Yop! Long time no ... i don't even know what to say. Aaaaany way, as always thanks for helping us with your lessons and critics, and Here is my lesson 6 homework!
On a side note: one of the pens i use started to die out when i was beginning this lesson. Which means the lines were whiter, more shallow, etc. I actually really liked being able to throw lines, it allowed me to throw lot's of marks and lines that were for positions, and not a final thingy. Aaand that pen completly died at around the 6th drawing.
Generally this is rather good work. I think right now while your sense of construction is pretty solid, this subject matter definitely brings to light a need to continue practicing your more basic and rudimentary skills - specifically the ones covered in the first lesson. The construction of simple boxes that sit properly in 3D space (no far plane larger than near plane issues), clean straight lines executed in a single stroke, and tight ellipses that are aligned to a set minor axis, and so on.
Of course, that's the sort of thing that will develop by continually doing those simple exercises over a long period of time. For now, your constructions are looking good. The clock at the beginning was a bit of a failure, but much of the rest came out quite nicely. The PS Vita and the object above it are looking solid, the deoderant is fantastic, and so on. With the lamp, if you look at the long cylinders where you shaded with a bunch of tiny curving hatching lines, I'd definitely recommend using longer lines length-wise along the form instead. Short lines like that tends to make a surface look rough and bumpy, while longer lines implies a smooth texture.
For the spray bottle, I have a demo I did for someone else for a similar subject matter. This applies to all constructions - focus on the rudimentary forms in your object. Even if there are smooth curves in your bottle, construct them first with clear, hard edges, then round them out afterwards. Smooth transitions tend to be much harder to pin down on their own.
Anyway, consider this lesson complete. Feel free to move onto the next one, but be sure to keep up with those early exercises as warmups so you can continue to grind away on your lines, ellipses and boxes.
Hi Uncomfortable, I have a question about drawing the shadow of an object. I see in the examples of the lesson, that you drew (an outline of) a shadow of the object that was not visible in the reference picture. Are you just eyeballing what seems right or is there some sort of trick or way that you can tackle this?
The shadow's a good example of considering everything in your drawing as a potential tool, rather than something to copy over one-to-one. The shadow that I drew in is by no means an accurately measured or plotted one - it's a roughly approximated shape that exists only to help ground the object in its environment. There's no need for it to be accurate.
You may have struggled, but I'd say you came out on top - many of these drawings are very well constructed, especially the soap dispenser, the mouse and the adapter.
Your weakest area generally involves cylinders, more specifically ellipses. This is fairly normal, as they take quite a bit of practice to nail down. That said, be sure to check out the material at the 250 cylinder challenge if you haven't already. Looking at your drawings though, I get the sense that you have. I do want to remind you in that case about the relationship between the near/far ellipses of a cylinder - the end closer to the viewer will generally have a smaller degree, so it'll be narrower. The water bottle on the right side of page 1 has that ellipse at the base of the cap that seems to be wider (of a higher degree) than the base of the bottle, which makes it read a little strangely.
Anyway, you're doing very well and are definitely moving in the right direction, so keep up the good work. Feel free to move onto the next lesson.
Thanks /u/Uncomfortable yeah, I have read cylinder material, haven't done the challenge though. which would probs be good elipse practice. I think I'm finding the difference between drawing a random cylinder in space to one that needs to be a specific size and angle to match what I'm looking at a struggle. Then there's drawing two ellipses close together which gets very messy very quickly. But I guess that that is just a matter of hand control/practices.
Generally you've done exceptionally well. I really like the lengths you've gone to build up each construction, carefully considering the forms separately instead of the object as a whole. I do agree that your water kettle is a little off, and I believe it's because the angle of the minor axis of the top ellipses is different to that of the ellipses of the base.
Another thing I wanted to mention is that with your clock, I think the area where you used an especially thick line, you may have benefitted more from drawing two ellipses - one inset within the other - to establish a sense of thickness. The heavy line still reads more as being quite thin in terms of form. There are times where varying line weight can give a slight impression of thickness, but it's generally in subtler situations, where the difference in weight isn't too considerable, and where the space simply would not afford two separate lines to be drawn.
Anyway, you're doing great - feel free to move onto the next lesson.
I often found that the larger I tried to make it, the more likely it was to be skewed in some manner, and I sometimes mentally zoom in to specific sections and get tunnel vision, misaligning them.
Thanks for the critiques, pretty amazing that you're doing these.
Overall, you've done a good job. You improve over the course of the set, and you're demonstrating a solid grasp of how to see your objects as a combination of rudimentary geometric forms, rather than as overly complicated bundles of details. The more you rely on construction, and the longer you push things before rounding off your corners and adding the last touches, the more solid the result.
One thing to keep in mind of course is that since many of these forms start off with the most basic forms - boxes and cylinders - it's especially important to keep on top of practicing those. For example, 16 is an example of an object that was generally constructed well, save for the very first overall box, whose far plane was somewhat larger than its near plane (looking at the pair of faces, one on either side of the form). Because of this, the whole thing is skewed. I'm still glad that you pushed forwards with it, because it's still a good learning experience.
Also, I noticed that you struggled somewhat with that computer mouse construction, and remembered a demo I did for someone ages ago that might be of use: http://i.imgur.com/Mi2xVdj.png
Anyway, that's about all I have to offer here - you're doing well, so feel free to move onto the next lesson.
Phew, this is my last critique for now - I believe I've earned myself an ice cream cone!
[deleted]
2016-07-28 16:16
hey Uncomfortable! finally finished this one. man it was difficult, and I'm not proud of that telephone cord.. can't wait for your critiques http://imgur.com/a/Iha6V
Excellent work! Your constructions feel very solid, especially as you push through the set, especially the cylinder-heavy ones, which start off a little uncertain on that first page. One thing I did notice you struggling with was the computer mouse, and for good reason. For something like that, I would play around with creating a cross-section of the object first, and extruding my object off of that. I've got an old demo of that principle you can see here: http://i.imgur.com/Mi2xVdj.png. As you can see, a lot of people tend to have trouble with computer mice.
Anyway, keep up the great work, and consider this lesson complete!
It seems like people drop off after animals. I can see why... but I will persist! Here you go: http://imgur.com/a/fUpL6
I struggled quite a lot (this is maybe half of what I ended up drawing), and ended up drawing smaller because my big boxes and cylinders were pretty distorted. Also a little too much chicken scratching, as I really wanted to correct the lines before I committed.
I feel with animals, you can make a mistake and it doesn't look as wrong, or it's more easily correctable (organic) but here, mistakes are not very forgiving.
