5:32 PM, Sunday February 5th 2023
:O pretty cool
:O pretty cool
Good progress, I will mark the lesson as complete
Next Steps:
Can move on to lesson 3
I'm referring to the last - organic form intersections exercise, where forms are stacked on top of each other. The problem is that some of the "sausages" are non uniform at their width, as explained here.
With regards to the drawing you sent me, A, B and D are good, except for C where there the form gets pinched at the ends.
This is amazing, keep it up!
Starting off with the organic arrows, the exercise is as much about the perspective as it is about the folds, as described here “Mistake: not applying perspective”. You did quite well with understanding how the 2D plane can turn and twist in 3D space, however I would like to see more attempts in pushing the boundries of the 2D paper into the infinite Z axis ???? .
Whereas your organic forms with contour ellipses are pretty good, I can see you are struggling with organic intersections, which is completely natural as it’s not an easy exercise. You have to make sure the width is uniform as otherwise the construction becomes inconsistent. What helped me when doing this exercise is to think of the sausage more as a cylinder with a ball at the each end first, and only then as a sausage.
The reason why I pay attention to this exercise so much is because it’s extremely important in future lessons, especially 4 and 5 where you will use sausages for every construction of an organic shape.
Your texture exercises are very good - you focus on the cast shadows and contours over outlines and explicit drawing.
The form intersections is a quite a difficult one to pull off and you are doing in it quite well too.
All in all, you understood the lesson very well, but I would like to see a few more pages of the following exercises:
Next Steps:
One page of organic arrows with deeper perspective
One page of organic intersections with the focus on consistent width
Thank you for the feedback. The comment on how to use cast shadows to create more shape separation and distinction is a very useful one, and I’m still a beginner at it. Following up on that, I have a question regarding the 8th drawing (ship) - I really wanted to add some cast shadows to remove some line clutter, however as per reference, I couldn’t find distinct areas for that, as most of the planes had “different shades of grey” over distinctly dark areas, as could be seen with the truck well. Where would you have the cast shadows drawn? Or maybe it would have been okay to start “lying” - changing the light source and intensity for visual clearness? For example the two major columns in the middle would have cast the shadow on the deck and the base part.
All in all, I want to say Thank You for all the effort put into making this course. You are a superb instructor, always improving and wanting to make the course as best as possible. What’s even more is that you care about the “mental” side of students, in particular providing content on how to “do best to our current ability”. I found this quite challenging at the beginning of every lesson, however as I progressed my confidence would come back and I would be more at peace of whatever the outcome is. Managing expectations is probably one of the most important skills in life in general, and I’m very greatful to have participated in your curriculum that’s not just about the drawing but also about mindset and personal growth.
I also want to add saying “You were right” regarding the 50/50% rule. I’ve burned out multiple times throughout the 2.5 years it took me to complete it as the content here requires a lot of cognitive effort (especially when working full time as a programmer!) and takes time to digest. I would have benefited grately by respecting the black-white space concept of allowing myself to take it slow and do more of personal projects.
wow, this is great! How long did it take?
nice!
Love the gesture!
Hi, sorry for late reply. For sure follow the website's course as officially suggested!
Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.
The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.
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