anero4

I say just do it anyways. I used blue pens, not even fineliners and officially submitted them. Uncomfortable corrected me and still made me pass (though at the end of the lesson I had my black fineliners). So command your fineliners but don't let that stop your progress!

Before putting the mark on the paper, use the ghosting method and visualize what kind of ellipse it would be. Once you're satisfied draw it.

Hmmm you could use a gradient like in the texture analysis. More texture on the periphery and less in the face facing the line, and pure black in the faces farther from the light source. (so pure black, 2 lines, stop. You can add weight to the first line by passing a second time). You might want to revisit that gradient exercise on the side (warm up page) before passing to the real thing. The point of textures of drawabox is not really making things look pretty, but giving the 3d form, while describing the surface.

Hi,

Superimposed lines : The smaller ones are kind wobbly. Try doing them strait and faster, even if the miss the mark (making them sexy is priority here, not making them hit). You had more trouble on the curvy ones so keep practicing them in your warm ups. The starting point vary a tiny bit. I know you can be more precise because in some of them, you actually are!

Ghosted lines : they are less wobbly than your superimposed lines but they curve. That might be because your are not using the shoulder and having the elbow on the table. Try never having your elbow on the table and using the shoulder for the movement. The hand can be touching lightly and sliding on it. The lines might be curving also because you go too slowly and you let your brain correct the path. Instead go fast, like a samurai, but prepare well by ghosting before. Strait lines will be essential for the lessons ahead.

Table of ellipses : In each box, try keeping a more similar degree. Also the ellipses are not firm. I found that going through them more times helped me, in practice, getting them firmer. Also at the end, try lifting up your fineliner to not give a tail to your ellipses. I also find them wobbly. Try going faster, but use the ghosting method before doing them. The ghosting method should be used for every single mark you put on the paper. Keep practicing them in the warm ups because they will be really useful for the next lessons.

Ellipses in planes : You went through them more times than in the table of ellipses, good job on that. They are also less wobbly.

Funnels : The major axis of the ellipses isn't always perpendicular to their supposed degree but should be. Also the ellipses in the center should be narrower.

Plotted perspective : Nice.

Rough Perspective : You got seriously better at hitting close the the vp. Good job on that. The problem is that your boxes bend. Keep doing the ghosted planes warm up you will get better at doing strait lines. Go faster. Prepare more. Use your shoulder (as mentioned above).

Rotated boxes : Great attempt at that exercise. If you imagine lines that project from them to the vp, the vp should be moving in one direction for each parallel line. It is not always the case but it's normal, this exercise is too hard for now. On reason it could be the case that they are not really rotating is that you probably ignored the squares you put in the 4 corners.

Organic perspective : Do did well of maintaining a similar foreshortening. Also, the lines are getting straiter. The only thing is that the parallel lines don't alway converge towards the same point, but it's alright, because you will have pleinty of practice in the 250 box challenge!

Overall, you had a good understanding of what was required. Continue working on strait lines in your warm ups (ghosted planes). Work on making your ellipses firmer (table of ellipses) and continue doing superimposed lines as they will be important to make weight lines on future objects.

Hi,

Arrows : The tip of the arrows aren't as flowy as the rest of them. Try using the ghosting method for the tip. Also, the hatching shadows don't seem the be placed behind the intersections (the twists). Try to really see them and your mind before putting your shadows. Also, the band should get closer together as it gets farther away and narrower. Take a look at the first image of lesson 2. The parallel lines get closer together as it gets father away. You could also draw more simple arrows, similar to the one in the lesson 2 image, so you first master those concepts (shadows, bands getting narrower and closer), before trying to being creative.

Organic forms : They seem to be 3d and have weight so good job on that point. The only thing is that the ellipses and especially the contour lines seem to be having too much of a similar degree. That is incorrect because even if they are strait beans or sausages, the degree should vary depending on your point of view. Try seeing this with your fineliner (with the tip on). Close an eye and put it close to your eyes (5 cm from your face) and parallel to the ground. You will see that the left extremity have a contour line with an opposite degree to the right extremity, and everything in the middle vary between them.

Texture : Your texture analysis are very good, since you focused on the cast shadows. Though, the box on the right for the stone wall and the broken pavement could have a sharper gradient, with the lines disappearing more at the end. Your textures on organic forms warp well around the forms, but they could have a gradient, with the texture being more pronounced at the extremities and less present at the part facing toward us, like if the viewer was a light source. That could have saved you time and would be a sign you really controlled the texture.

Form intersection : The intersection could be more pronounced, showing the objects diving deeper into each others. Also some work more work is needed to have them be more realist but it's normal, that exercise is made to be difficult. There is one page (the third), I don't see any intersections. What you could have added to show which forms were above the other was adding weight lines and hatching lines to the surfaces on top.

Organic intersections : Again, the contour lines should have a more varying degree, especially since the sausages are bending and crushing each other. And again, the forms are substantial and there is weight to them. Congratulations on that. Some of them are flatter, but Uncomfortable wants us to focus on more round ones.

Overall good job for this lesson.

