250 Box Challenge
12:51 AM, Saturday August 8th 2020
Hello
I am sending my boxes from the 250 boxes , i hve drawn 6 boxes per page , and 42 pages so i got 252 boxes , please make you comments.
Hi!, and congrats on finishing this challenge! Let’s look through it~
Beginning with the linework, things are looking good. Though this started off quite confident, it had some accuracy issues, in that the hatching lines would stop short of, or overshoot their mark, and the line-weight would miss its guideline by a long shot. Thanks to 250 boxes worth of lines, this has improved by a lot. Your hatching is tight, and consistent, and the line-weight snug, and subtle. One tiny recommendation I have is in regards to the hatching, and that’s to lift your pen off the page at the end of your marks, as per the instructions here.
Conversely, the convergences themselves have, unfortunately, not improved that much throughout the set, but that’s because they started off fairly solid, the only issue with them being the (notoriously annoying!) back lines. In regards to those, I have something that might help. Take a look at this diagram. Specifically, pay attention to the relationship between the angles formed by the intersection of lines in a set (a set that shares a vanishing point, not a plane), over at the vanishing point, and their rate of convergence. You might notice, for example, that the middle lines of the set have a very small angle between them, which becomes negligible by the time they reach the box itself, and those lines can, as a result, guilt-free be thought of as parallel. In comparison, the outer lines of the box have a large angle between them, and need to converge much more dramatically to be able to intersect at that same point. This becomes a useful tool in your toolset, so be sure to try to see these relationships in your own boxes, the next time you find yourself constructing some. For now, however, you’re more than welcome to move on to lesson 2. Good luck!
Next Steps:
Lesson 2
Marshall Vandruff is a ubiquitous name in art instruction - not just through his work on the Draftsmen podcast and his other collaborations with Proko, but in his own right. He's been teaching anatomy, gesture, and perspective for decades, and a number of my own friends have taken his classes at the Laguna College of Art and Design (back around 2010), and had only good things to say about him. Not just as an instructor, but as a wonderful person as well.
Many of you will be familiar with his extremely cheap 1994 Perspective Drawing lectures, but here he kicks it up to a whole new level.
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