Hello, I'm on the last 100 cylinders of the challenge and because I'm having difficulty correcting the minor axis, I ended up having a doubt. Where this correction of the edges of the ellipses meets wouldn't it be the true minor axis of the cylinder?
I've watched the instructional video more than once and I don't remember this being said.
thank you for your attention
I don't quite follow what you're asking - would you be able to provide an example pointing to the portion you're referring to?
That said, note that the exercise itself doesn't really involve "correcting" the minor axis line - rather, what we alter from page to page are the proportions of the box itself. We draw a box, place the intended minor axis guide through its center, and then try to draw ellipses such that they align to that minor axis to the best of our ability. We then gauge where the contact points fall and what they align towards, using that information to adjust the proportions of our boxes for the next page to try and get the contact points to line up better to the box's vanishing points.
While the alignment to the intended minor axis line can throw things off a little, it's usually not by that much, and allows the contact lines to still give us relevant information on how to adjust those box proportions. If however you're having more significant trouble in aligning your ellipses to the intended minor axis, make sure that you're rotating the page per the ghosting method, and consider increasing the frequency of the funnels exercise from Lesson 1 in your warmup routine.
My question is whether this point where the two lines of contact meet means the place where the minor axis would best align with the ellipse similar to X to find the center of a square. But from what you said I don't think it's anything like that. I'm tripping.
Thank you very much
The point where the contact lines meet isn't relevant, so I wouldn't try to ascribe additional meaning to it.
Ok. Thank you very much for attention
Michael Hampton is one of my favourite figure drawing teachers, specifically because of how he approaches things from a basis of structure, which as you have probably noted from Drawabox, is a big priority for me. Gesture however is the opposite of structure however - they both exist at opposite ends of a spectrum, where structure promotes solidity and structure (and can on its own result in stiffness and rigidity), gesture focuses on motion and fluidity, which can result in things that are ephemeral, not quite feeling solid and stable.
With structure and spatial reasoning in his very bones, he still provides an excellent exploration of gesture, but in a visual language in something that we here appreciate greatly, and that's not something you can find everywhere.
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