0 users agree
9:22 PM, Tuesday May 30th 2023

Starting with your form intersections, one point I feel helps a lot in this exercise is to avoid drawing your intersection lines all the way around, and instead focus only in their visible portion. While I understand this may seem contradictory to our usual policy of "draw through your forms" (which we should still be doing for the forms themselves), having to worry about the intersection all the way around makes the task more difficult than it needs to be, which can itself become a distraction, demanding more of our cognitive resources and causing us to get less out of the exercise as a whole.

Aside from that, I have a couple points to keep you on the right track:

  • When drawing your intersection lines, it helps to start the intersection where the two silhouettes meet, as shown here. While this is not strictly required, it's a good starting point that can help you avoid picking an intersection line that doesn't quite correspond to the specific orientation of the forms at play.

  • For forms that have one or two circular ends (so cylinders and cones), be sure to leverage a minor axis line. You're doing so with your cylinders, but it also helps for your cones. Additionally, have your minor axis line extend beyond the length of the form itself, so that each ellipse is fully bisected by it, rather than having the minor axis line start at their center points.

  • This diagram may help provide additional information on how to think about the way in which our intersections exist between individual pairings of surfaces, and how that changes when the edge between two surfaces changes into more of a gradual, rounded transition. I'm sharing this mainly just so you have it - for the most part based on your work I believe you understand what's shown there already, but I figured better to share it anyway.

Continuing onto your object constructions, overall you're doing a good job especially when it comes to leveraging the subdivisions and other such techniques involved in building up a scaffolding for our structures. The approach you've used here lines up very well with the core focus of this lesson being on precision, especially in how we shift from the inside-out approach we employed in previous lessons (where we can account for any mistakes in proportion by adjusting the proportions of the later elements as we add them to the construction) to the outside-in approach we leverage here. Precision is often conflated with accuracy, but they're actually two different things (at least insofar as I use the terms here). Where accuracy speaks to how close you were to executing the mark you intended to, precision actually has nothing to do with putting the mark down on the page. It's about the steps you take beforehand to declare those intentions.

So for example, if we look at the ghosting method, when going through the planning phase of a straight line, we can place a start/end point down. This increases the precision of our drawing, by declaring what we intend to do. From there the mark may miss those points, or it may nail them, it may overshoot, or whatever else - but prior to any of that, we have declared our intent, explaining our thought process, and in so doing, ensuring that we ourselves are acting on that clearly defined intent, rather than just putting marks down and then figuring things out as we go.

In our constructions here, we build up precision primarily through the use of the subdivisions. These allow us to meaningfully study the proportions of our intended object in two dimensions with an orthographic study, then apply those same proportions to the object in three dimensions.

While you haven't specifically included any orthographic plans for your objects here, I am inclined to think that you used them, based on how you approached the constructions, and the fact that your mouth wash bottle appears to follow the demonstration that was included with the orthographic plan notes. That said, if you didn't employ orthographic plans, I would strongly recommend that you review those notes - and be sure to include them with your Lesson 7 work in the future.

In terms of areas for improvement, I have two main points to draw your attention to:

  • Firstly, remember that as discussed back in Lesson 2, form shading should not play a role in our constructional drawings. Our filled areas of solid black should generally be reserved for cast shadows. This means that the filled black shapes themselves should be designed based on the relationship between the form casting the shadow and the surface receiving it, rather than being shaped more arbitrarily, or by filling in existing shapes in the drawing. If you catch yourself filling in a shape that already exists on the construction (like the side planes of elements in this mouthwash bottle), then it's likely you're falling back to form shading. Also, in that mouthwash bottle you didn't take as much care as you could have in filling in those shapes - remember that this course requires its students to give every task as much time as it requires to be done to the best of their current ability. That means not taking shortcuts, not being sloppy, and putting in a little more time where it's needed.

  • Secondly, remember that as discussed here in the lesson notes, you should not be jumping into curves directly, but rather defining them as a chain of straight lines or flat surfaces, then rounding them out. It appears that you were unaware of this when constructing this tape dispenser.

Anyway, the points I've raised here can continue to be worked on as you move through the rest of the course, as Lesson 7 will essentially take the same concepts and have you apply them in a context that will be more demanding and more time consuming, but still largely leveraging the same concepts. So, I'll go ahead and mark this lesson as complete.

Next Steps:

Move onto the 25 wheel challenge, which is a prerequisite for Lesson 7.

This critique marks this lesson as complete.
3:28 PM, Wednesday May 31st 2023

Thanks for your feedback, and for not asking me to do this again omg. It was so hard and so boring (but definitely worth it of course!)

Quick question -- can I submit the 25 texture challenge (2 weeks from now) before moving on to the vehicles?

3:49 PM, Wednesday May 31st 2023

Yup, the 25 texture challenge can be done any time after Lesson 2 - although keep in mind you'd move onto the 25 wheel challenge after that, not Lesson 7.

The recommendation below is an advertisement. Most of the links here are part of Amazon's affiliate program (unless otherwise stated), which helps support this website. It's also more than that - it's a hand-picked recommendation of something I've used myself. If you're interested, here is a full list.
The Art of Brom

The Art of Brom

Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.

The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.

This website uses cookies. You can read more about what we do with them, read our privacy policy.