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1:28 PM, Wednesday February 21st 2024
Welcome and congratulations on finishing the first lesson of Drawabox! I'm Mada and I'll be taking a look at your submission.
Overall you did a great job here, but I do have a bit to mention so let's break them down one by one. I'll write the most important things in bold.
Lines
Starting with your superimposed lines, these are looking good. Ghosted lines look correctly ghosted and confident too, and there are barely any arching. You've also demonstrated the same confidence in your ghosted planes. Although I have to say that your lines tend to arch a lot here, which is a common issue that can have many different causes. At the end of the day, our brain does have to make certain corrections for the fact that all of the pivots of our arm (wrist, elbow, shoulder) result in an arc rather than a straight motion. So, while the pivot you do will most likely result in an arc, you have to correct them consciously so it becomes straight. Make sure that you ghost while pivoting from your shoulder, try to intentionally arc your lines to the opposite direction to counteract the natural curve. This constant correction you make will eventually become natural as you get more practice. Read more here: https://drawabox.com/lesson/1/ghostedlines/arc
Ellipses
Now with the tables of ellipses, you've demonstrated a great understanding of the concept in executing confident ellipses. The ellipses in planes are nice, you drew it confidently and snugly in their respective planes. . There are some uneven and wobbly ellipses here and there, but they're largely minor and I do see you improve as the exercises go on. Your ellipses will tighten and get more even as you get more practice, just don't forget to prioritize confidence first.
The funnels are also looking great; you've managed to fit them snugly and aligned to the minor axis and carried similar confidence with your previous exercises. This is optional, but you might want to attempt the additional challenge of varying the ellipse's degrees as you move outwards in your warm ups, as mentioned here: https://drawabox.com/lesson/1/18/step3.
Boxes
The plotted perspective has no problems, you've shown a good understanding of how to make 2 point perspective.
You've applied the ghosting method and lines extension correctly for the rough perspective. You also drew the front/back faces rectangular, which is correct for 1 point perspective.
As the notoriously most difficult exercise in this lesson, you've done a great job at doing the rotated boxes. You've rotated them pretty well (while making sure to move the converging lines) and used neighboring elements to deduce the next orientation of boxes, which is the whole purpose of this exercise.
Finally, organic perspective looks great as well. They look like they belong in the same page and the lines converge as they move farther away from the viewer. There are a few hiccups here and there where there are divergences that results in skewed boxes, but overall they're minor and they look pretty solid. I'd probably vary the rotations and lengths of your boxes more since they largely look the same to each other, but you'll get plenty of chance to experiment with this in the 250 box challenge.
Anyway, I think you've grasped the concepts of the whole lesson and ready to put them into practice in warmups. Again, congratulations and keep up the good work!
Next Steps:
Move onto the 250 box challenge.
Do the lesson 1 exercises as your regular warmup and don't forget your 50% rule art.
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Framed Ink
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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