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12:54 PM, Friday February 12th 2021
Hello and welcome. Let’s see.
Your superimposed lines look a lot better in their second page, but there, too, there’s a bit too much of a focus on accuracy. Remember that our goal is for these lines to be confident, first and foremost. It’s okay for them to miss their guidelines. It’s not okay for them to wobble. The ghosted lines/planes show a similar misunderstanding, particularly at their ends. It seems like you’ve been decreasing your speed, there, in an effort to stop at the correct place, and not overshoot, most likely. This, too, is incorrect, if it comes at the cost of confidence.
Your ellipses have a habit of starting off a little stiff, then stabilizing in a future rotation. It’s good that you’re finding your flow eventually, but, ideally, you’d have it from the start. That’s, after all, the purpose of ghosting: to familiarize yourself with the motion, before you commit to it. If you’re not ready, then continue ghosting. If you are, then try to push the fear to the side. Once the pen touches the page, the accuracy of the mark is set in stone. All you have a say in, at that point, is its confidence. The ellipses in planes show some solid improvement, but continue pushing them in that direction. Though it’s minor, be careful, also, that your main goal here lies in the smoothness/roundness of your ellipses. Touching all 4 sides of the plane is important, but not as much as the confidence of your ellipses. The funnels, too, look solid. Your ellipses get even smoother, here, and you’ve been mindful of the other aspects of the exercise, too (they’re snug, and properly cut in half by their respective axes.)
The plotted perspective exercise looks clean- nicely done.
The rough perspective exercise, too, looks really solid. In general, your linework improves quite a bit in this section. Aside from that, the boxes themselves look good, too. It’s clear you’ve taken your time planning your lines, what with 2 sets of them being parallel/perpendicular to the horizon, and 1 set converging.
The rotated boxes exercise looks fantastic. It’s big (huge positive, really valuable in giving your brain some room to think), its boxes are drawn through, snug, and rotating. There’s a tiny issue in regards to their far planes, being a little flatter than their front counterparts need them to be, but this is normal, and something that we’ll get into in the box challenge. I also appreciate the addition of hatching, but you should’ve used your shoulder for it.
Finally, the organic perspective exercise looks great. You’ve got a bunch of boxes here, and a bunch of overlaps, too. That, coupled with the increase in size, and consistent, shallow foreshortening, do a good job of conveying the illusion we’re aiming for. The lineweight helps, too (though it is a little overt at times), but be careful to apply it locally (so to the part of a line that’s overlapping another, and that’s it), and to the silhouette of the box, only. We’ll get into why that is in a second.
Next Steps:
For now, however, I’ll mark this lesson as complete, and move you onto the box challenge. Best of luck.
Staedtler Pigment Liners
These are what I use when doing these exercises. They usually run somewhere in the middle of the price/quality range, and are often sold in sets of different line weights - remember that for the Drawabox lessons, we only really use the 0.5s, so try and find sets that sell only one size.
Alternatively, if at all possible, going to an art supply store and buying the pens in person is often better because they'll generally sell them individually and allow you to test them out before you buy (to weed out any duds).