Apologies for the bent pages and oddly rotated pages. Also I chose not to hatch the faces of the boxes on the rotated and plotted perspective pages because I felt like I could already clearly see the box faces and the extra lines would make it more difficult to decipher. I can hatch them if you would prefer.
I just signed up for the drawabox patreon an hour or so ago. Apologies for any issues.
Thank you for the review.
Hey there, I'm Meta and I'll be your TA today, so let's get started.
Lines
Starting with your superimposed lines, you're doing a great job lining your pen up with the starting point and executing your lines confidently. This confidence carries through to your ghosted lines and planes, which is great to see.
Ellipses
Onto your tables of ellipses and these are off to a great start. Your linework is confident for the most part with a few little wobbles here in there. You've selected a good variety of shapes and sizes of ellipses to practice, and you've kept them squeezed up tight against each other.
Next your ellipses in planes are looking good, you've made clear attempts to hit the four sides of the plane while remaining confident and not over-focusing on accuracy. There's a couple of instances of deforming the ellipse but nothing so dramatic that it won't be ironed out with mileage in warmups.
Finally, your funnels are off to a good start - you're making good efforts getting the ellipses aligned to the minor axis, the line work is fairly confident, and you've pushed it to the next level by varying the degree of the ellipses, all good things to see.
Boxes
Onto your rough perspective and you've made fairly successful efforts to keep the horizontals parallel and verticals perpendicular to the horizon line. You've correctly applied the line extensions and your perspective lands in a pretty normal margin of error. There is a little bit of wobbling in your linework and this is really common amongst students when faced with their first freehand box exercise and I can see that by the end, you've gained a little bit of confidence with this.
Your rotated boxes are off to a good start - you're keeping the gaps between the boxes tight and consistent, which has given you good cues about where to place the next one. You didn't quite capture the full range of rotation, tending to follow the vanishing point of the box you previously put down, however this exercise is intended only as an introduction to certain concepts you will explore further throughout the course and you've had a pretty good crack at it!
Finally, you're getting a good amount of variation in the size and rotation of your boxes in the organic perspective exercise which is starting to create a sense of depth in each frame, though if you wanted to push it further, you could force the perspective more by varying the scale between the smallest and largest boxes as well as trying to overlap more of the ones closest to the viewer. Try not to automatically correct your lines so that you end up with odd little doubled lines, again, this is pretty normal, but we must learn to control the impulse. The boxes themselves are diverging a little bit in places, however like the previous exercise, this one is simply an introduction to the concepts you'll explore in depth in the 250 box challenge.
Next Steps:
Feel free to move onto the 250 box challenge.
Thank you Meta!
Thank you for the input, just one question though: What do you mean on the organic perspective exercise that the boxes are diverging?
Thanks again!
Actually 1 more question as well.
When drawing a long line I find myself picking the start point and looking at the end point or vanishing point and drawing without looking at where the pen is. Is that recommended? Or would it be better to watch the pen?
It seems to work fine when I've already got the start and end points worked out, but for example, in the box homeworks I ghosted to the vanishing point and then tried to place a point on the ghost line. But since I wasn't looking where I actually ghosted through I feel like I was off several times.
Thank you for your time.
The idea of the ghosting method is that you don't strictly need to look at your end point, because your muscles are primed from the ghosting, so I wouldn't necessarily say it's a problem. I would recommend trying to plan out your points first, ghosting a little to see if they still feel accurate and then placing another point as needed. Dots are free, lines are a commitment. :)
As for this other question:
Thank you for the input, just one question though: What do you mean on the organic perspective exercise that the boxes are diverging?
This just means that the lines of your boxes aren't consistently converging to their respective vanishing points. It is covered in depth in the 250 boxes material.
Thanks!
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.
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