Lesson 1: Lines, Ellipses and Boxes

6:09 PM, Monday May 4th 2020

Imgur: The magic of the Internet

Direct Link: https://i.imgur.com/gBE76Lh.jpg

Post with 17 views.

thanks to whoever is taking time to review this!

2 users agree
10:39 AM, Tuesday May 5th 2020

Hey! Before we start, if you have an opportunity to change the lighting, next time, I’d very much appreciate it. It’s a little hard to judge these, as they are. Now, let’s see...

The lines look good! There’s the occasional altered trajectory in your superimposed lines, which is discouraged (continue onto the same course, even if it’s wrong, rather than course correcting!), but otherwise they look fine. I will recommend that you use start/end points for the non-diagonal center lines of your planes, though. All lines need start/end points.

Moving on, the ellipse section is fairly well done, too. I think you could push for your ellipses to be a tiny bit more confident, though. It seems like you’re a little too focused on having the second (or third) rotation match the first, but that’s not necessary- they just need to be confident. I notice a similar focus on accuracy in the ellipses in planes exercise, too. Here, the important thing is for our ellipses to be smooth, and circular. Touching all 4 sides of the plane is a secondary goal. Finally, in the funnels exercise, be careful that the minor axis cuts each ellipse into two equal, symmetrical halves (meaning: the ellipses can’t be titled!), and be careful that their degree (width), either remains consistent, or increases as they move away from the center- not decreases.

Finally, we arrive at the box section. Right off the bat, the rough perspective exercise is a little... well, rough, as you likely noticed from the correction lines. What’s likely happening is that you’re getting too caught up in what you think a box should look like, and forgetting about the point of the exercise. Because we’re working in 1 point perspective, the boxes are meant to look a little strange. ‘Fixing’ them, as you have, makes them incorrect. Instead, simply ghost every single depth line (there’s 4 of them per box) to the vanishing point, until you’re satisfied with it, then draw it. Placing a million points down is perfectly acceptable. Solid attempt at the rotated boxes exercise- it looks really nice. I do wish it was a little bigger, though. Finally, the organic perspective is quite nicely done, too, though I’d have liked to see a few more boxes.

Next Steps:

Before I let you move on, I’d like to see one more page of the funnels exercise, and one more page of the rough perspective exercise, where you’re particularly mindful of the things I’ve pointed out.

When finished, reply to this critique with your revisions.
4:46 PM, Saturday May 9th 2020


Hi! There are the exercises. I had a very hard time doing the rough perspective exercise in the same time that I tried to keep confident doing the lines, but I tried to do the best I could. Thank you for giving your feedback. (sorry for the grammar)

10:50 AM, Sunday May 10th 2020

Hey! This looks considerably better- well done! The only thing I’d like to point out is that you should not correct an incorrect line. If it’s wrong, it’s wrong. Other than that, everything that I pointed out has been fixed, so I’ll pass you on to the box challenge. Best of luck!

Next Steps:

250 Box Challenge

This community member feels the lesson should be marked as complete, and 2 others agree. The student has earned their completion badge for this lesson and should feel confident in moving onto the next lesson.
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.