weijak

Thanks! Im glad you liked it

Well yeah, its not the most effective tea pot out there, but it gets the job done xd

Also, thank you!

They taste delicious though!

:D

Yo Elodin thanks for the critique! I definitely agree with you that I tend to jump to details earlier than what I should have, Also, the box within a circle exercise that you showed me seems really useful, I will definetely with that one a try.

Again, thanks a lot for critiquing my work and all the help you give out on the discord server (specially on the critique exchange channel), good luck to you too on those waifus and whatever else you are planning to do!

Im glad you found my critique useful! Regarding the rest thing, it was a joke there is no issue with you going faster or slower, do it at your own pace! Though Im glad that you could take some time off to rest. Good luck moving forward!

Hi Gady! before we get into the critique, you gotta promise me that you are going to give me a longer time to recover between critiques xd!

Starting by your organic intersections, it looks like you are doing a solid job on them, you are convincigly wrapping new forms on top of each other and these forms alone look solid and 3d. Though, there is still a few things I want to draw attention to:

• First, try to always stick to the characteristics of the simple sausage- It seems like you are almost doing it but sometimes you are flattening them out a little (flattening their 3d form, you are not making any mistakes on making them look solid), think of them as balloons full of water, as they will sag and wrap around each other, but not completely loose their original structure, like a half full balloon would!

• And second, on your first page happened that you added some of your forms to the sides and sometimes it lokes as if you added them below others. As this is an exercise that mainly uses gravity as a factor, it is recommended that you just build on top of the forms you add, try to make a generous base of sausage/s and then build on top of that until you have no space left, its more useful in this way.

Moving on to your constructions, they definetely look solid and believable, Im pretty pleased to see that you are respecting your silhouettes way much than your past lesson, though there is still a thing here and there that I want to talk about so you can keep on the right path.

First thing that called my attention is the belly of your dog, we have talked about this in very depth so you know how it goes, dont alter the silhouette of your forms, instead build on top of them. And since we are on the topic of adding forms, lets talk about your head constructions- Its pretty common for students to have a hard time building these at this stage, mostly because they have a lower margen of error than other part of the body, if you make the leg slightly fatter for example, the chances are that nobody will notice, though if you construct an eye slightly higher than the other, people will immediatelly sense that something is off. This said, the general advice for constructing heads (at least in this course and this lesson) is to think the whole structure as a 3d puzzle that needs to fit snuggly together, or else it will look odd. I know that you have probably seen this puma demo though my best advice is to tell you to go back and absorb what Uncomfy explained here cause its clearer than what I will able to explain.

Some extra points on this lesson that I want to just comment about:

• Be ware of using too many contours on your masses, usually just one contours is enough since the more you add on the same form, the less impact they individually have.

• Regarding line weight, it seems like you kind of took some of what I talked about on the past critique- Just remember that it is a tool used in localized areas to clarify overlaps, although I have to really congratulate you on how you build up your cammel head, you are using a very thick line weight on the top contour of the head and that is not communicating anything for us, worse, its just undermining the effectiveness of the line weight that is actually communicating overlaps!

• I wanted to talk about what you said about proportions, it is really not the focus of this lesson, you did some really 3d and solid constructions and thats what is important here, to be honest, your proportions were pretty accurate, but its just we dont really care about that yet.

All this said, Im going to mark this lesson as completed! Keep up the good work.

Well im glad I was able to explain how they worked! Good luck moving forward.

Hey Wifu, lets go over your work!

Starting out by your cylinders around an arbitrary axis, I have to start by saying that they are looking pretty good. You are overall doing a good job on keeping them solid and you experimented quite much with different foreshortenings, rotations and sizes. Regarding what you said about ellipses, dont worry, you have probably come to realize that they are tough even when we put a lot of practice into them, just keep at them while focusing on confidence and dont let those rounded a-holes get into your head.

Now, although you did an awesome job, there is something I want to talk about for two reasons: 1. I want to at least pretend that I taught you something in this critique, and 2. I have a suspiscion that you are applying this principle on a more intuitive level (which is great) and I want you to be conscious about it, since that will give you more freedom while doing it!

This principle I want to touch on is mainly about how foreshortening manifests itself in our cylinders (and other objects of course), this happens in two "shifts". On one way, as a cylinder goes into 3d space, its ellipses suffer a "shift" in scale, where the closer ellipses will have a bigger scale than the further one, on top of this, when the shift in scale is more drastic, we are being communicated that the foreshortening is also more drastic. On the other side, when cylinders move through space, we know that there is another shift on the degrees of the ellipses, where the further ellipse has a wider degree than the closer one, and as the other case, if the change in degree is more drastic, we know that the object is being really foreshortened.

Up to now, Im sure that you know all this stuff, but where I want to put my emphasis is that this two shifts need to work together so they can communicate the same kind of foreshortening to the viewer. As I said, you did a good job on this lesson, so I nitpicked this two cylinders so I could make a point on what Im trying to explain. As you can see on the first one, you are making the back ellipse just a little smaller than the closer one, and although there is the lentgth factor to take into account, you are then making a really drastic change on the degree of the back ellipse. I know its a small change the one I did, but I wanted to use it as an example to explain all this, instead of just drawing on top of it without explanation. Now, I added the second one to show that sometimes the one being wrong can also be the closer one, it all depends on the process.

Now, moving on to your cylinders in boxes, If Im being honest, I dont know if I have something to add about what you did. You did a great work here, you may have started to realized that this section of the challenge is not so much to test your cylinders, but to test your ability to create boxes with more squarer proportions that are able to fit circles in 3d spaces (or ellipses as we call them). You did good on those boxes and I can see that because you cylinders are showing that, I still think that number 249 is pretty funny, but its clearly just a hiccup.

Im going to go ahead and mark this challenge as completed! Keep up the good work.

Im glad you found it useful! Good luck.