Hello! I would like to start off by saying congrats on completing lesson 1, it's only the first checkpoint but a checkpoint nonetheless! Let's break this down into parts:
Lines: It looks like there was a bit of struggle in the superimposed exercise, following a few lines you can see them go off on weird paths. That was only the beginning though, by the time you get to your ghosted planes you get more of a hang on it. Just remember to focus on your confidence first and foremost; your ghosted lines has very few missed point but a lot of wobbling lines.
Ellipses: Very good! You started off rocky with the table of ellipses, but you pick up by the ghosted planes and your funnels are solid. I may be mistaken, but it looks like a few ellipses were done with 4 or more loops around. Remember that it's 3 loops tops, if it looks wonky to you then take it as something to learn from.
Boxes: Not much to comment on your plotted perspective, you understand how to use vanishing points. Your rough perspective looks good as well, just needs more practice that's all. You gave a solid attempt at rotated boxes, that one's real tricky but you gave a good effort at it.
Now the organic boxes I'm a bit torn about. Perspective-wise, your line convergence seemed to mix you up a lot. Remember, all lines pointing in one direction in 3D space will converge to a point behind the box, not in front. Think about how a box in 3D space would look if it were a wireframe; the backside would be smaller than the side it's parallel to in the front.
The bigger issue though is that all your lines are doubled, sometimes tripled. I'd guess you were trying to give them weight (instead of reattempting lines, you've been good about that throughout all of the previous exercises), but this wasn't called for in this exercise, so I would like to ask for you to remake these.
All in all, this is a solid submission. After doing 2 more organic perspective exercises I would say you're clear to move on, just knock those out and you're all good!
Next Steps:
2 Organic Perspective exercises.
Thank you for the helpful critique! I took your advice and redid the organic perspective exercises. https://imgur.com/a/8mdbqr6
Checking the new organic perspectives, they seem to have a few more boxes with lines converging behind them, and a few are really good (the leftmost box in panel three on the first sheet)! For reference though, This is the direction the lines should be converging, behind the box. Of course, with more practice in the future (250 box challenge) you'll get a good grasp on it.
As for the line weight, a lot of these lines are still doubled, still drawn over twice. I'm willing to let it slide, but I want it to be known this is a big no no. I pointed it out in the original set and they still show up, so that's something I think you should be very aware of: Don't draw the same line twice, unless explicitly told so.
I'd say I think you're okay to move onto the 250 box challenge. Use all the previous exercises as warm ups, and if you feel like you need extra practice in boxes feel free to focus on those in your warm ups. Remember what I said though, no line doubling, and boxes converge in the back.
Next Steps:
250 Box Challenge
I'd been drawing as a hobby for a solid 10 years at least before I finally had the concept of composition explained to me by a friend.
Unlike the spatial reasoning we delve into here, where it's all about understanding the relationships between things in three dimensions, composition is all about understanding what you're drawing as it exists in two dimensions. It's about the silhouettes that are used to represent objects, without concern for what those objects are. It's all just shapes, how those shapes balance against one another, and how their arrangement encourages the viewer's eye to follow a specific path. When it comes to illustration, composition is extremely important, and coming to understand it fundamentally changed how I approached my own work.
Marcos Mateu-Mestre's Framed Ink is among the best books out there on explaining composition, and how to think through the way in which you lay out your work.
Illustration is, at its core, storytelling, and understanding composition will arm you with the tools you'll need to tell stories that occur across a span of time, within the confines of a single frame.
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