aeshnabx

Technician

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aeshnabx's Sketchbook

  • Sharing the Knowledge
  • Technician
  • Geometric Guerilla
  • Tamer of Beasts
  • The Fearless
  • Giver of Life
  • Dimensional Dominator
  • The Relentless
  • Basics Brawler
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    2:45 AM, Sunday September 25th 2022

    Hi Bruh! I'll be critiquing your homework:

    • Form Intersections: You have the forms, and most of the intersections look fine, especially the ones on boxes, but you struggle with the ones that involve spheres. Think that, when a sphere intersects with a box, for example, the intersection should follow the direction of the box, but it also should be a bit round, since it's intersecting with a sphere.

    You can look at this album, where every type of intersection possible is laid down. You'll notice that whenever a sphere, a cone or a cylinder is involved, part of or the whole intersection will involve some degree of curvature.

    Be careful too, because there are forms that are laid too far apart, and don't intersect at all. And the last page has a lot of space for more forms, remember that for this exercise we try to fill the entire page with forms.

    • Object Drawings: It's advisable to include the reference photos on the submission. On this lesson, it's recommended to work on ballpoint pen too. I highly advice you to use a ruler, or a straight edge of any type for your lines. While your freehand lines are pretty good, what we're looking for on this lesson is precision, and the ruler is ideal for making our lives easier in that regard.

    So, as we said, we're looking for precision on this lesson. This means, more than capturing everything exactly as it is, we're focusing on planning every step of our construction. A good example of precision would be the ghosting method: when going through the planning of a straight line we can place an initial and ending dot, this will increase the precision of our drawing by declaring what we want to do. Once that is in place we can draw the mark: it may nail those points, it may overshoot or undershoot, etc.

    The important thing is that prior to any of that we have used the ghosting method to think about each mark's purpose and how we are going to achieve it best rather than figuring everything as we go. This kind of approach is more useful for the kind of geometric forms that we are working with as they have different planes, sharp corners, and clearly defined proportions.

    This leads us to the following problem: a lot of forms on your construction were made without considering the subdivisions and proportions, instead, working by observation and compromising our precision. For example, on the big speaker, you subdivided the box, but when it came to drawing the handles, you eyed it instead of making a clear division on the plane, and considering that that kind of handle will be kind of sunken into the speaker's box; that generates another type of problem, similar to the ones you saw on the barrel demo.

    On the big table with buttons for example, you subdivided the box and had a good framework for the space where the rows of buttons would be, but then you eyeballed them, when it would've been easier and more precise to subdivide the plane even more, so that every button was aligned and proportional with each other. Something similar happens on the cologne bottle. The long bottle was made without any subdivision: it would've been good to put that into a box, subdivide it, and then making the ellipses and constructing the bottle that way; like you did on the weights (I think they're weights).

    So, I think you should go for three more objects. Try to work with a ruler and ballpoint pen, subdivide the forms as much as necesary and draw your construction around those subdivisions. You'll have to measure some things by eye when deciding where to make the subdivisions, but working on that is the point. If you encounter curves, remember that it's more practical to handle them first as straight edges, and round them at the end.

    Try not to repeat lines, construct all the necessary ellipses inside planes. Go for precision, don't try to eyeball things. If a form is too complicated, remember that we can use ortographic studies as a way of working around that.

    It will get messy, and that's part of it. If you can, work with a light lineweight first and go for a heavier one when you're sure of your construction. Two of your objects can be whatever you want; but I want one of them to be a more complex form; think of the mouse demo, something that forces you to use orthographic studies. And as always, take your time with it. Good luck, and if you have any questions, feel free to ask.

    Next Steps:

    • Three more objects, one of which has to be a complex form that requires orthographic studies.
    When finished, reply to this critique with your revisions.
    0 users agree
    1:35 AM, Sunday September 25th 2022

    Hi Chanshizukamoe! I'll be reviewing your homework:

    Ok, so first: your line is really, really wobbly. You have to take the time to ghost and draw from your should on every single line. In time, it will become second nature to do it, but right now you have to take that time and make the effort consciously.

