Lesson 2: Contour Lines, Texture and Construction

2:23 AM, Wednesday April 10th 2024

Lesson 2 - Google Drive

Lesson 2 - Google Drive: https://drive.google.com/drive/folders/1V6GmKR6zOOHbZ6O0HtRa1K1Ak9sJfpjf?usp=sharing

All done with Lesson! I would great appreciate any and all feedback, especially on the Texture Analysis assignment.

Thanks for reading!

2 users agree
9:11 PM, Friday May 3rd 2024
edited at 10:27 PM, May 3rd 2024

Hello Qriousk, I’ll be critiquing your submission today; if you have any questions, feel free to ask below. With that said, I’ll go ahead and review your submission.

Organic Arrows

Your lines prove to be smooth and consistent within both pages, and the principles of mark-making from lesson 1 are adhered to properly. The direction of compression on your arrows is clear; the width of the arrows gets smaller as they grow further away, which conveys proper perspective. At certain points, overlaps are sometimes avoided, which makes the arrows appear flat. I can agree that trying to match the initial curve after crossing the overlap is a little challenging, but we should refrain from sacrificing the 3D effect of turning the arrow in space.

Organic Forms

Starting on your forms, sausages clearly show the intent of a tube with two spheres on opposing ends, but they still have some bulging or pinching at the ends. Try to aim for the width of sausages to remain consistent throughout the entire length and to round off the ends as much as you can. Use caution when placing the small ellipses that represent which side of the sausage is facing the viewer. Based on the way the ellipses/curves are drawn, some of the poles wouldn't be visible.

Organic Forms with Contour Ellipses

Ellipses on sausages are clearly drawn through at least 2–3 times across all forms. Some wobbly lines take shape on the follow-through action, so as a reminder, remember to keep the confidence strong for all ellipses. Next up on the alignment of forms, the spine on some sausages veers off from the main section of the sausage, which affects the ability to align ellipses. The spine acts as a foundation for the ellipse minor axis here, so make sure proper ghosting is made to pass through the middle of both sides of the form. The degree shift could be pushed further as multiple ellipses on the mid sections look like they repeat themselves more than once. I suggest starting out by limiting the number of ellipses per sausage to 4-5 and evenly spacing them out. This allows for degree shifts to be a lot more distinguishable. 

Organic Forms with Contour Ellipses

The alignment is much better for the curves, but the degree shift is somewhat difficult to gauge and appears to look the same across the entire length of the form. Reasonably so, it's a lot harder to convey degree shifts with contour curves. Fundamentally, contour curves are separated by the difference of only showing the visible part of the ellipse. The degree shift should be approached in the same way as the ellipses; the degree shift of the curves will change as they progress through the sausage. Try to consider the half of the curve that is not visible and how it would change depending on the degree. Similar advice as the contour ellipses: 4-5 curves, so you're given the chance to plan out how the openness of the curve will change.

Texture Analysis and Dissections

Starting with the texture analysis, it's clear you’re getting a grasp on how cast shadows operate. Although the transition is a little weak, the black bar is still fairly easy to point out and doesn’t really contribute to showing how the texture gradually changes from dense to sparse. On the opposite end, lines are used to replicate the texture lost in light. Always consider cast shadows as shapes, so instead of simply adding lines, it's better to approach them as skinny shapes. As we reach the dissections, the textures appear to be explicitly outlining many of the details. Unfortunately, this tends to overwhelm the viewer with visual noise and doesn't utilize cast shadows to their full potential. From my own experience, images that contained harsh lighting provided an easier time extracting cast shadows. 

Form Intersections

Solving the intersections in different forms is pretty challenging on the first go, so I'm not too concerned about your ability to cross each object. As explained on the lesson page, it's more about how cohesive the page appears —the illusion that these forms exist in the same space. That being said, a majority of boxes seem relatively the same size, with a few outliers that lengthen in one dimension or another. Try to keep them equilateral as much as possible. Lastly, similarly to keeping forms equilateral, we want the perspective to remain as shallow as possible. Adding a combination of small and large 3D shapes will mess with the concept of forms existing in the same space.

Organic Intersections

Forms look okay here, with the occasional complex sausage. Once again, just a reminder to keep sausages simple and avoid awkward bends when possible. The use of contour lines appropriately describes the 3D aspect. But the structure of a few forms doesn’t give the illusion that they could balance on top of each other. If we think of these forms as water balloons, it's much easier to judge how the masses will behave against one another. As far as the cast shadows go, remember that they shouldn't closely stick to the form and will project and possibly land on more than one form underneath.

All in all, I think you understand the Lesson 2 concepts well, so I'll go ahead and send you off to Lesson 3. Keep up the good work.

Next Steps:

Remember to take these exercises into your warm-ups (10–15 minutes), and you can move on towards Lesson 3. Good Luck!

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.
edited at 10:27 PM, May 3rd 2024
12:47 PM, Wednesday May 8th 2024

Thank you for the critique, I greatly appreciate it!

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