View Full Submission View Parent Comment
2 users agree
2:05 PM, Thursday February 17th 2022

Hello Lupurisan, I hope you are well

Starting with organic forms:

Those are made quite well, you make them simple with both ends the same sizes.

But quite often you aren't changing their degrees, remember that when ellipse gets away from us its degree becomes wider.

The next thing that I want to point out is that sometimes you arent hooking the contours enough, quite often you hook only one end.

There are places where your lines are quite sloppy. Keep in mind to take as much time as needed for ghosting and when it feels right, execute the line in a single stroke with the upmost confidence.

Insects:

You draw them really good, but the thing that stands most to time is that your linework and lineweight on legs could see some work. As it stands now, your lineweight makes them really flat. So for lineweight remember to also ghost for that process. What we want to do is add another line on top of our initial one and what we should get is an effect of our line becoming darker(as we give more ink to the line) and slightly wider(as ink spills slightly to the sides). Making our line wider isn't our goal, it is to make it stronger/darker. This diagram conveys what I am trying to say.

It could be also your linework, don't repeat your lines, even if you made a bad line, leave it and treat it as if it was the correct one. We don't want to correct our lines as it starts bad habits and teaches us that we don't have to commit to our lines. Leave your bad line there to be seen. Next time you try to make a line, don't repeat the same mistake you did the previous time.

I like your house fly 3, it isn't perfect but it does have a fair number of really confident lines that reinforcement 3d feel of that drawing. On the subject of that house fly, you don't emphesize the segmented abdomen enough, it feels 2d, you need to make those segments go outward a little bit more. Another thing that doesn't help is again your quite messy lines.

With shadows and lineweight we want to show which masses are on top and which aren't. We don't want to strengthen every line we made previously with lineweight, this is called working in passes. We don't do that in drawabox. We want to carefully construct our building block and then help the viewer with overlapping form through shadows and little lineweight.

Conclusion:

Your sausages are good, no need for a redo in that part.

For you insects, I would want you to make another 3, no need for texture. Keep in mind what I wrote and mostly take your time and be patient with every line. Don't overdo the lineweight and repeat your lines.

If you have any questions feel free to write to me.

Next Steps:

3 insects drawing

When finished, reply to this critique with your revisions.
1:13 AM, Thursday March 17th 2022

Hello

Attached is a link to three more insect drawings: https://imgur.com/a/fQNcBME. I feel like I was more patient with these, but I still struggle with second guessing myself. I feel that the ladybug is probably my best one (although I messed up one of the spots and the face itself).

8:23 PM, Thursday March 24th 2022

Hello, glad to have you back

Sorry for the late response, I have been occupied with other stuff so dab went to backlines for me.

Your linework is looking way better this time. It shows that you are confident with your lines. When in doubt, take more time. But when things get frustrated take a step back and go for a walk or something to stop those negative thoughts.

For your lineweght, for most parts, it got better. That said there are some places that I am unhappy with how they turned out. For example, house fly thorax and abdomen segments, it is way too messy in there. You did make them feel more 3d as I asked before, so that's great.

But in laters drawings, it is getting way better, so good job fixing that and remember to keep it in later lessons.

In the ladybug, the box isn't aligned to the rest of the body. https://imgur.com/YsLktNc

We can clearly see the top of the ladybug(top face of the box), more of her left legs so her left side(left face of the box) and we can see her face so front.

I realized that I forgot to point out that you are drawing pretty small. Drawing small makes things harder for us. We draw more clumsily and it limits our ability to think through spatial problems. It also makes it awkward for our arm, especially when we don't have as much experience with a shoulder. There is plenty of empty space on your pages so use it to full advantage. You have plenty of blank space that should be used for your drawings.

Lastly, the black widow doesnt have a head for whatever is supposed to act as one. I wont call that out as I have arachnophobia and I probably wouldnt look for pictures of them. But if you arent, the drawing should include it.

I believe you made a great job, fixed your weakness, and are able to proceed to the next lesson.

Next Steps:

Proceed to the lesson 5

This community member feels the lesson should be marked as complete, and 2 others agree. The student has earned their completion badge for this lesson and should feel confident in moving onto the next lesson.
11:28 PM, Thursday March 24th 2022

Thanks you so much! I definitely could have done better on the thorax of the housefly, and I know I messed up on the ladybug's mouthparts (?). Also, thanks for pointing out how I draw so small. I notice I have a habit of doing that, so I'll work to improve that.

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.