Definitely a good start, but there's a couple important things that I'd like to point out.
Firstly,
Also a little too much chicken scratching, as I really wanted to correct the lines before I committed.
Bad! Don't ever chicken scratch, there's no excuse for it. Apply the ghosting method to every single line you draw, and never give into the urge to correct a mistake. Correcting will draw more attention to your blunder, what you want is for it to disappear. Ignoring it is your best bet, though with practice you'll become more adept at finding ways to incorporate your mistake into your drawing (though this is case-by-case).
The most important thing to keep in mind that the final drawing doesn't matter - it's all a process to help you understand how 3D forms sit in space, and how they all fit together to create larger, more complex objects. The final drawing could just as well be thrown into a fire, it's of no value at all.
Another thing I noticed is that though you completed the cylinder challenge, you didn't apply the concepts learned in it at all in this lesson. There were plenty of cylinders, but I don't see any minor axes being used in their construction. I mentioned this when marking lesson 5 as complete - it's important to see this lesson entirely as the form intersections from lesson 2, just arranged and configured in a very specific way to match whatever it is you're drawing.
There is a demo that I'd posted before you started doing these lessons that I think would be of help - http://i.imgur.com/xAIXxfo.jpg
Everyday (Geometric) Objects
The plants, the insects, the animals, they all gradually hold your hand, walking you slowly and patiently towards the idea of breaking down your subject matter into its core forms and then reconstructing them on the page, rather than simply transferring details one line at a time. Most people find that when they reach this lesson, the person who was holding their hand has brought them to the edge of a cliff, and suddenly shoved them off.
That person's me. Better learn to fly.
The biggest piece of advice I have for these all-too geometric of objects, is to stop seeing the object. Look beyond it. In this example, you're not drawing a spray bottle. You're drawing a box, then a sort of tapered, trapezoidal box on top of it, with an taller angled box on top, and more boxes on top of that. Break it down into these absolutely basic forms.
It can help to draw a quick 2D diagram off to the side, as I have here, breaking it down into its simplest shapes. Once you've constructed those same 2D shapes as 3D forms, THEN you can start worrying about the little nuances, like smooth transitions beveled edges, and so on. If you want to learn 3D modeling, this is actually an excellent exercise for that. Keeps you from getting caught up in the detail of things.
Some of the most successful homework I've seen for this lesson has had virtually no detail to it. At least, not in the texture/rendering/littlebittylines sense. They were all construction, all form.
Lastly, it looks to me like a lot of these drawings are quite small (judging by the thickness of your lines relative to the overall drawing). Keep in mind that the smaller you draw, the less space you have to think through spatial problems - and these exercises are ALL about spatial problems. So, draw bigger.
At the end of the day, you are going to be limited by how well you can construct basic boxes and cylinders, so the principles of drawing through your boxes and constructing cylinders based on your minor axes (and also starting a cylinder off as a box in order to align it correctly) are all very important, and as your ability to do this improves, so will these drawings. It's important to continue practicing them regularly (I talk about the principle of regular warmups here: http://drawabox.com/comic/2).
I'd like to see two pages of form intersections, followed by another six pages of every day objects, taking what I've mentioned above into consideration.
Here are my new intersections. No need to provide a ton of feedback on these, just wanted to get them uploaded before I start on the objects just in case there's something glaringly off: https://imgur.com/a/kXgyJ
Compared to last time, I think these are much better. That was definitely the toughest exercise from that lesson.
Coming along decently. Your second page is better than the first, though they're both pretty good. Keep an eye on your foreshortening on those longer cylinders, though - you want to keep the foreshortening fairly shallow in order to keep the scale more consistent across all of the forms. Overall it's definitely a big improvement over your set from lesson 2. It's kinda nice to know that I'm not just a crazy person shouting at people to draw boxes on the internet...
And here are the six pages of everyday objects. Tried to split them equally to focus on both cylinders and boxes. Drew bigger. More thought behind each line. Got a little cocky and tried a shoe, which did not go well. The rest... okay I think.
Hahaha, 'nvm' indeed. The problem there is that you rushed in with curves way too early, rather than blocking them in as straighter, boxier forms. Shoes are going to be notoriously difficult at this point, as they're quite complex. The lack of solidity to their construction also is bound to introduce a significant challenge, so don't feel discouraged that you aren't quite there just yet.
On the topic of curves and straight lines/boxier forms, one important thing to be aware of is the relationship between the two. In many cases, you can consider a curve to exist as representing any combination of two or more straight lines. Think of it in terms of bezier curves, for example, how the curved line will follow along the framework of multiple straights. In terms of drawing objects, we often rely on curves perhaps too much, because we know that a given curve, in representing multiple combinations of straight lines, has a greater chance of representing the correct ones. In this sense, a curve is a vague approximation, and a straight line is a clear cut decision.
When we start thinking about solidity, we want clear, firm, confident decisions. Once your decision has been made, you can construct a curve to round off the edges based on the straight lines you have, and it will continue to carry along that sense of confidence and solidity, but it's important that you start with the straight lines - or in an expanded sense, solid boxes.
Like everything else, this isn't a hard-fast rule, but it applies especially effectively when talking about geometric constructions, and the principles (if not the exact application) apply in more subtle ways to organic constructions as well.
Anyway, your newer drawings certainly have improved! Your core components are feeling stronger and more solid, so that trickles down to the rest. There still is room for improvement (the box on the olive oil bottle is pretty lopsided, though you clearly noticed that on your own - nice work fighting the urge to correct it!).
So, I'll mark this lesson as complete - feel free to move onto the next one, which is going to be more of the same, but... likely more challenging.
Ah, that's a good point. I'll draw boxes (or well, trapezoids) and then turn 'em into curves. The shampoo bottle was a little easier (and hopefully more accurate) because I was able to use a lightly-drawn sphere and then just fill in the top hemisphere, but on stuff like the gatorade bottle and the olive oil bottle, I failed pretty badly.
Good to know and keep in mind as I draw some TANKS ^and ^cars ^and ^stuff ^too ^i ^guess
Not a bad start, but there's a few areas where you can certainly change your approach in order to improve.
First and foremost, I'd like you to step back from this exercise and complete the 250 Cylinder Challenge. There's some specific instructions in regards to the use and construction of cylinders that you're lacking right now, and would be of great benefit.
Secondly, there's an important observation to be made in regards to how this subject matter differs significantly from that covered in the previous three lessons. The previous topics were organic - I stressed the importance of constructing things from basic 3D forms (organic forms, but simple building blocks none the less), but due to the organic nature, there's a lot of leeway in terms of straying from that purely constructional approach.