    I can see that you tried various points of view, and that's great, but you rushed the whole job: most of the time you can't make more than two sets of lines converge towards one point; and given the fact that, on a lot of corrections, you drew the correction lines in the opposite direction, it makes me think that you haven't fully grasped the idea of convergence; or that you really just went as quick as you could.

    Adding to the last point, your correction lines should be made with a ruler, always in the direction that your set of lines is converging. We need precision when correcting, and doing those lines freehand just adds to the confusion.

    Take care of your upload as well, there's a photo that's really dark and an unrelated one included in the submission.

    From box 180 or so, you starting to show some improvement; but your lines still diverged sometimes instead of converging, the line still was wobbly, and you also started to make really similar boxes on every ocassion. So much so, that the last 50 boxes were almost identical on their point of view.

    I think you should redo this challenge, taking all of these points into consideration. Go back to the challenge page, see the demos again, read the instructions, and go back to them every time you feel insecure or have doubts about what you're doing. Follow the steps to the letter. If you have too much trouble in the middle of the challenge, remember that you can ask for help on Discord, the community is really good and helpful.

    Now, the most important thing: Take your time. It took me two months to finish this challenge; you take whatever you feel it's necessary to make it right. I usually worked 5 boxes a day, 10 at most, because otherwise I would feel really exhausted and just make a mess. Take your time. Make sure that you are putting the effort and doing those boxes the best you can. If you feel exhausted in the middle of a page, hell, in the middle of a box: stop, come back to it later.

    Most of the challenge here isn't really physical (the act of drawing the boxes), it's mental: to think about how your lines are converging, to think how they're affected when you modify the Y or change the point of view. To make sure that all your lines on a given set are converging towards the same point. To think about how the convergence of your lines will alter the degree of foreshortening. And finally, when you make your correction lines (once the whole page is finished), think about the corrections you just made. What were your mistakes on that particular set of boxes; what you have to correct. What angles and points of view you haven't tried, are you repeating the same box or are you changing your POV? That kind of thing.

    And of course, all of the above is exhausting, so take your time. There's no rush at all.

    That's it. If you have any questions, feel free to ask. Good luck!

    Next Steps:

    • Do the 250 Box Challenge again, reading the demos again and every time it's necessary; take into consideration the critiques made here.

    • Take your time with it.

    When finished, reply to this critique with your revisions.
    2 users agree
    12:56 AM, Sunday September 25th 2022

    Hi AmenX! I'll be reviewing your homework. Let's see:

    • Arrows: They look great; if there were more of them and had a bit more of compression as they move away would've been good too, but as they are, they're good.

    • Leaves: Great job here, they're flexible and flow in 3D space, you followed the steps of construction and the edge detail looks good as well.

    • Branches: The main idea is there as well, remember that the ellipses define how the branch is turning in 3D space, so be consistent with them. On some of the branches the degree of the ellipses gets bigger, then smaller, than bigger in a short amount of space; it's subtle, but it adds up. On some other the change of degree isn't enough, and flattens the branch as a result.

    Finally, remember to construct them bit by bit, overimposing lines: on some of the branches looks like you did the edges on just one, wobbly stroke. It could be an illusion, but either way, work from your shoulder, ghost your lines and overimpose one line after another when constructing branches.

    • Plant Drawings:

    • On your olives, the line on the leaves looks a bit wobbly; there's a leaf that has some lines that don't add up to nothing; they're not detail, and they're not contour lines either. On the actual olives, remember that an sphere with a pole drawn on will be more efective at representing an actual sphere than the curve/ellipse method, like this.

    • The contour lines on the aloe don't look much like the actual plant. Even without reference, the aloe tends to have some curves on it's contour that aren't present there. I could be wrong though. In any case, when working on thicker leaves, think of them in a similar way as in the cactus demo, as far as the contour lines go.

    • On the big plant with holes in it's leaves, the branches are definitely too wobbly, remember what we talked before when it comes to them. The leaves also look too stiff, that could be on the reference though.

