2:21 AM, Friday January 29th 2021
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.