3:41 PM, Monday May 24th 2021
Starting with your cylinders around arbitrary minor axes, nice work! I'm very pleased t osee the wide variety of proportions and rates of foreshortening, and the fastidiousness with which you've checked each and every ellipse's minor axis alignment. For this section, there's just one thing to point out, in order to keep you on the right track as you continue to move forwards.
The ends of our cylinders "shift" in two distinct ways - they'll get smaller in overall scale as they move away from the viewer (scale shift) and they'll also get wider in degree as they move away from the viewer (degree shift). So the farther end is generally going to be both smaller in scale, and wider in degree, than the end closer to the viewer.
Taking that one step further, both of these shifts are manifestations of foreshortening, as applied to the form. They're visual cues that tell the viewer how much "unseen" space there is between those ends. After all, when a cylinder - or any form - runs primarily across the viewer's field of view (like from left to right), we know that we're basically able to see the full length of the cylinder. If however the cylinder is oriented towards the viewer - like we're looking down its length, as one would look down a telescope - we know there is space and distance between its ends, but we cannot actually see them on the page. It is the foreshortening instead that helps relay this information to the viewer.
The critical point here is that both of these shifts need to remain consistent. If there's a more dramatic shift in scale, with the far end being much smaller than the closer end, then there should also be a dramatic shift in degree to match. Conversely, if there's virtually no shift in degree, there should be virtually no shift in scale. Of course there will generally be a little shift (as long as there is some distance between those ends, and the form is not running completely perpendicular to the viewer's angle of sight which would result in a vanishing point at infinity as discussed back in Lesson 1), but the main thing to take away here is that the shifts need to be consistent with one another.
In your cylinders, this doesn't always appear to be the case. If you look at 128, for instance, you've got a really dramatic shift in scale, but the degree remains roughly the same. There are many others like this as well, so that's just something you need to keep in mind.
Continuing onto your cylinders in boxes, I think you had a bit of a rough start with this one, but as you progressed through the set, you did start to get some ground beneath your legs and pushed through reasonably well. The key thing that I'm seeing is that as your cylinder/box gets longer, you pretty consistently end up with lines that converge in pairs (separated by the length of the form) rather than converging all 4 together (where the lines of a given set on either side of the form converge to the same vanishing point). That's a common issue, and something to keep in mind - as that form gets longer, you're going to need to angle your lines more dramatically to have them converge together all the same.
As a whole, I am seeing that you are making good use of this exercise towards its main goal - that is, to develop a student's intuitive grasp of how to draw a box that features two opposite faces which are proportionally square. After all, these line extensions we've added with the ellipses - those of the minor axes and contact points - allow us to check whether the ellipses themselves represent circles in 3D space which rest along the surface of the box. If their lines converge towards the box's own vanishing points, then the ellipses represent such circles. As an extension of that, this also means that the plane enclosing them would represent a square in 3D space. The more we test those line extensions, and the more we adjust how we approach drawing the boxes to bring those extensions further in alignment, the more we rewire our brain to better grasp these kinds of proportions as they exist in 3D space.
Long story short - nice work! Your work is coming along well, just keep an eye on those longer boxes. I'll go ahead and mark this challenge as complete.
Feel free to move onto lesson 6.