Your main weaknesses for this lesson are : Not using the ghosting method for every line. Not varying the degrees of the ellipses and contour lines (The demo videos of the lesson 3 will help you on that). Not using weight lines. Using weird shadows on the arrows and not getting the bands closer as they get far away. Not using gradient for the textures.

Your main strengths : Giving realistic weight to your forms (organic or not). Good analysis of texture by observation. Nice boxes (the 250 box challenge wasn't wasted).

Hi,

Arrows : The arrows don't seem like flowing in 3d space for two reason. 1. They don't really increase in width. 2. The band doesn't get closer and closer as its farther away. Go take a look at the first image of the lesson 2, there is parallel lines getting closer and closer.

Organic forms : The width vary a lot. Focus on keeping the same width for the whole form. Also, the ellipses and contour lines have the same degree. It's incorrect because as a part of a 3d object gets farther away from your fixing point, even in the object is parallel to you, the degree increases. Also, the contour lines don't warp back around the forms like instructed.

Textures : For the texture analysis, your middle box is empty. Also the boxes on the left, only the one on the top has a gradient. For the texture warping over the organic forms, you did a good job of making them feel like warping over the object, but you could have added a gradient. Also, I see no variation on the silhouette. I also see a lot of textures missing in the intern part of the forms.

Intersections : For the form intersection, the lines are often wobbly. Don't forget to use the ghosting method to every line you put in the work. The intersections need a bit of work but it's normal, this exercise is made hard for that. Adding some line weight and some hatching to the faces closer to us could really have given a better look to your forms. For the organic intersections, the rule was to draw through them. Also the ellipses and contour lines don't vary.

Overall :

1. Your lines are wobbly. Don't forget, it's more important doing a sexy line then having it hit the target. Do more superimposed lines and ghosted planes in your warm ups.

2. I feel that a lot of the instructions for this lesson didn't pass through (Making the arrows bigger as they get closer, varying the degree of ellipses, the gradient of the textures, the line weight/hatching of the forms, and the fact that we should see through the organic form intersections).

Hi

Arrows : Your arrows are wobbly. Try going with a faster, more confident, line. Use the ghosting method before doing them. You can add more superimposed streamlines in your warm ups, especially curved lines. Also, as the arrows get narrower, they should get closer and closer (go see first image of lesson 2).

Organic forms : They are solid. Though the degree of ellipses and contour lines should vary a lot more.

Textures : In the texture analysis, the one on the bottom of the page seems to be focused on contours more than cast shadows. The ones on the organic forms warp well around them, but you could try going for a better gradient, like in the last box of the texture analysis exercice. It makes of a better image and could save you time.

Intersections : In the form intersections, you have good intersection. Some of the lines are wobly and a lot of the line wieght stops in the middle of the line. The ghosting method should be used with all lines, and all of them should be traced in a confident way. Line weight aren't exception. Your organic intersection are good, but the cast shadows have wobbly edges. Try tracing the edges in a confident manner, using the ghosting method. Then you can fill them in carefully.

Overall if I say you have a weakness it would be the wobbly lines. Don't forget the priority here. First, make them strait and confident. Second, make them hit the mark. Third, don't make them overshoot. I feel you are sacrificing the first priority for the second. Try to get more comfortable with confident lines using ghosted planes and superimposed lines in warm ups. You will have a second chance for the arrows in the lesson 3. Continue your hard work!

Hi,

For you difficulty to add line weight, I think it would be a good idea to do the Superimposed Lines exercises for the lesson 1 in your warm ups. If you have difficulty adding the line weight especially on curved lines, you could do more of those. Ghosting before adding the line should help.

Arrows : They flow smoothly through space, but the zigzagging sections should be compressing as the same rate as the ribbon gets narrower (like the lines getting closer and closer in the first image of lesson 2).

Organic forms : I think you did very well, especially in varying the degree of ellipses and contour lines.

Texture : In the three boxes you did really well, but I think some textures on the organic forms could have had more of a gradient (and I would have saved you time).

Form intersections : The intersections are well made, but I have trouble seeing which forms are on top of the others. Adding line weight using the superimposed lines exercise as a reference could make a great difference. My error on adding line weight is adding them without ghosting and it showed. Don't do the same! I also added way more than only one line but Uncomfortable only told me to do the ghosting method before adding them, not that I added too much lines. Use your judgment on this. Adding some hatching lines on the flat surfaces on the top would really help showing which forms are on top.

Organic intersections : I can see the weight they have. The cast shadows are well made and they help define which forms are in front at the place of the line weight. I can see that you are aware of your weakness and I hope the advice I gave you on the line weights is helpful.

In the end I just started my lesson three and my critiques from Unconfortable for the lesson are fresh in my mind. I think you are good enough to pass on the next lesson, but really work on your line weights because when the plant has 30 leaves, it's important to know which are on top. So add Superimposed lines in the warm ups, and also some intersecting forms, or simple boxes, with line weight for the corners on top.

Thank you Mr. Karim!

Hi,

Thank you for the critique!

I think the critique got cut in the middle... I don't know if you're aware of it or no. I will wait for the critique for intersections exercices before starting the lesson 3.

Thank you again!