Image review because it's more fun for both of us: https://imgur.com/a/MUklqDJ
Next Steps:
One page of organic intersections with more sagging, the sausages should skirt around each other's surfaces more.
Thanks for advice, Comfy. I will continue adding the scaffolding because it helps me centers my ellipses better, which I believe gives the stems a greater sense of solidity.
I see you have improved on your spatial reasoning by drawing more accurate contour ellipses around sausages.
The organic intersections are way more believable now.
The textures are less cluttered than before, but textures like the top left one, that have outlines for every detail, show you haven't fully grasped the concept of "texture by shadow"yet.
Next Steps:
Now you should do Lesson 3.
The 50% rule's goal is to return you to the mindset you had when you were just a little kid, when you'd just draw a bunch of anatomically incorrect stick figures and disrespect every single rule of perspective and just not give a damn about it.
Back then, the simple idea that you could just use your imagination to make a mark on a piece of paper that'd remain there, forever, held appeal on its own.
Now, drawing is just a means to an end, it's something you do to impress other, to gain followers on Twitter, or anything else but drawing.
This kind of turns drawing into a void activity, the simple joy of putting our ideas into paper (as poorly drawn as they might have been) fades and we can only real feel good at our drawings for as long as they manage to get us closer to an end.
I know that the idea of drawing simply because it's fun to try and draw things looking for nothing more but the attempt itself might seem childish or stupid, but that is because we have been conditioned to only value activities that are either instant media comsumption or a means towards greater social prestige.
But it's true, drawing for the hell of it opens an link between us and our fantasies, the activity's value lying in the link itself and the joy that it brings.
I also know that this whole "link of joy" thing may not accurately depict the way drawing feels to you, but I assure you it's how it will start to feel as you practice the 50% daily. It might take weeks or months, but the change will occur.
Organic Arrows: Arrows are good, you didn't hesitate in overlapping the upper and lower lines.
Texture Analysis: There is a lack of "lost and found" edges (described here), which has the effect of making the elephant skin texture look particularly cluttered.
Dissections: You are drawing contours, not shadows, which makes the textures look cluttered. Example: instead of drawing every single individual rock in gravel, you should just draw the gaps between the rocks, which are shadows due to their being darker than their surrounding.
You can only draw contours for the texture's silhouette, so if you are doing a corn texture, you can draw the little dips from the grains that appear at the edges, but you can't outline every grain.
Contour lines:
Contour ellipses: Ellipses' degrees increase as they get farther to the viewer, their alignment is correct as well.
The ellipses at the tips are too small, that'd be justified if they were nearer the form's tip, but they aren't.
Try imagining them like a ring you drew around the tip of a sausage with a marker, meaning that they should run along it's surface and be centered on the minor axis. The way you draw them, they seem to be either A: aligned to the axis but not touching the form's surface, becoming an small ring that somehow manage to enter the sausage or B: touching the form's surface but not having the axis as it's center, becoming essentialy a sticker.
Contour Curves: Curves do seem to run along the form's surface.
The tip contours in this section have the same issues as the in previous one, with the addition of the fact that you drew elipses on areas where they shouldn't be fully visible, or even visible at all.
The contours on the tip are like the exposed, circular pulp that shows up just after you remove a banana from its bunch. Depending on how you position the fruit, they become either fully visible (when the pulp is directly facing you), partially visible (when the banana is sideways, you can't see it's opposite side) or invisible (the banana's body completely obstructs the white part).
Organic intersections: Illusion of weight is broken by having some sausages floating in the air, either partially (it doesn't curve around the edge of the sausage it's on) or fully (it only touches sausages at its tips), which are unstable configurations.
Form intersections: Not much to complain about here, your intersections are better than mine.
Next Steps:
Redo the Contour Lines exercise, both parts, try to put my feedback into practice
1 page of organic intersections that take into account the stability of the sausages (i.e: don't draw them in a way that makes it seem like they are about to fall or sag even a little, we want to achieve the look of a pile of water balloons. Are water balloons hard enough to be able to remain straight without being supported all the way down or do they just curve around the shape below them?).
Check the video where Comfy goes through Dissections, not the whole thing, skip around it looking for some pieces of advice and try to mimic the way he does things.
1 page of Dissections that focus solely on shadows.
Thanks for the advice! I fulfilled your recommendations: https://imgur.com/a/TiBrPUJ
Right from when students hit the 50% rule early on in Lesson 0, they ask the same question - "What am I supposed to draw?"
It's not magic. We're made to think that when someone just whips off interesting things to draw, that they're gifted in a way that we are not. The problem isn't that we don't have ideas - it's that the ideas we have are so vague, they feel like nothing at all. In this course, we're going to look at how we can explore, pursue, and develop those fuzzy notions into something more concrete.
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