12:13 PM, Wednesday May 3rd 2023
Thank you! On to lesson 6!
Thank you! On to lesson 6!
thanks
Can you take a look at these?
Thanks for the review, definitely spot on. I did have trouble with drawing the first half of the cylinders but then it clicked once I got more in. I totally missed adding the dots at the connection point of ellipse and box, but by adding the converging lines on the side of the cylinders I was able to identify where the connection points were, which was helpful and allowed me to adjust my boxes and ellipse combo as I progressed. Yep, It's possible I could of rushed to get it done because I work better with schedules, but I try not to grind. So although I would like to check this off as done, getting more practice drawing ellipses and cylinders is not a bad thing. Plus, I can see a big improvement and I am feeling good about that.
But on a more positive note I've been embracing the 50/50 rule over the last few of weeks. Although it is very difficult for me to just sit and draw and know that I have so much learning to do, I'm finding I'm getting better at drawing for the sake of drawing. Which was the point after all, go figure. l do appreciate you and this forum, so thanks again for my review.
Thank you , thank you, thank you!!
Thanks again for all of your help. Here is the link to my revisions.
Ugh!! Here's the link
Can you show me an illustration for this comment?
You're generally doing well at using sausage forms to construct your legs, although you're inconsistent when it comes to applying a contour curve to define the intersection where 2 sausage forms join. These little contour curves might seem insignificant but they do tell the viewer a lot of information about how the forms are orientated in space as well as reinforcing the structure of your legs by establishing how the forms connect together. So try to remember to include them in future.
In stuck on how to insert legs and arms onto torso and how to create proper orientation once sausage forms are created. Here is a start of the wolf demo which I admit looks different than Uncomfortable, my sausage forms for the legs are more segmented. How can I connect them to each other and show 3D and orientation? Thanks again for the feedback
Hello ANDPIE,
Thanks for the feedback, it was helpful. Here are my updates, seems like my elipses still are a bit flat although Im definitely making effort to change the radius of them in the sausage forms. Thanks for the demos they definitly helped. I tried to eliminate sketchy lines by not going over my construction lines, and I made sure to go over my elipses twice and draw from arm. It was a lot to think about but I did slow down quite a bit. Unfortunately I had trouble with how to add the thorns to the thorny weevil. I seem to have gotten better with the legs and my understanding of how to add form improved a little. I kept wanting to go over the forms but held back so the drawings seem a bit incomplete but I didnt want to keep adding lines unecessarily.
I'm no expert but this is a good try. Of course you'll need to continue practicing. Try to connect your lines to the opposite mark and keep working on ghosting lines with consistency. Continue working on ellipses, you are having issues with tilting off the minor axis. https://drawabox.com/lesson/1/14/notaligned This is something you should always start considering when drawing your ellipses. One thing you could have done with these is start with a narrower degree ellipse in the center and then widen the degrees of the ellipses as they move outwards in the funnel. Please check the example here. https://drawabox.com/lesson/1/14/step3 This helps with practicing different degrees of ellipses.
Also don't scribble crosshatching for the boxes. I would neatly and with purpose hatch only on side (the front face) of each box so that you are not confused with the direction of the box.
I hope this helps as you move forward.
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.
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