## Lesson 1: Lines, Ellipses and Boxes

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##### 3:54 PM, Sunday June 7th 2020

Heeey, I know you! xD I’ve already commented on a bunch of these, but let’s go through them again, shall we?

Starting off, the lines section looks good. Your superimposed lines are confident, and properly lined up at the start, but they don’t always maintain a consistent trajectory- it’s important for them to. The ghosted lines look quite confident, as well. They’ll sometimes go beyond the end point, however. Skipping ahead to the organic perspective exercise, I notice that this is an issue there, too. Though it’s fine for the moment, the first step towards fixing a mistake is being conscious of it, so take another look at this exercise’s levels of success and start thinking about #3. Don’t forget, also, to place start/end points for the non-diagonal center lines of the planes.

The ellipse section looks quite nice, too. They’re confident and circular, though you’ll go around them a little much, at times. Remember that the recommended amount is 2-3 times, no more. Let’s talk specifics! In the table of ellipses exercise, be careful that ellipses in the same frame share a degree/tilt. Take a look at the 2nd row / 2nd column of page 2 for an incorrect example of the former, and 7th row of page 1 for an incorrect example of the latter. The ellipses in planes are quite nice. Though it’s normal for them to be a little less tight, as compared to the ones in the table of ellipses exercise, I’ll still recommend spending a little longer on the ghosting stage, next time, as it’s likely to tighten them up. If it doesn’t, don’t worry- mileage will! Finally, the funnels look quite nice, too. (You forgot to include it in this submission, but I’m looking at the revised page.) Continue being mindful of the alignment of their ellipses, rotating the page as necessary, and they’ll continue improving- I promise!

Finally, let’s talk about the box section. The plotted perspective exercise looks good. I’ll remind you, though, that correcting an incorrect line is discouraged. Once it’s drawn, it’s drawn. Hence the emphasis on planning it properly, through the use of the ghosting method, etc. The rough perspective exercise looks good, if a little rushed. Remember that, though it may seem counterintuitive, a unit of work is still a line. If it can be confident in the ghosted lines exercise, it can be confident here, too. That said, a dip in line quality in this section isn’t exactly uncommon, so don’t stress. The lines that don’t head to the VP are parallel/perpendicular to the horizon, as they should be- a major part of this exercise. The convergences themselves improve nicely, too. Though its rotation is a little inconsistent, the rotated boxes exercise looks nice. The boxes are snug, and you’ve seen it through to the end. The organic perspective exercise, too, looks quite good, though I’d certainly have liked to see a couple of more boxes in each frame. That said, what’s here is good- their foreshortening is consistency shallow, their sizes increase subtly and convincingly, and their convergences are, for the most part, quite good. To take them from good to great, there’s the box challenge!

Speaking of, feel free to move on to it!

Next Steps:

250 Box Challenge

This critique marks this lesson as complete.
##### 5:48 PM, Sunday June 7th 2020

I remember you too! That's a lot of text, that I have to read several times. Thanks for the review, I'm quite happy that after month I finally "finished" (I know it should be reviewed regularly) lesson 1.

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### The Science of Deciding What You Should Draw

Right from when students hit the 50% rule early on in Lesson 0, they ask the same question - "What am I supposed to draw?"

It's not magic. We're made to think that when someone just whips off interesting things to draw, that they're gifted in a way that we are not. The problem isn't that we don't have ideas - it's that the ideas we have are so vague, they feel like nothing at all. In this course, we're going to look at how we can explore, pursue, and develop those fuzzy notions into something more concrete.