Heya Pjisback
I'm Jonas, I just started on lesson 2 after finishing the 250 Box challenge and thought I'd critique your assignments ^^
First of all, good job on completing lesson one, the firs step into a program such as drawabox is often the hardest to take and if you can roll your momentum over into the 250 Box challenge you'll have developed a habit in no time!
On the first couple of sheets your lines still seem a little bit uncomfortable, which is especially visible in the S curve on sheet one and a couple of the half-circles on sheet two. Feel free to add curved superimposed lines to your warmups if you haven't already, it will really help you once you get to organic shapes.
Besides that your superimposed lines look mostly fine, just make sure not to curve your lines, especially when drawing longer ones, to hit the second point. It's more important to draw straight lines than it is to hit both points.
Your plotted lines look great!
You consistently hit both points and only rarely overshoot the second a little.
The only critiques I have are that you lines sometimes curve a little - make sure to draw from your shoulder/with your whole arm and feel free to turn the page so you can draw in the direction that suits you the best ^^ And, sometimes your line curves rather sharply at the start of the stroke.
In my experience that often strms from overcorrecting at the start of the stroke which can then lead to an undercorrection in the latter half.
Just remain calm when drawing your lines and consistently increase how much you counteract the natural curvature throughout your stroke.
If that isn't your issue, feel free to do some plotted lines as warmup to try to figure it out.
The ghosted planes look great, here you can really see the improvement in your line quality. Sometimes it feel like you curve your lines at the last second to hit the point, believe in your lines. Just pull them through till the end and if they miss they miss.
Your Ellipses seem like the weakest part of your homework. You often curve sharply (i believe) at the end of your second stroke. While they're clearly not wobbly and drawn with confidence, you might profit from slowing down in your execution a little.
In my experience the best way to improve at Ellipses is to draw them at a speed where you're just fast enough so your lone doesn't wobble. You should also always ghost at the speed you draw your lines.
Please add lots of ellipses to your warmup rotation to get ready for lesson 2 & the cylinder challenge.
The same goes for your ellipses in planes, just take more time with them.
Your plotted perspective looks amazing, the only slight error is that some of your vertical lines aren't quite parallel, but you clearly have a firm grasp of the exercise.
In your rough perspective you handle the perspective very well, however your line quality suffers quite a bit.
Please take a little more time when ghosting your lines. Also, the lines you use when shading your boxes should also be ghosted. That happened to me too, it's one of the only things that isn't clearly stated in the lesson.
Your rotated boxes are as close to perfect as they get, no notes.
Your organic perspective looks great as well, the line quality is gratly improved from your rough perspective. The only thing to keep in mind is that the distortion objects experience is generally larger the closer to the camera they are. In some instances you appear to do the opposite, which can counteract the feeling of distance created by scaling the boxes.
Overall, you've successfully completed all the exercises in Lesson 1. If you've kept up with the 50% rule you can now move on to the 250 Box challenge; congratulations!!
If you haven't, feel free to take a couple days just go draw something you've always wanted to, work with paint or just sketch whatever comes to mind ^^
When you move on, please keep in mind my suggestions with regards to the tempo you draw at and your warmups, but I feel like your line quality has already seen great improvement throughout this lesson.
A couple personal recommendations to finish up:
number and date all your pages. It doesn't only make judging your work to give you feedback easier, but also shiws you clearly how much you've already accomplished.
The 250 box challenge is way longer and sometimes less rewarding than L1, so pace yourself.
I'd recommend aiming for only one page of 5/6 boxes a day, that is sn approachable task that is relatively easy to git into your daily schedule and will see you finish in less than 2 months.
If you try to do too much, too quickly you'll burn yourself out way before you're done, so try to build healthy habits, now is the perfect time to do so!!
-Make drawabox fun! If the thrill of the challenge isn't enough, find some good music to jam out to, draw outside in the sun or find some friends irl or on the drawabox discord to hang out with while you draw.
Just speaking to someone about anything or complaining about your boxes can make the whole thing much more enjoyable.
There's always submissions on the website for L1, so feel free to pick one and just tell them what you see.
It doesn't have to be as extensive as this one, but a second pair of eyes is always better.
Just remember to always be kind,
Have a great day;
~Jonas
Next Steps:
Move on to 250 box challenge, add curved superimposed lines and ellipse exercises to warmup.
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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