When it comes to solid, geometric objects, there is no leeway at all. It's extremely important to stop looking at the things you're drawing as whatever they are, and instead perceiving them as a combination of solid, rudimentary geometric forms (primarily boxes and cylinders, hence the cylinder challenge). For example, a shaving cream can is just a cylinder, a sphere, and another couple of cylinders. A camera is a box with a cylinder. And so forth. Things do get considerably more complex than that, but they are ultimately just geometric forms. The shoe probably wasn't an ideal choice, try to stick to things that feel hard and solid. We could definitely apply the same principle to the shoe (as we could to any object), but for the sake of learning, we'll stick to things are within a certain range of complexity for now.
Once you're done the 250 cylinder challenge, I'd like you to then do two pages of form intersections - this exercise relates closest to what we're going to be doing here, as you might imagine, as it's just a matter of making forms interact. Where the form intersection exercise allows us to combine forms freely, the content of this lesson has us put forms together in a much more predefined fashion, with forms aligning to each other in a logical fashion. In that way, it's actually much easier than the form intersections.
So, when you're constructing such an object, the longer you stay in the mindframe of drawing a series of basic forms, the more successful your drawing will turn out. There's always a point where you're going to let that go, and put in the final touches to your drawing - rounding off corners, adding labels or other superficial features - but none of these are really all that important. 99% of this is construction, ignoring detail and other such features.
Take a look at this demo. I cheat a little with the head of the spray bottle, but the rest of the bottle is a good example. The original bottle is quite rounded, but I flesh it out with solid boxes. By the time I round things off, those rounded corners aren't a far jump at all from what I've already got.
So, once you've finished the cylinder challenge and the 2 pages of form intersections, I'd like you to try this homework again. Feel free to submit in stages - that is, submit after completing the cylinder challenge, then after completing the form intersections, and finally after redoing the homework for this lesson.
Not bad, but there's a couple of things I really want to stress.
Doooooon't do a sort of initial line, then "final lines" type of thing, as you've done here with your orange lines, followed up with your black ones. I totally understand why you did it that way, but it really puts you into the mindset of "replacing" your initial lines. What you want to be focusing on instead is leveraging your line weights to help organize your linework after you've drawn in those initial lines. Rather than replacing your lines, your focus should be on emphasizing certain important ones. Your initial lines should be drawn confidently, not with the intent for them to be hidden. It just impacts your mindset negatively. Also, keep your eye on your ellipses - since you attempted to replace them, you didn't draw through them with your black pen, and they ended up being uneven.
The 250 cylinder challenge explained the use of the minoraxis to construct your cylinders (which can also be applied to your cones). Don't toss that aside, it's really important.
Your use of hatching's pretty sloppy. Keep your lines parallel and consistent, stretching all the way from edge to edge across the plane. Also, hatching almost never works well (at least in ink) on spheres. Don't try and rely on hatching to actually add solidity to your forms, because that won't work - what's important is maintaining those silhouettes and line weights. For a sphere, that means making sure your ellipse is even and smooth.
This sort of geometric construction is tough, so don't stress too much. You're heading in the right direction, you've just got to continually remind yourself about the importance of these concepts, like your minor axis, how to use line weights, etc.
Maybe do another form intersection for your own sake, then take another stab at the lesson 6 homework.
Definitely not that great, but I've been practicing regularly lately (finally), and included basics which I've been skipping before. While doing this homework I also started working on cylinder challenge, that should be of help also.
As far as construction goes, it's a good start, but there are a few issues that I'd like to highlight for you.
At times, your linework gets kind of sketchy. That is, you're not always applying the ghosting method, and you often reflexively reinforce your lines with additional marks, drawn by reflex instead of conscious planning. You want to definitely stick to the rule of one mark per line, instead of the sort of natural tendency people have to be sketchy and more explorative.
Many of these drawings demonstrate a solid constructional approach, which is good. The kettle, your bottles, the.. toaster? the tea pot, the toilet-bowl cleaner (i think) and the other cylindrical thing on the last page are all examples of this with variable degrees of success. There are others however where you jump right into drawing the object with no significant attempt at construction, such as the x-box controller, the scissors, and so on. Definitely push yourself to apply the constructional approach to everything. If you come across an object that doesn't seem to fit with the constructional method right now, I'd recommend just skipping it. Right now we're not looking for you to challenge yourself, just to get the basics of geometric construction down to the point that you feel more confident and solid with it.
Construction when it comes to these sorts of geometric objects is very much about ignoring the fact that you're drawing a specific object, and not just visualizing it as a series of simple forms, but literally drawing it that way. A lot of your drawings sit on the fence, where you're clearly considering the presence of those basic geometric forms (boxes, cylinders, etc.) but you're also trying to capture the little nuances of the object itself at the same time. Don't. Ignore the fact that a bottle is a bottle, and focus purely on drawing a series of cylinders arranged in the way the bottle suggests. The longer you treat an object as being purely a series of primitive forms, the more solid and the more successful your construction will be. It's also for this reason that I strongly agree with your pursuit of the cylinder challenge. Learning to construct cylinders and understanding the huge significance of the minor axis and such is key. Also solidifying your grasp of boxes is highly important as well. This demo shows this principle of sticking to simple forms. Notice how I completely ignore the rounded edges of the bottle until the very end? Had I attempted to capture them early on, my construction would have been considerably less solid. In fact, I was less constructive with the head/nozzle area, and as a result it came out somewhat weaker.
I think you're moving in the right direction, but I'd like you to do another four pages of these sorts of drawings - though only once you've had the opportunity to complete the 250 cylinder challenge. I can already see the impact it's having (the last page is considerably better).
One last thing - you may want to draw your objects to be larger on the page. Relative to the size of the drawings, your lines feel a little on the thick side. This can result in things getting messy quite quickly, and it can be a little more difficult for you to think through the spatial problems of construction. Working larger makes each line weigh much less in relation, and it can be a little less stressful than smaller drawings.
It was still less good than I'd like it to be, but I suppose I'm getting somewhere. I actually like how camera turned out and the very first soap container also.
I think most of the dirtiness comes from when I try to highlight important lines - I end up messing up the line here and there, and then try to highlight it even more, which adds inaccuracies and ends up a mess. Gotta work on that.
Definitely an improvement. I agree that the camera is looking pretty solid - great work with the cylinders for the lens, that's quite a tricky thing to pull off. The soap container's pretty decent too, though I probably would have constructed the core cylinders of the nozzle starting off with a box.
