Starting with your cylinders around arbitrary minor axes, I noticed that while you didn't incorporate that much variety in your cylinders' rates of foreshortening through the first bit, after you hit around 100, you started playing with somewhat more dramatic shifts. I'm glad to see this, because it helps me identify certain kinds of mistakes more easily.
Specifically, if we take a look at cylinders like #118, I noticed that you've got a more dramatic shift in the scale of the ellipses from one end of the cylinder to the other, but the shift in degree between them remains much more limited. Both these shifts - having the far end get smaller in scale, and having it get wider as it moves away from the viewer, are ways in which we can show an increase in distance between the two ends (and therefore make the cylinder appear longer or shorter). This does mean however that those two shifts must be similar - either both should change dramatically, or both should change only slightly. When we see the scale changing a lot but the degree staying more similar, it gives the viewer a contradiction. They'll feel something is off, though they won't necessarily be able to pinpoint what.
Aside from that, your work throughout this section is solid. You're quite patient and fastidious in checking the alignment of your ellipses, and while it's not perfect, I don't expect it to be. As it stands your ability to eyeball that alignment is coming along well.
That continues onto the line extensions for your cylinders in boxes, which are very well done. You've done a great job of developing your estimation of the proportions of your boxes, which is the main focus of this exercise. By having students add the three additional lines per ellipse, they test for whether the ellipses represent circles in 3D space, and therefore whether the planes that enclose them represent squares in 3D space. Ultimately it's a great exercise for developing one's ability to estimate the construction of boxes that feature square ends on opposite sides. You were extremely mindful of those line extensions, and I can see you getting more and more consistent with their convergences as you work through the set. All in all, this improvement should help you considerably throughout lesson 6.
I'll go ahead and mark this challenge as complete.
Next Steps:
Feel free to move onto lesson 6.
Thanks! I'll work on matching the change in degree to the change in size in some future warmups.
See you soon ;D
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.
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