    • The stem on one of your mushrooms doesn't conect with anything and breaks the illusion. If the idea was that it is actually behind the mushroom cap, the lineweight doesn't help to convey that. Either way, it would be better for it to actually make contact with the rest of the construction.

    • When it comes to the morel mushrooms, try to follow the demo that's on the lesson. Your version isn't bad at all, but that method is pretty easy and it captures the texture better.

    • Some of your leaves and petals lack flexibility. Don't be afraid to overlap lines when necessary, that way that kind of form will flow better.

    Overall, you did a good job on this lesson, so I think you're prepared for Lesson 4. Keep working on the things pointed out here, and good luck!

    Next Steps:

    • Move on to Lesson 4
    This community member feels the lesson should be marked as complete, and 2 others agree. The student has earned their completion badge for this lesson and should feel confident in moving onto the next lesson.
    10:06 PM, Saturday September 24th 2022

    Hi! Here I made all the corrections. Some animals had the same mistakes pointed out before, so I didn't point them out again, but take them in consideration as a whole. I think you worked way too fast for what you had to look out for, so I think you should try again:

    • One hooved quadruped

    • One non-hooved quadruped

    • One bird.

    Make them count, observe very carefully where the masses are; where you could lay a footprint for the muzzle, that always gives itself away if you look at the planes of the head. Take a look at the informal demos again; and go back to them and these corrections whenever you have doubts. Remember that it's okay to stop mid drawing and continue it later, is better to do that than to feel overwhelmed and rush it.

    That's it, if you have any question, feel free to ask. Good luck!

    Next Steps:

    • One hooved quadruped

    • One non-hooved quadruped

    • One bird.

    When finished, reply to this critique with your revisions.
    0 users agree
    5:59 PM, Monday September 19th 2022

    Hi HFO1! I'll be reviewing your homework.

    On some of the intersections, there are some strange things, like curves on cylinders that don't accelerate enough when reaching the edge, that sort of thing, but overall, they look pretty good.

    As far as your object drawings go, I have to say that they look impeccable to me. You repeated some lines, and I'm sure that it was recommended to use ballpoint pen for this lesson, but besides that, the constructions are great, you subdivided a lot and whenever it was necessary; you chose a lot of complex objects too, so congratulations.

    I had the same problem with the headphones, and arrived at a similar solution, however, I think we handled the headband differently. This is a demo someone made to help me with that, using half an ellipse to work with the headband is what really helped me.

    I asume you used ortographic studies for things like the knifes and the detail on the little house, but I'm really curious about how you handled the spheric objects and especially that cart thing. I would've enclosed the whole thing in a box for starters and then I would've broken it into sections, but your solution looks a lot more elegant, and I'm curious to know how you determined the point at which the top section should start.

    Also, I don't know if you do it already, but after a week of posting your homework, if you haven't had a review, you can go on Discord and ask for it to be included on a spreadsheet, that way it gets critiqued as soon as possible. After Lesson 1 though you have to make 5 critiques per submission to get yours reviewed, but still, it's pretty quick. I say that because I saw you uploaded this lesson a couple of times before.

    Anyway, congratulations on finishing Lesson 6! Feel free to move on to the 25 Wheel Challenge.

    Next Steps:

    • Move on to the 25 Wheel Challenge
    This community member feels the lesson should be marked as complete. In order for the student to receive their completion badge, this critique will need 2 agreements from other members of the community.
    0 users agree
    5:31 PM, Monday September 19th 2022

    Hi TotalTempest! I'll be reviewing your work. Let's see:

    Organic Intersections:

    The line is a bit wobbly, and the excessive lineweight does not help. Remember to apply that only on sections that intersect each other, to clarify which form is on top of which. The sausages can be rounder (like two spheres joined by a tube), but it's something that will improve in time, just keep it in mind. I think that, for the most part, the forms feel solid and like they're falling onto each other, (the long sausage behind does not fall onto anything though), but the shadows that you applied don't help at all.