Those two chairs were attempted with some rather tricky angles, to be sure. I think this also would have benefitted from being drawn in a overall box that encapsulated the whole form. With the first one, I get the sense that it's completely straight-backed (making the whole chair likely fit quite nicely inside of a box). With the second one, I'm not sure if it's intentionally meant to have the back set at an angle or not. I'm assuming it's a mistake, but even still. you could start that one with a box that fits tightly around the legs of the chair and comes up, with the back sticking out slightly.
Anyway, overall you're improving. I do agree that your linework tends to be rather messy, but you seem to be mindful of that. Fight the urge to make corrections, only ever draw a single mark for every line, and for when you come back to add line weight, make sure you've been practicing the super imposed lines exercise in your warm-ups. I think the importance of continuing to practice the exercises from lessons 1 and 2 are definitely important here, as it's those basic mechanical exercises that will improve a lot of the core challenges involved here. Keeping your lines straight, keeping your lines smooth, constructing solid boxes, adding line weight, etc.
Anyway, I'll mark this lesson as complete, so feel free to move onto the next one.
Ahahaha, you thought it was going to be easy. That's rich. Geometric constructions are immensely difficult for everyone, because unlike more organic subject matter (like the stuff we've covered in the last three lessons), these aren't forgiving at all. While the other lessons kind of nudged you towards being more constructional, thinking about basic forms, and giving you a gold star whenever you moved a step or two in that direction, this lesson's like a hostage-taker holding a gun to your head and shooting you in the face if you even start to think about these objects as anything but primitive 3D forms. It's pretty scary.
So, I'll be blunt. You haven't done particularly well at this lesson, but there's a lot of very clear reasons as to why your approach didn't work, so if we can get you to change your approach, your results should improve.
As, as you said, you didn't actually finish the 250 box and cylinder challenges. You should not have jumped into this lesson regardless, you should have put all of your focus into those basic challenges first, so you had the chance to receive a critique on them. Think of the boxes and cylinders like your basic tools - you've walked into a construction site with a rubber hammer.
Looking at your cylinders, I see parts of what would constitute a well constructed cylinder spread out across your work, but not a single one that's actually solid. You're using your minor axes in some places, but most of those don't actually have straight lines for their edges. Instead of constructing a cylinder, then building more complex forms around it (like in some of those mugs and lotion bottles) you jumped right into the weird swoopy curves. Don't skip steps, and focus on drawing primitive, basic forms arranged to match your objects - NOT drawing the objects themselves.
The only cylinder I see with straight edges is in the core of your kettle, but its edges are super faint and timidly drawn. Additionally, all of the other forms are way more complex right off the bat. I don't see any basic boxes, or anything else. You're jumping in too complex, way too early.
The glass cleaner spray bottle is pretty good (aside from the massively disproportionate head/nozzle). You've actually drawn the various boxy sections and built it up in successive stages, adding more complexity each time. The label, admittedly, was a total waste of time and effort, but the construction of the main bottle is well done. That's the concept you need to apply to everything.
You're going to try this again - but first you're going to complete and submit both challenges. Then when you come back to attempt this exercise again, you are not actually going to draw the objects. You are literally going to draw primitive 3D forms arranged to match whatever object you're trying to draw. Think of it like doing form intersections, but where you don't have to invent the configuration of the forms - you're just filling in the bulk of whatever object you're basing it off. Remember that you can manipulate these forms to an extent - like how with the spray bottle you didn't just use straight, rectilinear boxes, you had some angles skewed and slanted purposely.
Also, focus on forms with solid volume to them. Avoid flimsy things like glasses.
Pff this lesson was way more difficult than it seemed and it took me forever to finish. I had read from others that it was a struggle and now I know they were right! Here's my homework.
(note: the first two pages are with a different pen, I was on vacation and forgot to bring my fineliner proof I hope it's ok, I still used it the same way I would drawing with a fineliner)
How dare you! I said fineliner! Shoves everything off his desk and flips it over I ASK FOR ONE LITTLE THING. IS IT SO MUCH TO ASK. UNACCEPTABLE BEHAVIOUR GET OUT OF MY CLASSR-
It's fine :D
There's one really remarkable thing about your work here - it's generally very well done (aside from a couple troublesome bits) despite missing out on the core principles of cylinder-construction. That is, the importance of the minor axis. Despite this, your perfume bottle, your salt shaker and that film canister all look pretty solid. This tells me that you've developed a reasonably strong sense of space.
That said, your camera lens falls apart without a good grasp of what the minor axis represents. I do talk about it a little bit in the lesson, but for a better breakdown of how to construct cylinders, consult the 250 cylinder challenge. Additionally, I noticed that your mouse was a little weak. I've seen this in the past, and did a demo for a student ages ago - you can find it here.
Aside from that, fantastic work! I'll mark this lesson as complete. Feel free to move onto the next lesson (but it'd be a very good idea to do that cylinder challenge beforehand).
As a side note, I remembered you being the first homework submission after I started recording them in that spreadsheet - that was just over a year ago, so it seems you've been keeping at it for quite a while! Congrats on a full year of drawabox nonsense.
Thank you so much for your comments. I know my mouse was pretty horrible. I'm very relieved I can move on to the next lesson. Although I think I'll take your advice and do the cylinder challenge first.
I can't believe it's been over a year! I remember coming across drawabox and thinking, "o this will be great for the next few months" :S hahaha looks like it will take me a bit longer, but I'm really happy I'm still at it. I'm also really grateful that you're still willing to check all the homework that's thrown at you. I'm always afraid that you'll stop your work before I finish all the lessons. Maybe that is part of why I keep working because it might not be around forever. Thanks again!
Uncomfortable
2016-03-26 01:17
Old thread got locked, post your homework here.
KiwiYoz
2016-04-01 23:24
Yop! Long time no ... i don't even know what to say. Aaaaany way, as always thanks for helping us with your lessons and critics, and Here is my lesson 6 homework!
On a side note: one of the pens i use started to die out when i was beginning this lesson. Which means the lines were whiter, more shallow, etc. I actually really liked being able to throw lines, it allowed me to throw lot's of marks and lines that were for positions, and not a final thingy. Aaand that pen completly died at around the 6th drawing.
Uncomfortable
2016-04-02 03:06
Generally this is rather good work. I think right now while your sense of construction is pretty solid, this subject matter definitely brings to light a need to continue practicing your more basic and rudimentary skills - specifically the ones covered in the first lesson. The construction of simple boxes that sit properly in 3D space (no far plane larger than near plane issues), clean straight lines executed in a single stroke, and tight ellipses that are aligned to a set minor axis, and so on.
