So I saw your post for lesson 3 and decided to come back and critique your lesson 2.
Your arrows show that you understand the idea that the arrows need to be larger when closer to the viewer and smaller when further away. However, it appears you are stretching the arrows at various points, especially near the ends and when you put them in a loop. Try to think of the arrow as having one consistent width, and being inflexible along that axis. When this width gets stretched or squished at various points, it messes with the foreshortening illusion.
Your organic forms in the contour ellipses and the contour curves are very stretched. They almost seem to be flat flowing forms similar to the arrows. Go back to that exercise's video and keep in mind these are supposed to be as basic as possible, two spheres joined by a tube. Don't be attempting to apply foreshortening in this exercise, as it is making it much more difficult for your contours to have the intended affect of giving solidity. I am going to ask for revisions here, as I feel you misunderstood the exercise a bit. It is not about foreshortening, it's about making these simple forms feel solid.
Your texture studies show that you understand the idea of implicit textures and not explicitly outlining forms. However, in your dissections you have a lot of explicitly outlined forms and explicit textures. Keep the emphasis on cast shadows, not in explicitly outlining textural forms. Also keep your textures related to reference. I noticed you had one form labelled "triangles" I am not sure if that is actually a real-world texture.
Your form intersections have way too many forms, muddying the relationship between them. This is a very common problem, one I ran into myself. Focus on spending more time per form, using larger forms to fill up the page. This will also make it easier to clarify the relationships.
Your organic intersections look a lot better. The forms are still somewhat stretched, but appear more solid than the ones in your contour ellipses and contour curves exercise. Your cast shadows are well done and don't adhere too closely to the form.
I am going to ask for revisions on the contour curves and ellipses exercises, dissections, and form intersections. I know this is a lot especially so late. I really hope you get more timely critiques in the future.
Next Steps:
1 page of contour ellipses, 1 page of contour curves, 1 page of dissections, and 2 pages of form intersections.
I'm sorry for the delay the dissections are taking a while.
No worries. They take some time. Definitely one of the more intense exercises.
ummm I gave you the revissions. I don't think you saw it because of which post I submitted it to. but if you have seen it and didn't have time to critique I'm sorry
https://drive.google.com/drive/folders/1LQp1ZbIYa_VAxSK6nNrHh4vntWg3SFoz?usp=sharing
Thank you for critiqing my work. If you would like me to redo anything please feel free to ask. and if it isn't too much to ask can I get a critique for my lesson 3??
This is much better. Your textures look much more three dimensional, and you sausage forms are much more simple. Just be careful not to go overboard on contour lines.
Your form intersections feel much more complete and solid, with more care on each one.
Well done! Marking lesson as complete.
I have not finished Lesson 3 or gotten a critique myself so I don't feel comfortable giving you a critique unfortunately.
Next Steps:
Get a critique on Lesson 3. Less is more with regards to construction and contours. Well done!
Thank you so much
I'll do my best. And i hope you have a lot of fun in your journey as well
While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.
The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.
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