View Full Submission View Parent Comment
6:48 PM, Friday April 19th 2024

Thanks again for the amazing critique, Tofu. I will pay close attention to the things you called out to me here. I do, however, have three confusions/doubts to enquire about if that's okay.

  1. You mentioned outlining narrow textural forms, but I'm confused about how we can achieve this with the 0.5mm pens that we use here. May I look into using a thinner pen for these?

  2. Do we always draw a minor axis for our organic forms throughout the course? Some examples didn’t use it and neither did I in my second attempt of the form intersections. Is it mandatory or is it optional?

  3. How do we draw contour lines that run parallel across our forms and in other directions as opposed to the perpendicular curves we drew previously. What information do they tell us, are they also ellipses and where do the lines start and end?

Thank you again for your time and now time for lesson 3!

8:30 PM, Friday April 19th 2024
  1. Pressure control, remember that these are exercises so the idea is to try, and over time you'll get better at it. There's a lot of ranges of thickness one can get from a 0.5mm fineliner (which is why we use them) but it's something you unlock over a lot of mileage and experience.

  2. Mandatory for the organic forms with contour line exercise, because it helps with what that specific exercise focuses on. Again - each exercise serves a purpose, challenges you in different ways. So each exercise has specific rules depending on what it's designed to focus upon.

  3. It all depends on the nature of the form - a contour line wraps along that surface. Our sausage-like organic forms are made up of circular cross-sections in one direction, which allows us to explore contour lines in a simpler, more narrow scope - as ellipses. But not all contour lines are ellipses, they're all gonna be determined by how that surface exists in 3d space.

The thing to remember in general is that the exercises we do help develop specific areas of your spatial reasoning skills. Bit by bit and from different angles, this advances your more general, instinctual understanding of how the things you draw on a flat page exist in 3d space.

These are things the exercise develops in your subconscious, so focus on doing the exercises as they're instructed, and don't worry too much about trying to consciously understand how it all works in practice. The goal is that when you're drawing your own stuff, gradually what you learn here will influence how you think about it and how you naturally approach it, so your conscious mind can remain focused on what it is you wish to draw rather than how.

11:57 PM, Friday April 19th 2024

Thanks again, Uncomfortable; I always enjoy reading your responses.

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.
Color and Light by James Gurney

Color and Light by James Gurney

Some of you may remember James Gurney's breathtaking work in the Dinotopia series. This is easily my favourite book on the topic of colour and light, and comes highly recommended by any artist worth their salt. While it speaks from the perspective of a traditional painter, the information in this book is invaluable for work in any medium.

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