Of course, that's the sort of thing that will develop by continually doing those simple exercises over a long period of time. For now, your constructions are looking good. The clock at the beginning was a bit of a failure, but much of the rest came out quite nicely. The PS Vita and the object above it are looking solid, the deoderant is fantastic, and so on. With the lamp, if you look at the long cylinders where you shaded with a bunch of tiny curving hatching lines, I'd definitely recommend using longer lines length-wise along the form instead. Short lines like that tends to make a surface look rough and bumpy, while longer lines implies a smooth texture.
For the spray bottle, I have a demo I did for someone else for a similar subject matter. This applies to all constructions - focus on the rudimentary forms in your object. Even if there are smooth curves in your bottle, construct them first with clear, hard edges, then round them out afterwards. Smooth transitions tend to be much harder to pin down on their own.
Anyway, consider this lesson complete. Feel free to move onto the next one, but be sure to keep up with those early exercises as warmups so you can continue to grind away on your lines, ellipses and boxes.
WinglessViva
2016-04-07 14:02
Hi Uncomfortable, I have a question about drawing the shadow of an object. I see in the examples of the lesson, that you drew (an outline of) a shadow of the object that was not visible in the reference picture. Are you just eyeballing what seems right or is there some sort of trick or way that you can tackle this?
Uncomfortable
2016-04-07 14:25
The shadow's a good example of considering everything in your drawing as a potential tool, rather than something to copy over one-to-one. The shadow that I drew in is by no means an accurately measured or plotted one - it's a roughly approximated shape that exists only to help ground the object in its environment. There's no need for it to be accurate.
WinglessViva
2016-04-07 16:09
Thanks for clarifying!
Peteman22
2016-04-14 22:40
Hello Again
Man I found this lesson really hard, so I'll be particularly interested in what you have to say.
I hope the photo quality isn't too abysmal, or the crude photoshopping I needed to do to get everything onto eight pages.
Thanks for everything.
http://imgur.com/a/w2qNI
Uncomfortable
2016-04-15 23:06
You may have struggled, but I'd say you came out on top - many of these drawings are very well constructed, especially the soap dispenser, the mouse and the adapter.
Your weakest area generally involves cylinders, more specifically ellipses. This is fairly normal, as they take quite a bit of practice to nail down. That said, be sure to check out the material at the 250 cylinder challenge if you haven't already. Looking at your drawings though, I get the sense that you have. I do want to remind you in that case about the relationship between the near/far ellipses of a cylinder - the end closer to the viewer will generally have a smaller degree, so it'll be narrower. The water bottle on the right side of page 1 has that ellipse at the base of the cap that seems to be wider (of a higher degree) than the base of the bottle, which makes it read a little strangely.
Anyway, you're doing very well and are definitely moving in the right direction, so keep up the good work. Feel free to move onto the next lesson.
Peteman22
2016-04-16 19:21
Thanks /u/Uncomfortable yeah, I have read cylinder material, haven't done the challenge though. which would probs be good elipse practice. I think I'm finding the difference between drawing a random cylinder in space to one that needs to be a specific size and angle to match what I'm looking at a struggle. Then there's drawing two ellipses close together which gets very messy very quickly. But I guess that that is just a matter of hand control/practices.
[deleted]
2016-05-29 21:13
[deleted]
Uncomfortable
2016-05-30 20:02
Generally you've done exceptionally well. I really like the lengths you've gone to build up each construction, carefully considering the forms separately instead of the object as a whole. I do agree that your water kettle is a little off, and I believe it's because the angle of the minor axis of the top ellipses is different to that of the ellipses of the base.
Another thing I wanted to mention is that with your clock, I think the area where you used an especially thick line, you may have benefitted more from drawing two ellipses - one inset within the other - to establish a sense of thickness. The heavy line still reads more as being quite thin in terms of form. There are times where varying line weight can give a slight impression of thickness, but it's generally in subtler situations, where the difference in weight isn't too considerable, and where the space simply would not afford two separate lines to be drawn.
Anyway, you're doing great - feel free to move onto the next lesson.
Suchimo
2016-07-01 17:18
Lesson 6 homework
I often found that the larger I tried to make it, the more likely it was to be skewed in some manner, and I sometimes mentally zoom in to specific sections and get tunnel vision, misaligning them.
Thanks for the critiques, pretty amazing that you're doing these.
Uncomfortable
2016-07-01 18:43
Overall, you've done a good job. You improve over the course of the set, and you're demonstrating a solid grasp of how to see your objects as a combination of rudimentary geometric forms, rather than as overly complicated bundles of details. The more you rely on construction, and the longer you push things before rounding off your corners and adding the last touches, the more solid the result.
One thing to keep in mind of course is that since many of these forms start off with the most basic forms - boxes and cylinders - it's especially important to keep on top of practicing those. For example, 16 is an example of an object that was generally constructed well, save for the very first overall box, whose far plane was somewhat larger than its near plane (looking at the pair of faces, one on either side of the form). Because of this, the whole thing is skewed. I'm still glad that you pushed forwards with it, because it's still a good learning experience.
Also, I noticed that you struggled somewhat with that computer mouse construction, and remembered a demo I did for someone ages ago that might be of use: http://i.imgur.com/Mi2xVdj.png
Anyway, that's about all I have to offer here - you're doing well, so feel free to move onto the next lesson.
Phew, this is my last critique for now - I believe I've earned myself an ice cream cone!
[deleted]
2016-07-28 16:16
hey Uncomfortable! finally finished this one. man it was difficult, and I'm not proud of that telephone cord.. can't wait for your critiques http://imgur.com/a/Iha6V
Uncomfortable
2016-07-28 19:46
Excellent work! Your constructions feel very solid, especially as you push through the set, especially the cylinder-heavy ones, which start off a little uncertain on that first page. One thing I did notice you struggling with was the computer mouse, and for good reason. For something like that, I would play around with creating a cross-section of the object first, and extruding my object off of that. I've got an old demo of that principle you can see here: http://i.imgur.com/Mi2xVdj.png. As you can see, a lot of people tend to have trouble with computer mice.
Anyway, keep up the great work, and consider this lesson complete!
jaysire
2016-08-05 09:57
The white guy seems to have a bit of an attitude...
slavingia
2016-08-07 16:08
It seems like people drop off after animals. I can see why... but I will persist! Here you go: http://imgur.com/a/fUpL6
I struggled quite a lot (this is maybe half of what I ended up drawing), and ended up drawing smaller because my big boxes and cylinders were pretty distorted. Also a little too much chicken scratching, as I really wanted to correct the lines before I committed.
