10:28 PM, Friday January 7th 2022
Congratulations on working your way through a whopping 100 chests! As a whole, you've done a pretty great job, and more importantly, you've demonstrated a great deal of improvement over the set as a whole.
Earlier on in the set, I could see that your initial attempts at thinking more about design were either timid (with fairly basic rounding of corners, maybe adding a couple inset panels) or rather loose (like number 7, which wasn't super well defined in terms of construction, and also attempted to leverage modification of the forms' silhouettes a bit too gratuitously - both factors that undermined the solidity of your final result.
As you progressed through, you became both bolder, and more structured in how you worked - likely as your comfort level increased, and you reached back for your already-developed spatial reasoning skills. This is not abnormal - it's not that you were bad at it to start, just that it was a new problem you were encountering, and you had to kind of get used to what it was asking of you, before you were able to really let yourself explore in a more suitable fashion.
It's also good to see that this was resolved fairly early on - even while 27 was demonstrating some of that looseness and modification of silhouettes rather than working strictly in 3 dimensions, that big toothy mouth has a lot of form and structure to it, which helps maintain more of the overall structure's solidity.
One quick thing I wanted to mention for 28 is that while we are all free to make our own more stylistic choices, one of the reasons Drawabox has always pushed a focus on cast shadows rather than form shading or local colour is because when we're working with a limited toolset (in this case, we're limited only to full black and full white, with no in between values), limiting the kinds of things we're trying to convey and capture helps us capture those limited things more effectively and clearly, than if we were to try and capture more.
For instance - in 28, you use one tool, the filled areas of solid black, to capture multiple things. You're filling in voids (like in the lid and the interior of the main body), you've got the cast shadow on the ground, and you've also got a weird splotch of black towards some of the base corners of the chest's body. Each time the viewer sees this use of solid black shapes, they're going to initially assume "cast shadow" because that is generally what leans in best to their expectations, but they'll also have to spend more brain power processing what they're looking at. So, sticking to one thing - like cast shadows - helps reduce the amount of work the viewer has to do to understand what they're looking at.
To that point, I also noticed that the solid black interior of 28's lid also expands right to its edge, not leaving any suggestion of a thicker rim as the main body does. Fortunately, you do generally give a lot of consideration to small things like this in your other constructions, so I imagine this was just a small mistake.
Continuing forward, you do appear to be using the technique for figuring out how to create that rotated, "open" lid quite well. Your ellipses show that you understand how the radius of the circles in 3D space matches the depth of the lid itself, and I'm not seeing any notable mistakes being made there.
As you continue to progress through the set, your designs definitely get more elaborate, and I suspect that you're relying more and more on reference to help both bolster/support, as well as develop your visual library. It's not just through direct studies that our visual library develops, but also through the act of taking bits and pieces from reference and incorporating it into our designs.
Another point that you're doing a great job of over the set is, even from an early point, a pretty significant respect for the fact that your objects are not just simple blocks. They're made up of different pieces, each of which have their own thickness. This is similar to the point about the rim of 28's lid, but we can also see a sense of flatness and oversimplification with some of the planks that make up 24. There it's more like the planks were painted on, rather than being separated boards being attached to a large structure, whereas your later drawings do improve upon this front. For example, 51 shows each piece, like cuts of raw logs, bumping outwards individually.
One thing you can continue to explore however is actually adding some irregularity to your flat planks. Having one stick out, or having little nicks on their edges, will all help contribute to a more realistic, "used" appearance. Of course, it's worth mentioning that I can see some of this in 63, though more for the metal brackets that hold everything together. 67 also has this as well, although I feel that as you're delving more into actual texture here, your marks aren't quite capturing the impression that they were drawn with a clear grasp of each individual 3D form that produced the resulting marks as their cast shadows. Instead, it looks more like you were trying to either draw these from observation, or just from your imagination, but without this critical step of understanding the small, textural forms thesmelves. Always ensure that while you're putting marks down of whatever sort, your brain should be thinking about how they relate to specific 3D information. It's easy to slip back into trying to capture general impressions of things, but this can often feel flat or at least less convincing, because they're not based on something concrete.
So! With that, I'll go ahead and mark this challenge as complete. You've done an excellent job, and have really knocked it out of the park with some of these designs (your very last one is especially nice, with all of the different pieces at play). I'm also very pleased to see how much you've grown over the course of this work.