250 Box Challenge

1:06 PM, Wednesday February 5th 2020

Box Challenge 1-250 - Album on Imgur

Direct Link: https://i.imgur.com/DScEBn0.jpg

Post with 21 views. Box Challenge 1-250

By the end of all this I feel like my greatest improvement was in my line quality. Initially I struggled against the urge to "fix" my lines by drawing over them. I managed to work that out of my system for the most part by the end of all these boxes. It improved my hatch marks, line confidence, and accuracy.

The first few pages I definitely darked the outline too much. It wasn't until about box 45 that Benj helped me see that I was still darkening too much. Around that point, also on his advice, I started focusing solely on 3pp with the Y-method rather than mixing in 1pp and 2pp.

By box 250 I managed to work out a way to unfocus my eyes a bit to better judge the relationship of the lines and dots. That, combined with developing a better feel of the relationship between the lines, I wasn't surprised as often by the random line that wandered off to its own vp.

Sitting here at box 250, I am definitely far from getting them perfect but I am happy with my improvements. I have taken pictures of a few of these pages before I added the projection lines. I am wondering if I should post them.

As always, I appreciate any and all critiques.

Thank you, everybody, for helping me as I worked on all this!

Benj is a gentleman and a scholar!

4 users agree
2:27 PM, Wednesday February 5th 2020
edited at 2:28 PM, Feb 5th 2020

Buttering me up in the description is no guarantee that I'll show up to critique you! Wait...

Jokes aside, this submission shows a considerable degree of improvement. The first thing that jumped out at me was the number of dots you'd place to determine the direction of the lines in the beginning, vs. the end. It proves that you've become able to 'see' the VP in your head, which, especially on those non-cube boxes, is a considerably difficult thing to pull off. The back lines are still a little wonky at times, but, since their job is to make the presence of the slightest error in the silhouette lines painfully obvious, this isn't exactly an issue. I do, however, recommend placing that point in a such way that all lines are equally 'wrong', rather than placing it so that 2 convergences are 100% correct, and 1 is 100% incorrect. Outside of that, I'm pleased to see the improvements in the thickening lines and the hatching lines. It may not be immediately obvious, but that level of subtlety does a lot to aid your boxes.

Anyway, consider this challenge complete. Nicely done!

Next Steps:

Lesson 2

This community member feels the lesson should be marked as complete, and 4 others agree. The student has earned their completion badge for this lesson and should feel confident in moving onto the next lesson.
edited at 2:28 PM, Feb 5th 2020
2:46 PM, Wednesday February 5th 2020

I do, however, recommend placing that point in a such way that all lines are equally 'wrong', rather than placing it so that 2 convergences are 100% correct, and 1 is 100% incorrect.

Yeah, that was one thing I came up against a lot more near the end.  For some reason it never occurred to me to try and give up a little correctness for the other two when trying to fix that third.   I will definitely keep this in mind as I go forward.


ComicAd Network is an advertising platform built for comics and other creative projects to affordably get the word out about what they're making. We use them for our webcomic, and while they don't pay much, we wanted to put one of their ad slots here to help support other creatives.
The recommendation below is an advertisement. Most of the links here are part of Amazon's affiliate program (unless otherwise stated), which helps support this website. It's also more than that - it's a hand-picked recommendation of something I've used myself. If you're interested, here is a full list.
Color and Light by James Gurney

Color and Light by James Gurney

Some of you may remember James Gurney's breathtaking work in the Dinotopia series. This is easily my favourite book on the topic of colour and light, and comes highly recommended by any artist worth their salt. While it speaks from the perspective of a traditional painter, the information in this book is invaluable for work in any medium.

This website uses cookies. You can read more about what we do with them, read our privacy policy.