I feel with animals, you can make a mistake and it doesn't look as wrong, or it's more easily correctable (organic) but here, mistakes are not very forgiving.
Anyways, rant over. Thanks for reviewing!
Uncomfortable
2016-08-07 18:43
Definitely a good start, but there's a couple important things that I'd like to point out.
Firstly,
Bad! Don't ever chicken scratch, there's no excuse for it. Apply the ghosting method to every single line you draw, and never give into the urge to correct a mistake. Correcting will draw more attention to your blunder, what you want is for it to disappear. Ignoring it is your best bet, though with practice you'll become more adept at finding ways to incorporate your mistake into your drawing (though this is case-by-case).
The most important thing to keep in mind that the final drawing doesn't matter - it's all a process to help you understand how 3D forms sit in space, and how they all fit together to create larger, more complex objects. The final drawing could just as well be thrown into a fire, it's of no value at all.
Another thing I noticed is that though you completed the cylinder challenge, you didn't apply the concepts learned in it at all in this lesson. There were plenty of cylinders, but I don't see any minor axes being used in their construction. I mentioned this when marking lesson 5 as complete - it's important to see this lesson entirely as the form intersections from lesson 2, just arranged and configured in a very specific way to match whatever it is you're drawing.
There is a demo that I'd posted before you started doing these lessons that I think would be of help - http://i.imgur.com/xAIXxfo.jpg
Lastly, it looks to me like a lot of these drawings are quite small (judging by the thickness of your lines relative to the overall drawing). Keep in mind that the smaller you draw, the less space you have to think through spatial problems - and these exercises are ALL about spatial problems. So, draw bigger.
At the end of the day, you are going to be limited by how well you can construct basic boxes and cylinders, so the principles of drawing through your boxes and constructing cylinders based on your minor axes (and also starting a cylinder off as a box in order to align it correctly) are all very important, and as your ability to do this improves, so will these drawings. It's important to continue practicing them regularly (I talk about the principle of regular warmups here: http://drawabox.com/comic/2).
I'd like to see two pages of form intersections, followed by another six pages of every day objects, taking what I've mentioned above into consideration.
slavingia
2016-08-08 01:30
Woowee. Off I go!
slavingia
2016-08-08 19:18
Here are my new intersections. No need to provide a ton of feedback on these, just wanted to get them uploaded before I start on the objects just in case there's something glaringly off: https://imgur.com/a/kXgyJ
Compared to last time, I think these are much better. That was definitely the toughest exercise from that lesson.
Uncomfortable
2016-08-08 20:07
Coming along decently. Your second page is better than the first, though they're both pretty good. Keep an eye on your foreshortening on those longer cylinders, though - you want to keep the foreshortening fairly shallow in order to keep the scale more consistent across all of the forms. Overall it's definitely a big improvement over your set from lesson 2. It's kinda nice to know that I'm not just a crazy person shouting at people to draw boxes on the internet...
I mean, I am that, but I'm also helping!
slavingia
2016-08-11 18:47
And here are the six pages of everyday objects. Tried to split them equally to focus on both cylinders and boxes. Drew bigger. More thought behind each line. Got a little cocky and tried a shoe, which did not go well. The rest... okay I think.
https://imgur.com/a/vDLRH
Uncomfortable
2016-08-11 19:40
Hahaha, 'nvm' indeed. The problem there is that you rushed in with curves way too early, rather than blocking them in as straighter, boxier forms. Shoes are going to be notoriously difficult at this point, as they're quite complex. The lack of solidity to their construction also is bound to introduce a significant challenge, so don't feel discouraged that you aren't quite there just yet.
On the topic of curves and straight lines/boxier forms, one important thing to be aware of is the relationship between the two. In many cases, you can consider a curve to exist as representing any combination of two or more straight lines. Think of it in terms of bezier curves, for example, how the curved line will follow along the framework of multiple straights. In terms of drawing objects, we often rely on curves perhaps too much, because we know that a given curve, in representing multiple combinations of straight lines, has a greater chance of representing the correct ones. In this sense, a curve is a vague approximation, and a straight line is a clear cut decision.
When we start thinking about solidity, we want clear, firm, confident decisions. Once your decision has been made, you can construct a curve to round off the edges based on the straight lines you have, and it will continue to carry along that sense of confidence and solidity, but it's important that you start with the straight lines - or in an expanded sense, solid boxes.
Like everything else, this isn't a hard-fast rule, but it applies especially effectively when talking about geometric constructions, and the principles (if not the exact application) apply in more subtle ways to organic constructions as well.
Anyway, your newer drawings certainly have improved! Your core components are feeling stronger and more solid, so that trickles down to the rest. There still is room for improvement (the box on the olive oil bottle is pretty lopsided, though you clearly noticed that on your own - nice work fighting the urge to correct it!).
So, I'll mark this lesson as complete - feel free to move onto the next one, which is going to be more of the same, but... likely more challenging.
slavingia
2016-08-11 19:52
Ah, that's a good point. I'll draw boxes (or well, trapezoids) and then turn 'em into curves. The shampoo bottle was a little easier (and hopefully more accurate) because I was able to use a lightly-drawn sphere and then just fill in the top hemisphere, but on stuff like the gatorade bottle and the olive oil bottle, I failed pretty badly.
Good to know and keep in mind as I draw some TANKS ^and ^cars ^and ^stuff ^too ^i ^guess
disies
2016-08-08 18:23
https://imgur.com/a/jrVfC
Uncomfortable
2016-08-08 20:05
Not a bad start, but there's a few areas where you can certainly change your approach in order to improve.
First and foremost, I'd like you to step back from this exercise and complete the 250 Cylinder Challenge. There's some specific instructions in regards to the use and construction of cylinders that you're lacking right now, and would be of great benefit.
Secondly, there's an important observation to be made in regards to how this subject matter differs significantly from that covered in the previous three lessons. The previous topics were organic - I stressed the importance of constructing things from basic 3D forms (organic forms, but simple building blocks none the less), but due to the organic nature, there's a lot of leeway in terms of straying from that purely constructional approach.
