8:49 AM, Monday June 26th 2023
Hi there, I'll be looking over your lesson 5 submission today.
Starting with your organic intersections, you're off to a pretty good start! They all have a sense of gravity and weight to them, which is exactly what we're looking for. You show a good grasp of 3-dimensional space. You could've been a bit more generous with the cast shadows, but the ones that are there are generally decent. It is good that you've only used additional line weight to help clarify where there are overlaps.
Remember to always prioritise confidence over accuracy (when it comes to drawing lines, that is). That was explained all the way back at lesson 1, and it still holds true here. Your lines are quite wobbly and hesitant at times. Your ellipses especially aren't very... elliptical. Remember to always make good use of the ghosting method for all of your lines, and fully commit to the line once you've started it.
Now we move unto the mean course of the night: animal construction. You consistently make use of something that Uncomfortable calls a clean-up pass, which, while a perfectly valid drawing technique, is firmly discouraged when doing Drawabox. You can read more about it here. The gist of it is that every mark you put down should be done with the same confidence and boldness as any other line in the drawing, and you should never go back over a line to try and "correct" it (except for when you're adding line weight ig). Remember, these are exercises, not pieces of art. Drawabox is all about developing an intuitive sense for how forms exist in relation to one another in 3D space, so the constructional part is much more important then the final drawing. That's the most important thing you can take away from this critique.
Another thing that you should avoid is cutting into and altering the silhouettes of the underlying forms (like you did for your first bird's head). This severely undermines the 3D feel of the shape, as illustrated here. You almost always will want to work with additive construction instead. By working additively you also provide information on how those forms connect/relate to one another, which further strengthens the illusion of depth. The will work the best when you make use of simple forms, which is why we draw all those sausages back in lesson 2. Complex shapes, such as that of animal legs for example, will thus be constructed out of many simple shapes interacting with each other rather than one big solid shape. It's like working with clay: you start with a simple base, and then you iteratively add more clay around that initial base, wrapping them around and building up a more complex shape as time goes on.
When it comes to detailing, you need to be more mindful of the marks you put down. You need to think through and design the shapes, not just scribble down an approximation. You need to really observe the reference images to understand why things look the way they do, and often things will look different in reality from what we picture in our heads. And remember, detailing is optional. Drawabox is mainly about the construction.
Don't get me wrong, your drawings aren't bad. Your snail cat (snat? cail?) is really cute. They just don't adhere to the principles of Drawabox, and to get the most out if this course you must follow the lesson instructions as closely as possible. Trust me.
So, I think that covers most of it. I want you to do one more quadruped drawing (hoofed or non-hoofed, you choose) before you move unto the 250 Cylinder Challenge, and really pay mind to your mark making this time around. Be bold, be confident, don't hesitate. Perhaps redo some of the lesson 1 exercises as warm-ups. I also want you to be more mindful of the shapes you put down when you construct your animal. Read through the lesson material again, and try to do as it tells you as closely as possible. Keep up the good work, and good luck!
Next Steps:
1 more quadruped drawing (hoofed or non-hoofed)