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This one's really straight forward, though not as easy as it looks - remember those planes you drew as part of the lines section of this lesson? Find those pages (hopefully you didn't toss them out, burn them, or use them as nest materials for your pet bird), because we're gonna need 'em.
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So, you've got your plane. Or as the case probably would be, a page full of them, but here we're going to focus on just the one. It's kind of an awkward shape to work with - this one's not too bad, but they can definitely get a bit crazy on account of being arbitrary quadrilaterals.
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Put an ellipse in there. That's all.
It may look simple, but there are some pitfalls to watch out for. Don't worry about anything aside from getting the ellipse to be smooth and evenly shaped, and having it touch all four edges of the plane as snugly as you can manage. Of course, draw through your ellipses (as mentioned in the table of ellipses exercise).
Be sure to make use of the ghosting technique - this should of course be applied to every mark you put down, but it will especially help you here. Don't worry if you mess up - you'll have plenty of planes to practice with.
This exercise is just the beginning of something much more complicated. In the future, we'll be tackling constructing cylinders inside of boxes, and other similar challenges, and these will come with additional criteria that will need to be met. The purpose of this exercise however is just about maintaining the smooth, even shape above all else. That is your first priority. Second to that is, as mentioned above, fitting it snugly within the plane, touching all four edges. Given that these are generally awkward shapes to work in, I frequently have students who start deforming their ellipses, getting generally overwhelmed by the difficulty of the task.
More than anything, it's an exercise in calming down. The difficulties faced here are generally more of one's own making. Take it easy, and just try your best to drop a nice, even ellipse in there.
You're going to find that we're basically repeating the same things over and over - focus on a confident execution first, then address control/accuracy by using the ghosting method. It comes up so often because it really is at the heart of mark-making as a whole. So this isn't the first time we come across it, and it certainly won't be the last.
That said, let's take a look at how these concepts apply in particular to this exercise.
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This is a mistake I see frequently. See how the ellipse is bumpy and wobbly, and it kind of reaches out to touch the edges rather than maintaining an evenness to its shape? Avoid this. As mentioned several times above, maintaining a smooth elliptical shape is critical and above all else is your first priority.
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I also see this every now and then, though less frequently. While getting the ellipse to touch all four edges is your second priority, it is still something you should strive to do. It's pretty clear that with this example, no attempt was made to achieve that goal, and the ellipse - though evenly shaped - was just plopped in the middle rather unceremoniously.
Here's what your page should look like once it's done.
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I'd been drawing as a hobby for a solid 10 years at least before I finally had the concept of composition explained to me by a friend.
Unlike the spatial reasoning we delve into here, where it's all about understanding the relationships between things in three dimensions, composition is all about understanding what you're drawing as it exists in two dimensions. It's about the silhouettes that are used to represent objects, without concern for what those objects are. It's all just shapes, how those shapes balance against one another, and how their arrangement encourages the viewer's eye to follow a specific path. When it comes to illustration, composition is extremely important, and coming to understand it fundamentally changed how I approached my own work.
Marcos Mateu-Mestre's Framed Ink is among the best books out there on explaining composition, and how to think through the way in which you lay out your work.
Illustration is, at its core, storytelling, and understanding composition will arm you with the tools you'll need to tell stories that occur across a span of time, within the confines of a single frame.
Having your work reviewed by others is critical, as those who are just starting out aren't in a position to properly judge their own work, and won't be for quite some time. Don't be afraid to show your struggles - it's by analyzing your mistakes that we can help you grow. Perfect homework is not what we're looking for; we just need it to be complete.
There are currently two places you can get your work critiqued by the community - Reddit and our Discord Chat Server.
Both of these are completely free.
If you are interested in receiving extra help, I critique the work of those who support Drawabox on Patreon.
All of these private critiques are done through reddit, in specific threads where students post their work as a comment, including a link to their work (often hosted on Imgur, though most image hosts are okay).
My requirements are more strict than the free community critiques:
The minimum pledge for this lesson is $5.00/month. The orange button above will take you to the reddit thread for this lesson, you can post a link to your work there and I'll be notified. Once I catch the submission, I'll add it to this backlog spreadsheet.
Pledges are collected at the beginning of the following month, but you may start submitting your work immediately. If you're a new patron, I'll be reaching out to your shortly to collect your reddit username.
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