When it comes to solid, geometric objects, there is no leeway at all. It's extremely important to stop looking at the things you're drawing as whatever they are, and instead perceiving them as a combination of solid, rudimentary geometric forms (primarily boxes and cylinders, hence the cylinder challenge). For example, a shaving cream can is just a cylinder, a sphere, and another couple of cylinders. A camera is a box with a cylinder. And so forth. Things do get considerably more complex than that, but they are ultimately just geometric forms. The shoe probably wasn't an ideal choice, try to stick to things that feel hard and solid. We could definitely apply the same principle to the shoe (as we could to any object), but for the sake of learning, we'll stick to things are within a certain range of complexity for now.
Once you're done the 250 cylinder challenge, I'd like you to then do two pages of form intersections - this exercise relates closest to what we're going to be doing here, as you might imagine, as it's just a matter of making forms interact. Where the form intersection exercise allows us to combine forms freely, the content of this lesson has us put forms together in a much more predefined fashion, with forms aligning to each other in a logical fashion. In that way, it's actually much easier than the form intersections.
So, when you're constructing such an object, the longer you stay in the mindframe of drawing a series of basic forms, the more successful your drawing will turn out. There's always a point where you're going to let that go, and put in the final touches to your drawing - rounding off corners, adding labels or other superficial features - but none of these are really all that important. 99% of this is construction, ignoring detail and other such features.
Take a look at this demo. I cheat a little with the head of the spray bottle, but the rest of the bottle is a good example. The original bottle is quite rounded, but I flesh it out with solid boxes. By the time I round things off, those rounded corners aren't a far jump at all from what I've already got.
So, once you've finished the cylinder challenge and the 2 pages of form intersections, I'd like you to try this homework again. Feel free to submit in stages - that is, submit after completing the cylinder challenge, then after completing the form intersections, and finally after redoing the homework for this lesson.
disies
2016-09-07 17:02
http://imgur.com/a/ireH1
I guess I'm getting better at this.. slowly.. ~.~
Uncomfortable
2016-09-07 19:11
Not bad, but there's a couple of things I really want to stress.
Doooooon't do a sort of initial line, then "final lines" type of thing, as you've done here with your orange lines, followed up with your black ones. I totally understand why you did it that way, but it really puts you into the mindset of "replacing" your initial lines. What you want to be focusing on instead is leveraging your line weights to help organize your linework after you've drawn in those initial lines. Rather than replacing your lines, your focus should be on emphasizing certain important ones. Your initial lines should be drawn confidently, not with the intent for them to be hidden. It just impacts your mindset negatively. Also, keep your eye on your ellipses - since you attempted to replace them, you didn't draw through them with your black pen, and they ended up being uneven.
The 250 cylinder challenge explained the use of the minoraxis to construct your cylinders (which can also be applied to your cones). Don't toss that aside, it's really important.
Your use of hatching's pretty sloppy. Keep your lines parallel and consistent, stretching all the way from edge to edge across the plane. Also, hatching almost never works well (at least in ink) on spheres. Don't try and rely on hatching to actually add solidity to your forms, because that won't work - what's important is maintaining those silhouettes and line weights. For a sphere, that means making sure your ellipse is even and smooth.
This sort of geometric construction is tough, so don't stress too much. You're heading in the right direction, you've just got to continually remind yourself about the importance of these concepts, like your minor axis, how to use line weights, etc.
Maybe do another form intersection for your own sake, then take another stab at the lesson 6 homework.
Lobachevskiy
2016-08-14 15:37
Done at last.
Definitely not that great, but I've been practicing regularly lately (finally), and included basics which I've been skipping before. While doing this homework I also started working on cylinder challenge, that should be of help also.
Uncomfortable
2016-08-14 17:40
As far as construction goes, it's a good start, but there are a few issues that I'd like to highlight for you.
At times, your linework gets kind of sketchy. That is, you're not always applying the ghosting method, and you often reflexively reinforce your lines with additional marks, drawn by reflex instead of conscious planning. You want to definitely stick to the rule of one mark per line, instead of the sort of natural tendency people have to be sketchy and more explorative.
Many of these drawings demonstrate a solid constructional approach, which is good. The kettle, your bottles, the.. toaster? the tea pot, the toilet-bowl cleaner (i think) and the other cylindrical thing on the last page are all examples of this with variable degrees of success. There are others however where you jump right into drawing the object with no significant attempt at construction, such as the x-box controller, the scissors, and so on. Definitely push yourself to apply the constructional approach to everything. If you come across an object that doesn't seem to fit with the constructional method right now, I'd recommend just skipping it. Right now we're not looking for you to challenge yourself, just to get the basics of geometric construction down to the point that you feel more confident and solid with it.
Construction when it comes to these sorts of geometric objects is very much about ignoring the fact that you're drawing a specific object, and not just visualizing it as a series of simple forms, but literally drawing it that way. A lot of your drawings sit on the fence, where you're clearly considering the presence of those basic geometric forms (boxes, cylinders, etc.) but you're also trying to capture the little nuances of the object itself at the same time. Don't. Ignore the fact that a bottle is a bottle, and focus purely on drawing a series of cylinders arranged in the way the bottle suggests. The longer you treat an object as being purely a series of primitive forms, the more solid and the more successful your construction will be. It's also for this reason that I strongly agree with your pursuit of the cylinder challenge. Learning to construct cylinders and understanding the huge significance of the minor axis and such is key. Also solidifying your grasp of boxes is highly important as well. This demo shows this principle of sticking to simple forms. Notice how I completely ignore the rounded edges of the bottle until the very end? Had I attempted to capture them early on, my construction would have been considerably less solid. In fact, I was less constructive with the head/nozzle area, and as a result it came out somewhat weaker.
I think you're moving in the right direction, but I'd like you to do another four pages of these sorts of drawings - though only once you've had the opportunity to complete the 250 cylinder challenge. I can already see the impact it's having (the last page is considerably better).
One last thing - you may want to draw your objects to be larger on the page. Relative to the size of the drawings, your lines feel a little on the thick side. This can result in things getting messy quite quickly, and it can be a little more difficult for you to think through the spatial problems of construction. Working larger makes each line weigh much less in relation, and it can be a little less stressful than smaller drawings.
Lobachevskiy
2016-08-27 22:25
https://imgur.com/a/76C3c
It was still less good than I'd like it to be, but I suppose I'm getting somewhere. I actually like how camera turned out and the very first soap container also.
I think most of the dirtiness comes from when I try to highlight important lines - I end up messing up the line here and there, and then try to highlight it even more, which adds inaccuracies and ends up a mess. Gotta work on that.
Uncomfortable
2016-08-28 17:08
Definitely an improvement. I agree that the camera is looking pretty solid - great work with the cylinders for the lens, that's quite a tricky thing to pull off. The soap container's pretty decent too, though I probably would have constructed the core cylinders of the nozzle starting off with a box.
