submission into three sections: Lines, Ellipses, Boxes.
Lines:
I would like to keep this section brief as I feel like you've grasped the purpose of each exercise.
Off with a good start in the Superimposed exercise. The lines were confident, and minimal fraying was observed on the next page. It is expected for the lengthy lines to wobble, however, the occurrence decreased later in the next page. Other than that, then I have no comment.
Nextly, the Ghosted Lines, many of the same points apply in this exercise. The lines were confident, and almost accurate.
Lastly, the Ghosted Planes exercise, again, same points apply, however, the accuracy of the line has improved.
Overall, the submission in the lines section was strong, even later in the boxes section. You have set your own pace in executing the line, and such I have no more to add.
Ellipses:
Starting with the Table of Ellipse, some ellipses were a bit wobbly, same principles to the lines that apply to ellipses is to draw them confidently instead of accurately. I noticed there was little to no Ellipse overlapping the boundary of the table, because of that, some ellipses were floating, and some are only touching the ground or top of the box, don't be afraid to overshoot the ellipse. Strive to make the ellipse snug to each other as possible. And to also make for each boxes of the table for the major ellipses to have the same degree, position, and angle.
Nextly the Ellipses in planes. In the first page, some of the Ellipses are not touching all four sides of the plane because of how it is positioned, but was later corrected on the next page. Some Ellipses were wobbly and deformed indicating that it is focused on the accuracy instead of confidence. So confidence over accuracy, and making the ellipse touch all four sides is a second priority. I recommend you to rely on your muscle memory, and make the mark without thinking, as being afraid for the execution will affect the result.
Lastly, the Funnels. Good job on the last exercise, some of the Funnels have ellipses not touching one another so watch out for the spacing. I would also recommend you to now consider the degree shift of the Ellipse.
Generally, the Ellipses could use a bit of practice and warm-ups and you're good to go.
Boxes:
Starting with the plotted perspective, I encourage you to use line weight for clarity, and readability. Observing the hatching lines of the boxes, it feels rushed, and for that, try to keep it evenly spaced and parallel to each other.
Next is the Rough Perspective. Same points apply to the hatching lines, and the use of line weight is useful. Be mindful of the back box, other than that, no comment.
Nextly is the Rotated Boxes. The boxes were snug, the corners were tight, and there is not much more to add.
To wrap things off for the submission; The Organic Perspective. The application of line weight is observed. You understand the depth of the scene as the boxes approach and rotate.
Overall, the submission itself was solid, you are pretty much in the right track. I recommend to add these homeworks to your warmups, especially the Ellipses. Congratulations on completing Lesson 1, onwards to the 250 Box Challenge.
Next Steps:
Proceed to the 250 Box Challenge
A Few Tips:
Stay Consistent
Follow the 50% Rule
Thank you very much for kindly critiquing my homeworks Cabbageheads! I'll try my hardest to apply all the tips and advices you gave me :]]
Michael Hampton is one of my favourite figure drawing teachers, specifically because of how he approaches things from a basis of structure, which as you have probably noted from Drawabox, is a big priority for me. Gesture however is the opposite of structure however - they both exist at opposite ends of a spectrum, where structure promotes solidity and structure (and can on its own result in stiffness and rigidity), gesture focuses on motion and fluidity, which can result in things that are ephemeral, not quite feeling solid and stable.
With structure and spatial reasoning in his very bones, he still provides an excellent exploration of gesture, but in a visual language in something that we here appreciate greatly, and that's not something you can find everywhere.
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