View Full Submission View Parent Comment
11:08 PM, Monday August 5th 2024
edited at 12:47 AM, Aug 6th 2024

Thank you so much for your critic! I also noticed that I was having problems with the ellipses but couldn't pinpoint what it was. Maybe I should do the 250 cylinder challenge.

As in the texture analysis exercise I think the closest thing I did that looks like hatching was an armadillo scale, they look like a vinyl, with all the grooves, and I didn't know how to approach it's cast shadow otherwise, any suggestions?

I will annex the revisions of the contour ellipses and forms intersection bellow:

https://imgur.com/a/h11Wbfq

I'm really grateful for your time and effort revising my work and also providing visual information. Have a great day.

edited at 12:47 AM, Aug 6th 2024
10:10 AM, Wednesday August 7th 2024
edited at 10:14 AM, Aug 7th 2024

To start things off, it is recommended to start the 250 Cylinder challenge after finishing Lesson 5 because it fits in the later lessons, however if not, then you're free to do so.

For the revision, in the Form Intersection submission, I have not much to say since the intersection of forms are for you to decide, so a pass on that one. Lastly, the Counter Ellipse submission, it has improved with less errors, I suggest you to exaggerate the degree of the Ellipse, and make the ellipses of the degree not same adjacent to another. But a pass on that one as well, since warm-ups will help you get through this.

Regarding the Texture Analysis, I may have done a misstep on characterizing those grooves as hatching honestly, looking upon it more clearly, it is accepted. So I apologize for the blunder. However, if you want any suggestions, then take my advice with a grain of salt because you are free to convey on how a texture should look and appear, however, just to remind you on errors and reminders on how the course approach texture.

So, if I were to approach the armadillo scale (on the last square or panel), I would point the scale ends to the left because the light is going from East to West, not only that, because I assume that the groove shadows will not be visible. And because it has grooves there would be ripples like what you had done. Also another Example from the community:https://imgur.com/a/example-cF8gOIf. So this is a suggestion.

So basically, you can approach the texture on different ways, you can even discard my suggestion, and do the opposite, just do whatever it takes to achieve a texture looking like that texture, but I will remind you on how the course approach texture. Again I do apologize on the groove shadows categorizing those as hatching, and the texture itself is a pass.

I'll be marking this lesson as complete, since I think you got the gist of it, so Congratulations!1 you may now proceed to the next lesson.

Next Steps:

  • Proceed to Lesson 3
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 10:14 AM, Aug 7th 2024
3:41 PM, Thursday August 8th 2024
edited at 3:42 PM, Aug 8th 2024

Thank you soo much! The resources you showed me is really helpful! No need to apologize! It did came out looking like hatchings, if you didn't point it out I probably wouldn't find out other ways of doing it and make my intentions more clear.

edited at 3:42 PM, Aug 8th 2024
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 we've used ourselves, or know to be of impeccable quality. If you're interested, here is a full list.
Printer Paper

Printer Paper

Where the rest of my recommendations tend to be for specific products, this one is a little more general. It's about printer paper.

As discussed in Lesson 0, printer paper (A4 or 8.5"x11") is what we recommend. It's well suited to the kind of tools we're using, and the nature of the work we're doing (in terms of size). But a lot of students still feel driven to sketchbooks, either by a desire to feel more like an artist, or to be able to compile their work as they go through the course.

Neither is a good enough reason to use something that is going to more expensive, more complex in terms of finding the right kind for the tools we're using, more stress-inducing (in terms of not wanting to "ruin" a sketchbook - we make a lot of mistakes throughout the work in this course), and more likely to keep you from developing the habits we try to instill in our students (like rotating the page to find a comfortable angle of approach).

Whether you grab the ream of printer paper linked here, a different brand, or pick one up from a store near you - do yourself a favour and don't make things even more difficult for you. And if you want to compile your work, you can always keep it in a folder, and even have it bound into a book when you're done.

We use cookies in conjunction with Google Analytics to anonymously track how our website is used.

This data is not shared with any other parties or sold to anyone. They are also disabled until consent is provided by clicking the button below, and this consent can be revoked at any time by clicking the "Revoke Analytics Cookie Consent" link in our website footer.

You can read more about what we do with them, read our privacy policy.