Those two chairs were attempted with some rather tricky angles, to be sure. I think this also would have benefitted from being drawn in a overall box that encapsulated the whole form. With the first one, I get the sense that it's completely straight-backed (making the whole chair likely fit quite nicely inside of a box). With the second one, I'm not sure if it's intentionally meant to have the back set at an angle or not. I'm assuming it's a mistake, but even still. you could start that one with a box that fits tightly around the legs of the chair and comes up, with the back sticking out slightly.
Anyway, overall you're improving. I do agree that your linework tends to be rather messy, but you seem to be mindful of that. Fight the urge to make corrections, only ever draw a single mark for every line, and for when you come back to add line weight, make sure you've been practicing the super imposed lines exercise in your warm-ups. I think the importance of continuing to practice the exercises from lessons 1 and 2 are definitely important here, as it's those basic mechanical exercises that will improve a lot of the core challenges involved here. Keeping your lines straight, keeping your lines smooth, constructing solid boxes, adding line weight, etc.
Anyway, I'll mark this lesson as complete, so feel free to move onto the next one.
Lobachevskiy
2016-08-28 17:12
The chair's back has a certain angle to it, yeah. It's intentional. Also it's the same chair, so the first time it was actually incorrect :)
Thanks for the feedback. I kinda stopped doing basic exercises again, I'll be sure to do some of those every day from now on.
ReDraw-mind
2016-08-18 13:16
Hello there . i have to say i thought this lesson is going to be easy one for me but it came out quite tricky !
anyways i tried my best . i know some lines and perspective is a bit weak but i think i am improving with more practice as you already said before.
please find my assignment here
thank you isn't even enough :)
p.s: I just wanted to tell you that i started doing the 250 challenge as you suggested but i didn't finish it yet
Uncomfortable
2016-08-18 22:28
Ahahaha, you thought it was going to be easy. That's rich. Geometric constructions are immensely difficult for everyone, because unlike more organic subject matter (like the stuff we've covered in the last three lessons), these aren't forgiving at all. While the other lessons kind of nudged you towards being more constructional, thinking about basic forms, and giving you a gold star whenever you moved a step or two in that direction, this lesson's like a hostage-taker holding a gun to your head and shooting you in the face if you even start to think about these objects as anything but primitive 3D forms. It's pretty scary.
So, I'll be blunt. You haven't done particularly well at this lesson, but there's a lot of very clear reasons as to why your approach didn't work, so if we can get you to change your approach, your results should improve.
As, as you said, you didn't actually finish the 250 box and cylinder challenges. You should not have jumped into this lesson regardless, you should have put all of your focus into those basic challenges first, so you had the chance to receive a critique on them. Think of the boxes and cylinders like your basic tools - you've walked into a construction site with a rubber hammer.
Looking at your cylinders, I see parts of what would constitute a well constructed cylinder spread out across your work, but not a single one that's actually solid. You're using your minor axes in some places, but most of those don't actually have straight lines for their edges. Instead of constructing a cylinder, then building more complex forms around it (like in some of those mugs and lotion bottles) you jumped right into the weird swoopy curves. Don't skip steps, and focus on drawing primitive, basic forms arranged to match your objects - NOT drawing the objects themselves.
The only cylinder I see with straight edges is in the core of your kettle, but its edges are super faint and timidly drawn. Additionally, all of the other forms are way more complex right off the bat. I don't see any basic boxes, or anything else. You're jumping in too complex, way too early.
The glass cleaner spray bottle is pretty good (aside from the massively disproportionate head/nozzle). You've actually drawn the various boxy sections and built it up in successive stages, adding more complexity each time. The label, admittedly, was a total waste of time and effort, but the construction of the main bottle is well done. That's the concept you need to apply to everything.
You're going to try this again - but first you're going to complete and submit both challenges. Then when you come back to attempt this exercise again, you are not actually going to draw the objects. You are literally going to draw primitive 3D forms arranged to match whatever object you're trying to draw. Think of it like doing form intersections, but where you don't have to invent the configuration of the forms - you're just filling in the bulk of whatever object you're basing it off. Remember that you can manipulate these forms to an extent - like how with the spray bottle you didn't just use straight, rectilinear boxes, you had some angles skewed and slanted purposely.
Also, focus on forms with solid volume to them. Avoid flimsy things like glasses.
WinglessViva
2016-09-18 14:34
Pff this lesson was way more difficult than it seemed and it took me forever to finish. I had read from others that it was a struggle and now I know they were right! Here's my homework.
(note: the first two pages are with a different pen, I was on vacation and forgot to bring my fineliner proof I hope it's ok, I still used it the same way I would drawing with a fineliner)
Uncomfortable
2016-09-18 22:11
How dare you! I said fineliner! Shoves everything off his desk and flips it over I ASK FOR ONE LITTLE THING. IS IT SO MUCH TO ASK. UNACCEPTABLE BEHAVIOUR GET OUT OF MY CLASSR-
It's fine :D
There's one really remarkable thing about your work here - it's generally very well done (aside from a couple troublesome bits) despite missing out on the core principles of cylinder-construction. That is, the importance of the minor axis. Despite this, your perfume bottle, your salt shaker and that film canister all look pretty solid. This tells me that you've developed a reasonably strong sense of space.
That said, your camera lens falls apart without a good grasp of what the minor axis represents. I do talk about it a little bit in the lesson, but for a better breakdown of how to construct cylinders, consult the 250 cylinder challenge. Additionally, I noticed that your mouse was a little weak. I've seen this in the past, and did a demo for a student ages ago - you can find it here.
Aside from that, fantastic work! I'll mark this lesson as complete. Feel free to move onto the next lesson (but it'd be a very good idea to do that cylinder challenge beforehand).
As a side note, I remembered you being the first homework submission after I started recording them in that spreadsheet - that was just over a year ago, so it seems you've been keeping at it for quite a while! Congrats on a full year of drawabox nonsense.
WinglessViva
2016-09-19 07:08
Thank you so much for your comments. I know my mouse was pretty horrible. I'm very relieved I can move on to the next lesson. Although I think I'll take your advice and do the cylinder challenge first.
I can't believe it's been over a year! I remember coming across drawabox and thinking, "o this will be great for the next few months" :S hahaha looks like it will take me a bit longer, but I'm really happy I'm still at it. I'm also really grateful that you're still willing to check all the homework that's thrown at you. I'm always afraid that you'll stop your work before I finish all the lessons. Maybe that is part of why I keep working because it might not be around forever. Thanks again!