owlsolar

Hi,

Thanks for the feedback. I think I was consistent about drawing through the ellipses twice but I might have forgotten sometimes. I do recall some cases where the second pass was close enough to the first that it only looks like one pass, probably because it was following the indent made in the paper by the first pass. It might clarify if you label some of those instances.

I think I understand now, thank you. I'll be sure to pay attention to this in the future.

Hi,

Thanks for the feedback. It was very insightful. It seems like contour lines are something I should pay particular attention to in the future.

I have one question, though. Could you elaborate on this part? "I recommend reviewing Uncomfortable's example page to gain a better understanding of how the ellipses describe the sausage in 3D, yours are inconsistent." I agree that there's something off about them, but I can't quite figure it out. I looked at the examples and I'm still not really sure what I should have done differently.

Organic arrows:

I think variation 2 works better. My main advice on this one would be to not be afraid to draw the arrows bigger and let them overlap each other. It would also help to view the page as one big scene with a front and a back, instead of each arrow being in its own scene, if that makes sense. You would want the arrows to consistently foreshorten to get wider closer to the "front" of the scene, and narrower towards the "back." Variation 2 handled this much better. Another benefit to drawing the arrows bigger would be that it helps make the lines more confident, as some of the lines are a bit wobbly, especially in variation 1.

Organic forms with contour lines:

Good job overall. Good line quality here and good job at drawing through the ellipses and varying the degrees. A lot of the ellipses have similar angles to each other, however. Remember that the ellipses should turn and change angles along with the form. I think you did a better job at this with the contour curves.

Texture analysis:

The analysis is well done. The crumpled paper study is good, but the gradient doesn't show much of a gradual change from light to dark. There is a dark block on the left and a light block on the right, instead of a smooth transition. The left side of the textured section also doesn't really come across as darker than the right.

The alligator and feather gradients are much better at this. I think the feather study and gradient sometimes seem to depict the outline instead of the shadow, however.

Dissections:

Well done overall. Good job at viewing textures in terms of shadows instead of outlines. One criticism I have is that with dark sections such as on the pipe and honeycomb, I would recommend using a brush pen or a marker to fill in those sections, so as to not leave white gaps. Another issue with the honeycomb is that you seem to be seeing it in terms of symbols, instead of observing the object. It's hard to explain, but you should be examining the texture, instead of drawing a series of hexagons. The broccoli has a similar issue.

Form intersections:

The lines seem a bit more wobbly here. You seem to still be following good principles such as planning out your lines and ghosting them. I think the issue is that you're redrawing some of the lines and making a clean up pass. Other than that, the boxes look decent. Just keep applying the lessons from the 250 boxes.

Some of the cylinders and cones are stretched. It's recommended to keep the more equilateral for this assignment.

Also remember to keep drawing through the ellipses, both for the spheres and for the ends of cylinders and cones.

Drawing some pyramids might also help to add some variety.

Organic intersections:

The forms are very clear and readable. The shadows do a good job at conveying forms as well. There are a few cases where it's hard to tell if it's a shadow or a thick line, however. I think some of the lines were thicker than necessary. Also remember to keep applying the concepts from the organic forms with contour lines assignment, and to vary the degree and angles of the contours. As a nitpick, some of the objects on the second page seem precariously balanced and about to fall off.

Hi,

I wish I could say more, but this assignment is so well done that I can't do much more than nitpick. The line quality is especially good, as it's very confident and clean.

That said, here are the nitpicks:

Organic arrows:

Good use of foreshortening, and it's neat that the hatching lines get closer together as they get closer to the middle of the turn. As a nitpick, there are some arrows where it is really hard for me to convince my brain that they are turning the way they are intended, with arrow 14 as the main example. I keep seeing the hatching on the outside. An idea that might help could be to emphasize every line except the one that's covered, maybe also to experiment with the angle of the hatched lines.

Organic forms with contour lines:

Great lines, especially on the ellipses and with drawing through them. You also did a good job at keeping the forms simple, but with a lot of variety. There are some cases where the degrees of the ellipses are very similar, instead of narrower in the middle and wider at the ends.

Texture analysis:

Good use of implied forms and good job at showing the gradient from dark to light.

Dissections:

Same feedback as before, and you also did a good job at balancing the amount of detail to show as well as using line weight to convey shadows.

Form intersections:

The line quality is still very good and the forms look solid. Some of the cylinders seem a bit stretched, but that might be a matter of opinion.

Organic intersections:

Very clear and clean. It's easy to identify the forms and the overlaps. The shadows do a good job at conveying the forms casting them and the forms they're cast on. The line quality might be a tiny bit more wobbly compared to previous assignments, but it is still very good.

Lines:

• Superimposed lines: Good job with making clear and confident lines with fraying on only one side. There is some good improvement from one page to the next, with more accuracy, less wobbling, and less arching. There is still some arching, but not much.

• Ghosted lines: Very good job overall. The lines are confident, straight, and accurate with not much arching. There is a little bit of curving at the end of a line sometimes. Something that helps me with this is to leave a bit of extra room for my arm to move after the plotted position for the end of the line.

• Ghosted lines: Good overall, but the lines were better in the ghosted lines exercise. Try to maintain that kind of line quality. It’s good that you are still plotting out the lines.

Ellipses:

• Table of ellipses: The ellipses are drawn through and confident, and there is a good variety when it comes to degree and angle. Some of them are very tight and clean. Some ellipses went out of bounds or overlapped with other ellipses, though, which is something to improve.

• Ellipses in planes: Good job at drawing ellipses with confidence and with drawing through. There is a little bit of overlap, but that’s not as important, and it’s improved from the previous exercise.

• Funnels: Very good job at keeping the funnels symmetrical, with only a few exceptions like the middle one. The line quality of the ellipses is still good and you did a good job at keeping the ellipses touching each other and the side of the funnels.

Boxes:

• Plotted perspective: Good job overall, with good lines, good hatching, and a good variety of angles.

• Plotted perspective: The accuracy of the vanishing points is very well done and a lot of them came very close. Some of the lines are more wobbly compared to before. Make sure to keep the lines confident.

• Rotated boxes: Well done overall, with good lines and good confidence. Also did a good job at keeping boxes tight together.

• Organic perspective: Good variety of boxes when it comes to proportion, angle and overlap with each other. However, some of the lines are made up of smaller, scratchy lines instead of one confident line. There is also some repeated lines. Make sure to keep the previous lessons about lines in mind when drawing boxes.

Thank you for the critique. It was really helpful and there's a lot of stuff here I would never have noticed. I'll be sure to keep this advice in mind going forward, especially the parts about lineweight and ellipse angles.