Lesson 1: Lines, Ellipses and Boxes

8:37 PM, Sunday January 2nd 2022

Lesson 1: Lines, Ellipses and Boxes - Album on Imgur

Direct Link: https://i.imgur.com/f0toJiE.jpg

Discover the magic of the internet at Imgur, a community powered enterta...

Thanks to everyone who makes this site so good.

Here is my homework.

2 users agree
1:26 AM, Monday January 3rd 2022

Hey, here for that critique. Firstly, don't worry about being left-handed, it's not an issue so long as you are still able to do the work (which you are.)

LINES

1) imposed lines

you seem to already have a solid grasp on the material, little to no misunderstanding there which is great. There is still some fraying and arching on your longer lines, but that is completely fine at lesson 1. The first issue can be solved by focusing your movement on your shoulder, as your elbow and wrist can cause a lot of arching. The second issue (and partially the first) can really just be solved with time and perseverance, if you stick to using these as warmups your lines will become straighter and more confident.

2) ghosted lines

Again, you seem to already understand the core principles of the exercise, very helpful for both of us. There's a little bit of wobble on some of the lines, but I wouldn't really consider that a problem at this stage. You really just want to focus on your confidence, and use of your shoulder, and you seem to be well on your way for both. Again with the last exercise though, there is some slight bowing of some of your lines, which can be solved by really using your shoulder to draw. It is awkward at first, but you will be thankful in later lessons. Remember: draw from the shoulder, pad out the fluid motion with your elbow, you'll be right as rain.

3) ghosted planes

Largely the same gripes as with the last two exercises, which makes it harder to critique. Overall solid understanding, with only some very minor mechanical issues which will be solved with time and effort. Don't worry about missing your mark, it's really to be expected at lesson one. Just plan out your marks and follow through with confidence and in time you'll gain accuracy.

ELLIPSES

1) tables of ellipses

Again, the lesson material is pretty well understood, so there's nothing to bring up here. You really want to make fitting each ellipse into the table your main priority aside from confidence. While your ellipses are mostly very confident, they do tend to stray from the box from time to time. This is not much of an issue however, as it is clear that you are managing to keep your ellipses mostly very neat for lesson 1.

2) ellipses in planes

Honestly this one is much the same as the table of ellipses, so much of what I said about that holds true for this.

3) funnels

I'm seeing a good amount of understanding and execution in your ellipses at this stage. You've done quite well to cut each ellipse in two equal halves with the minor axis, which is great. I still see a lot of overlap and underlap with each ellipse, where some will not line up neatly with each other. Overall good understanding, good minor axis alignment, good confidence, just need to work on fitting your ellipses next to each other some more. This should work itself out as your shoulder muscles get more steady.

BOXES

1) plotted perspective

Not all that much to critique here, you seem to show a very solid understanding of the basics of plotting objects in 3D space. Line weight is good, so each box is clear and distinct, perspective is congruent, all that. Overall pretty good.

2) rough perspective

Not much need to worry over this exercise, it is a very hard one. Plotting objects in 3D space with no line of reference is something you will be doing plenty of later on, so you will definitely improve on this front. Most of your lines were done confidently, and the material was understood, that's what is important here.

3) rotated boxes

This exercise is notoriously difficult, but you still managed to execute each box fairly well. The main goal is to take you out of your comfort zone and make you confront different angles. You manage to stick to each box well and follow through, so I'll consider it well done.

4) organic perspective

First of all you want to make sure your boxes are getting smaller as they get further away, but that was only a problem on page one so I'll overlook it. You also don't want to have boxes that are cut off by the edge of the page, boxes that are shown should be clearly visible. Apart from this, your only issues are wonky perspective, and odd box shapes. As I've said plenty of times before though, these issues should be flushed out in time if you focus on drilling them out.

CONCLUSION

I found it tricky to critique you in some areas, as you largely had a solid understanding already. You have steadily growing confidence, a good understanding of the homework, and what issues you do have are only to be expected at this stage. With some time and effort, these will shop being problems, just trust in your shoulder and you'll be good as.

Next Steps:

I'm confident in saying that you are as ready for the 250 box challenge as you will ever be, as that is where you will work over many of the issues I outlined here. So I recommend moving straight on to that as you wish. Good luck!

This community member feels the lesson should be marked as complete, and 2 others agree. The student has earned their completion badge for this lesson and should feel confident in moving onto the next lesson.
5:19 PM, Monday January 3rd 2022

Thank you very much for taking the time to review my work, I will take your advice into account.

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 I've used myself. If you're interested, here is a full list.
Color and Light by James Gurney

Color and Light by James Gurney

Some of you may remember James Gurney's breathtaking work in the Dinotopia series. This is easily my favourite book on the topic of colour and light, and comes highly recommended by any artist worth their salt. While it speaks from the perspective of a traditional painter, the information in this book is invaluable for work in any medium.

This website uses cookies. You can read more about what we do with them, read our privacy policy.