    Here's a corrected version (I'm working on Paint with mouse, so it's not perfect). The important things to remember is that the shadows will get bigger as the form starts to hang and separates from the form underneath; so it won't start thick right away. That suggests that the form is floating and it contradicts what you actually drew. The other aspect is that cast shadows have to follow the contour of the forms they're being cast on; the corrected shadow I made on the lower sausage does that, following the curved surface of the last sausage before reaching the floor.

    Finally, be mindful of your contour lines, they're supposed to represent how the form turns and twists in 3D space; so their degree will change depending on how the form behaves. Both ends of the curves have to be the same degree, keep an eye on that.

    Animal Drawings:

    So, I've been looking at your insect drawings and they're pretty good as far as construction is concerned. You didn't make the animal drawings with as much care. The initial construction most of the time is good (although some intersection lines could help, on the point the bird's head makes contact with the body, for example), but everything on top feels extremely flat.

    On your added masses, for example, you rarely did follow the contour of the forms they're sitting on, the best ones here are the ones where you followed the demos. Look at this. Notice that the added forms work like bags of fluor, or sticky gum, they warp and adjust to the construction they're being placed upon.

    Your added masses a lot of the time look like blobs that do not adjust to the initial construction, or have random corners. In this demo you can see how that works. Corners usually suggest other forms existing right besides them (like on the shell of a lobster, for example), so try to avoid them unless they're necessary.

    Your legs do not look like sausages at all a lot of the time, remember that making intersections on the places where they intersect each other helps a lot to solidify them as 3D forms. Most of the time you didn't construct the feet, instead trying to replicate them by observation. The best in this aspect are the bird's feet, which are actually constructed. You don't have to go overboard with that, but try to build their initial construction, add the planes, then add the toes or divide them where necessary. The intersection of the foot construction with the leg will also help you to solidify the whole thing.

    Your heads are better in that they show a clearer path of construction, but still there are problems with how you follow (or don't) the contour of the initial construction. Finally, the main problem I see is that you tend to skip steps or whole sections, instead trying to replicate the animal just by observation. Remember, we're not trying to make pretty pictures here, we're trying to learn about constructional drawing. So, an awkward looking but well constructed animal drawing is better for our purposes than a beautiful, identical animal drawing with zero construction.

    So, I'll ask you for 4 more animal drawings:

    • One hooved quadruped

    • One not-hooved quadruped

    • One bird

    • One animal of your choice

    Add the reference photos to the submission as well.

    Keep your line confident and clean, draw from your shoulder, take your time, don't rush it. Keep an eye on the demos, especially the informal ones, so you don't lose track of what you're doing. Follow the steps, from your initial construction, add forms, divide them into planes where necessary, add tertiary forms. Don't forget to add intersections where necessary, and to always take into consideration the forms you're working on when adding extra forms.

    That's it, if you have any questions, I'll be around to answer them. Good luck!

    Next Steps:

    Submit 4 more animal drawings:

    • One hooved quadruped

    • One not-hooved quadruped

    • One bird

    • One animal of your choice

    Add the reference photos to the submission as well.

    When finished, reply to this critique with your revisions.
    2:30 AM, Saturday August 6th 2022

    Hi! So this is a lot better. There are still some minor things, like that corner on the beetle's upper thorax, or some intersection lines on the legs that look a bit too flat, but you'll have plenty of time to practice those things on the next lesson. So, congratulations on finishing Lesson 4, and feel free to move on to Lesson 5!

    Next Steps:

    • Move on to Lesson 5
    This community member feels the lesson should be marked as complete. In order for the student to receive their completion badge, this critique will need 2 agreements from other members of the community.
    2:26 AM, Saturday August 6th 2022

    Hi! It's okay, you can keep practicing those aspects on your own. You should move on to the 250 Cylinder Challenge then, before approaching Lesson 6. Good luck!

    10:24 PM, Sunday July 31st 2022

    Hi! I totally got the pen thing mixed up with the subdivided boxes exercises, but I'll keep it in mind from now on. I've been struggling this whole time with the lineweight and how to make it more subtle and accurate, it's good to see a refresher on the basic concepts from time to time.

    Anyway, thanks a lot for the critique!

    1:35 AM, Sunday July 31st 2022

    Hi! So, starting with the organic intersections, here's a demo on your first page, the corrections there apply to the second page as well.

