Very nicely done! Starting with your cylinders around arbitrary minor axes, there's a lot of great stuff here. Your ellipses are confidently executed with pretty solid control (your alignment to those minor axis lines is improving throughout the set, though you definitely do want to continue working on the wider ones, as they can be more difficult to align as intended), and I'm thrilled to see the variety of rates of foreshortening across the set.
There were a few cases where you tried to eliminate all the foreshortening entirely - like 130 and 133. This was so uncommon that I wouldn't normally mention it, but I figured it'd be worth reminding you that even when the foreshortening is quite shallow, you're still going to want some convergence to those side edges, resulting in the far end being a little wider and a little smaller in overall scale rather than being identical to the closer end. The only case where you wouldn't end up with any such convergence is when the cylinder itself is aligned parallel to the picture plane - basically where none of it is slanted towards or away from the viewer.
Moving onto the cylinders in boxes, you've continued to do a great job. This exercise is really all about the boxes - by adding the cylinder as part of the line extension/error analysis, we're able to check whether those ellipses represent circles in 3D space (based on whether or not their own line extensions converge towards the box's own VPs). By looking at where those convergences are off, we can see how to adjust our next attempt to get those ellipses closer to representing circles in 3D space - and in turn, we also get closer to the planes that enclose those ellipses representing squares in 3D space.
That's ultimately the goal - to train students' instincts and intuition to better grasp how to construct boxes that feature two opposite faces which are proportionally square, regardless of how they're oriented in the world. I think you've made good progress on this as a whole, so those developed instincts should serve you well into the next lesson.
I'll go ahead and mark this challenge as complete. Keep up the good work!
Next Steps:
Feel free to move onto lesson 6.
These are my favourite sketchbooks, hands down. Move aside Moleskine, you overpriced gimmick. These sketchbooks are made by entertainment industry professionals down in Los Angeles, with concept artists in mind. They have a wide variety of sketchbooks, such as toned sketchbooks that let you work both towards light and towards dark values, as well as books where every second sheet is a semitransparent vellum.
This website uses cookies. You can read more about what we do with them, read our privacy policy.
