I have both good news, and bad news. The good news is that the section you found to be tough, the cylinders in boxes, was okay - there are some issues I'll bring to your attention to help you better use this exercise going forward, but no revisions will be required there. The bad news however is that unfortunately you appear not to have taken as much care in following the instructions for the cylinders around arbitrary minor axes.
Looking at this first section, your cylinders around arbitrary minor axes appear all to be drawn such that their side edges remain parallel to one another on the page, without any convergence, suggesting that the vanishing point for those edges were forced to be at infinity. This eliminated the foreshortening for the cylinders, which expressly goes against the specific instructions present here in bold (that is, to include lots of variety in your rates of foreshortening throughout this section of the challenge). More than that however, forcing those vanishing points to infinity is actually incorrect in general, rather than merely missing one of the instructions.
When drawing a form, we do not decide where the vanishing point will go - rather, we decide how we want the given form to be oriented in space, and it is this which determines where the vanishing point should fall. There are a limited set of orientations for a given set of edges that will place the vanishing point that governs them at infinity - specifically it'll occur when those edges run perpendicularly to the viewer's angle of sight. To put it more simply, when those edges run straight across our field of view, without slanting towards or away from the viewer through the depth of the scene.
Given that this challenge, like the box challenge, has us rotating our cylinders randomly in space, we can with confidence say that the likelihood of that perfect of an alignment to the viewer is small enough that in a sample size of 150 it is unlikely to occur at all. In such situations, it's best to ensure those side edges converge, even if only very gradually.
Of course the odd cylinder having parallel edges isn't a big deal - but the fact that this issue is present throughout the entire section does suggest that the manner in which you are approaching the instructions may need to be altered. Be sure to consider why this occurred, and how you can change your approach to avoid it in the future. My recommendations would be to consider taking notes to summarize the important points of what you read/watch, so that you can go through them more regularly whenever sitting down to do the work, as well as periodically doing a fuller review of the instructions to ensure nothing was left out of those notes.
Continuing onto your cylinders in boxes, overall your work here is considerably better, although there are a couple things I want to point out that'll help you get the most out of this exercise going forward. This exercise is really all about helping develop students' understanding of how to construct boxes which feature two opposite faces which are proportionally square, regardless of how the form is oriented in space. We do this not by memorizing every possible configuration, but rather by continuing to develop your subconscious understanding of space through repetition, and through analysis (by way of the line extensions).
Where the box challenge's line extensions helped to develop a stronger sense of how to achieve more consistent convergences in our lines, here we add three more lines for each ellipse: the minor axis, and the two contact point lines. In checking how far off these are from converging towards the box's own vanishing points, we can see how far off we were from having the ellipse represent a circle in 3D space, and in turn how far off we were from having the plane that encloses it from representing a square.
The two main issues right now are as follows:
There are quite a few points where you're not drawing your ellipses such that they touch all 4 edges of the plane enclosing them. Remember - the ellipse itself is an error-checking tool. The goal is not to draw the right ellipse, but rather to draw the ellipse that fits in order to assess whether the plane's proportions were correct or not. Ensuring that the ellipse fits the plane is therefore quite important.
Keep an eye out for cases where the proportions of your plane are really far off, like this one. In cases like this, it can seem like the ellipse isn't that far off, especially if we don't pay enough attention to where the minor axis line actually is on a given ellipse, and where it's supposed to be. In that example, for the ellipse closest to the viewer the minor axis line is way off, as shown here, but it looks like that went unnoticed. When things end up that far off, it's easy for our brains to convince us that it's actually correct, so paying close attention is very important.
Unfortunately while the second section does get a pass, I will need you to complete the 150 cylinders around arbitrary minor axes again, being sure to adhere to the instructions as closely as possible.
Next Steps:
Please submit 150 more cylinders around arbitrary minor axes.
Hello once again, took me some time, but I managed to finish my revision. I was drawing all my cylinders around minor axes the wrong way, just because I missed the part in the instructions, where it says that we need to draw in perspective. So It was a mistake purely by inattention.
Your latest attempt is considerably improved over the first one. While I definitely see a few cases that are still dangerously close to being too parallel, even those do appear to have very slight convergences, and in general you've been much more mindful of ensuring that your side edges are converging, and that they're doing so as they move away from the viewer.
I have just a few things for you to keep in mind:
Remember to draw through your freehanded ellipses two full times - you tend to stop after one and a half turns, although I don't think you're aware of that. Just be sure to keep an eye on what you're actually doing, compared to what you're intending to do, as it's easy to miss.
Your side edges are very straight and smooth, although you do tend to leave gaps between the end of the stroke and the ellipse it's supposed to be right up against, due to the tendency to undershoot those lines slightly. Keep working on that, and be sure to apply all the aspects of the ghosting method - including placing start/end points when planning out your stroke.
Keep pushing yourself to practice both cylinders with shallower foreshortening, as well as those with more dramatic foreshortening. Right now you're still sticking more closely to the shallow end of things, with minimal convergences - don't be afraid to really push that foreshortening by increasing both the scale shift (making the far end smaller in its overall scale, as a result of those side edges converging more rapidly) and by increasing the degree shift (making the far end proportionally wider). Both of these "shifts" work together to convey how much of the cylinder's length exists in the "unseen" dimension of depth - that's something we tend to practice less of when we focus only on the shallower end of things.
Anyway, with that I'll go ahead and mark your challenge as complete.
Next Steps:
Move onto Lesson 6.
This is a remarkable little pen. Technically speaking, any brush pen of reasonable quality will do, but I'm especially fond of this one. It's incredibly difficult to draw with (especially at first) due to how much your stroke varies based on how much pressure you apply, and how you use it - but at the same time despite this frustration, it's also incredibly fun.
Moreover, due to the challenge of its use, it teaches you a lot about the nuances of one's stroke. These are the kinds of skills that one can carry over to standard felt tip pens, as well as to digital media. Really great for doodling and just enjoying yourself.
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