    As for the animal drawings, the following corrections apply to all of them:

    • Camel: Demo Here, the main issues I see are two.

    1: your line is way too wobbly and insecure. You have to make those lines flow, from your shoulder, ghosting them and executing the line with confidence.

    2: Your curves on the legs are arbitrary, they don't follow the contour of the sausage they're being drawn on, and the feet have no dimension to them at all. For the feet, start with simple forms, then add masses to them and break them apart as is needed. You can look at the donkey demo for a better reference.

    On my demo, when I added curves without adding masses, I could've done that cutting into the box itself too. If you look at the demos, sometimes we cut into the forms, other times we add the curves outside, like I did here, the important thing is that we keep in mind how the lines we're adding relate to the main construction and the forms they're being drawn too. In the end, I'm not just adding a curve to make the feet rounder: I'm implying a mass there, but it's one that's so small that just implying it in that way, works good enough.

    As for the legs, it's better that you use the contour curves on the basic construction and on some places where it could be needed afterwards (like horns or things like that), but the legs work better with just the intersections drawn on them. That being said, those intersections have to be drawn with care, following the contour of the forms they're being draw upon.

    Rhyno: Demo

    The ears can be treated as a thick petal, as they flow in a similar way in 3D space. As you drew them here, they look stiff and without any dimension.

    The spheres are way too overdrawn. We're overdrawing ellipses (and masses by extension) two to three times. The excessive lineweight on the initial construction undermines the rest of it, and prioritizes thing in the wrong order, visually.

    The legs and feet have the same problem as the camel, and you also hatched the backlegs. Don't: that comes from older demos. Draw through your forms every time.

    The boxy mass you added on the head, while I totally get your way of thinking there, could've been improved working with a smaller cranium to start, and wrapping the form better around the sausages; you'll notice that you ended up with some innecesary corners. When the boxy form reaches the hump, it creates a little corner: that's totally fine because you're interacting with another form. However, the way the boxy form wraps around the hump should be softer, as that form is rounder.

    The eyes are not spherical when they should be, and so, the eyelids don't wrap around them as they should.

    The horn reads fine, but if you want to be more accurate to the reference, you could add a contour curve that describes the planes on the horn, as it is not totally rounded.

    Bird: The bird looks good enough; the intersections on the legs are missing, but all other mistakes here have already been adressed.

    Frog: Same issues: line too wobbly, basic construction spheres too overdrawn, intersections missing and/or inaccurate. Watch out for the sausages, those are made on a single stroke, we don't build them like we do with the branches.

    Hybrid: Looks better as well, while having a lot of the same issues mentioned before. I really like the boxy head and the planes of the horn being suggested without using contour curves, which is great too. Would've liked to see you break apart the head a little more and add some additional masses to make it closer to a rhyno's head.

    So, there's that. Trying to condese it, here are the main points:

    • Wobbly line; intersection curves don't follow the contour of the forms, some sausages are not being drawn in one stroke.

    • Basic ellipses/spheres are being overdrawn.

    • Additional forms could be wrapped better around the basic construction, on occasion the feet are not broken down into planes, the ears tend to be stiff instead of flowing through space.

    And a final one:

    • No lineweight being added to prioritize elements when lines intersect (be subtle about it when adding it)

    There's a lot of progress, but you still have some things to improve. So, taking in mind all previous corrections, I'll ask for 3 more drawings:

    • One hooved quadruped

    • Two non hooved quadrupeds

    And a final page of Organic Intersections. Here, remember that your sausages are resting, not floating or in the process of falling. Be careful with your cast shadows, think of how those are actually being cast and why.

    Again, work big, 1 drawing per page, take your time, and think about how every line you're making relates to the forms they're being drawn upon.

    Don't forget to warm up before drawing. If you have any questions, I'll be around to answer them. Good luck!

    Next Steps:

    • One page of Organic Intersections

    • Three more animal drawings:

    • Two non-hooved quadrupeds

    • One hooved quadruped

    When finished, reply to this critique with your revisions.
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