0 users agree
11:00 PM, Saturday January 27th 2024

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. Next, your ghosted lines and planes are looking similarly confident. It would've been good to have seen a few more longer lines in the ghosted lines, but they're coming out well, with only very minor wobbling in the planes.

Ellipses

Next, your tables of ellipses are looking good. The ellipses themselves are smooth and confident for the most part, and you've done a reasonable job of getting those ellipses sitting tight up against with each other in a variety of shapes and sizes, though you do tend to end up with them overlapping somewhat and a few spots where they're coming out a bit lumpy and uncontrolled. You may need to experiment with the speed at which you draw them to find a balance with executing confidently while remaining controlled.

Your ellipses in planes are coming along well - you've done a good job keeping them confident for the most part and made clear efforts to have them touch the four sides of the plane. The control issues from the previous exercise persist here and there are a couple of instances I can see where the ellipses have ended up deformed.

Finally in this section, your funnels are off to a good start in terms of getting the ellipses aligned with the minor axis - of course there are occasional spots where you didn't quite nail it but I would say in general, the issues with controlling your ellipses does improve here.

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 fairly reasonable margin of error. There are a few confidence issues here and there but this is fairly common and just a matter of taking your time to plan and execute each line.

You're doing a good job keeping the gaps between the boxes tight and consistent on your rotated boxes, which has given you good cues about where to place the next one. I noticed you missed the extreme diagonal boxes, so make sure you're completing the exercises to the best of your ability, even if you don't think it will come out well. You also didn't manage to capture the full range of rotation, tending to follow the vanishing point of the box you previously put down and elongate your boxes, however this exercise is intended only as an introduction to certain concepts you will explore further throughout the course.

Finally, your organic perspective is off to a good start with a variety of different compositions. You didn't quite capture a sense of depth as there isn't a lot of variation in the sizes of your boxes but it's good to see a lot of variation in orientation. The boxes themselves exhibit quite a bit of divergence however this is something that you can work on in the 250 box challenge.

Next Steps:

Feel free to move onto the 250 box challenge.

This critique marks this lesson as complete.
11:51 PM, Monday January 29th 2024

thx

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.