Alrighty! So, starting with your form intersections, one thing I want to seriously emphasize is that in this course, you should not be separating your drawing into an underdrawing and a clean-up pass. This has a tendency of causing us to trace back over our existing lines, slowly and carefully, in a manner that focuses too much on how those lines sit on the page, rather than how they represent edges in 3D space. I get that here you were focusing on applying line weight, but that line weight should only be focused on clarifying specific overlaps, through its application to limited, localized areas, rather than to reinforce along the full length of an existing line.
Aside from that, your form intersections are very well done, with solid, cohesive forms and intersections that demonstrate a very well developing understanding of the relationships between these forms. Just remember these core rules of the course - the construction is as much a part of the final drawing as the last marks you draw, and if an element captured early on in the construction does not change throughout the drawing, then the mark that captured it originally should be what represents it when the drawing is done.
Moving onto your vehicle constructions, honestly you're definitely showing a really good grasp of the core focus of this course. You employ form and construction really effectively to create solid, believable structures. As such, your tanks totally knock it out of the park, as does your basic forklift construction. The basic construction for the mining dump truck was also very well built out as well.
Your cars are where things get a little weaker, and there are definitely reasons for this. First off, cars are way more complicated. They have a lot more nuance to them, they're like sculptures that have been cut smooth with a knife, rather than big blocks that have been stuck together. As such, they present much more overall complexity, and can be significantly more overwhelming as subject matter. When we get overwhelmed, we have a tendency to forget the steps and habits we've trained with, and become more liable to blunder through parts of a drawing. The answer to being overwhelmed is always to take a step back and take stock of the situation. To identify what we're trying to achieve in a drawing, what we're trying to build up, and assess how to best work towards that goal. Taking a break is always helpful, and with drawings like this, patience really is key. I've had students self-report taking several hours on a given drawing - some that come to mind where 3-5 hours, and I know some of Matt's took him upwards of 9. So don't feel any need to work at any particular pace.
It's not that I get any impression that you're rushing, but there are definitely a lot of proportional issues throughout most of your cars (except for the blockier jeep/hummer). Some of your drawings, like the C-Class benz definitely suggests that you may not have done a comprehensive proportional study first (orthographic studies breaking the vehicle down into its front and side views), and definitely should have sought out more varied reference images.
Looking at the HRV, one thing that stands out is that you may be jumping steps a bit, and part of that might be tied to the use of different kinds of pens (looks like a ballpoint for your perspective lines, and a fineliner for the car itself). Note that where it says you're allowed to use a ballpoint pen, I do mention that you should be sticking to the same kind of pen, in order to avoid the clean-up pass split once again.
So, instead of jumping into those curves so early, you should be continuing to build up the boxier framework for the vehicle as a whole. There just isn't enough to maintain the level of detail you've jumped to, even if most of those curves are actually quite well crafted. As a whole, you're leaving big holes where your structure can fall apart (which it does towards the back).
Despite a lot of these proportional issues, your constructions are by and large still quite solid. At every turn, you're demonstrating a strong grasp of 3D space, of how these forms relate to one another, and how you can continue to combine them to create greater complexity. Since this is the last lesson however, I do think it is my duty here to push you harder to go through the steps of constructing your cars, pushing yourself to your absolute limit. Not to work within predetermined spans of time (one drawing can take many sittings), and to take breaks whenever and wherever necessary. You're already doing great, but you're clearly demonstrating the capacity to do even better, and so I want to see that with my own eyes.
I'm going to assign some revisions below. Because of the sheer demand of each drawing, I won't be overdoing it - but I do want you to really push yourself to the boundary for each one.
Next Steps:
Please submit an additional 2 car drawings. Focus on modern cars - sports cars, sedans, luxury vehicles, etc. Something with that kind of complex curvature that is currently giving you a good deal of difficulty.
Hi, thank you for asking me to redo ^^
First and foremost, I am seeing a lot more effort and time being invested into the actual constructions, and a lot less guesswork as far as where things should go. There are however a number of issues that come to mind here. I put some redline notes directly on your work, but I'll list the issues I noticed below as well:
So I'm noticing that you're drawing your cars in entirely different orientations than the reference images you've shared. Since I mentioned having multiple reference images to help flesh out your understanding of a given vehicle, perhaps you only included one of many for each car, but it definitely raises some questions about whether you're trying to invent an orientation before you've really established a solid grasp of what is actually present in the reference images you've got. If I were to invent my own orientation of something new to me, I'd first start by doing a bunch of studies from actual photos to flesh out my understanding of its nuances and construction.
In the first car, you appear not to have pinned down the length of your construction with any specificity. I'm not seeing you establishing a unit cube and repeating it back in space (as shown here). You did this correctly in the second construction, so I'm unsure of why you skipped this incredibly important step knowing that in your last set, proportions were one of your biggest struggles.
While I'm not seeing any orthographic proportional studies here, I certainly hope you've been doing them.
There are a lot of signs that suggest that you're drawing a lot more from memory - perhaps getting really caught up in your construction, and as a result not looking at your reference frequently enough. This manifests as major elements of the cars that simply don't match your reference material. Taking that further, you're also stopping your construction pretty early - I'm not seeing any of the headlights, grills, etc. which are all elements that can still be constructed, and the base constructions upon which those are meant to be built are really deviating from your reference material, both in proportion, and in general structure.
It's a step in the right direction, but you need to invest more into the direct observation of your source material in order to ensure an amount of accuracy. I don't expect students to create perfect representations of their work, but while your actual constructions are really quite solidly built here (which is excellent), they are fundamentally different vehicles from what you set out to produce.
Next Steps:
Please try another two vehicle constructions.
Hi, thank you for the critique boss!
just to clarify the first point, am I supposed to construct my vehicles in the same orientation as the reference?
Also for the first vehicle I put the measurement planes and perfect in the center of the box, so it got obscured by the construction lines, and I did my ortho studies on the computer.
Thank you for the critique ^^
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.
This website uses cookies. You can read more about what we do with them, read our privacy policy.
