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7:57 PM, Wednesday August 17th 2022

Okay, I can do that.

Just to clarify and verify that I get it, when you say as start simple as possible when constructing it's almost as if you want to first define an initial convex bounding shape of what the object is you're attempting to draw and then recursively create more shapes that bound the complex regions and eventually adding more detail and textures based on top of those shapes. Which is basically what you state on the complex leaf structure note just with the additional steps/information based on it being about a leaf.

On the topic of starting simply as possible what would be a good heuristic to use when deciding what the initial bound shape should be? I guess I am asking when does a shape need to be become two shapes or more and what should it look like? Like in the leaf/branch I drew in the top left if I had a another branch coming off the same initial starting point with similar branching leaves would the initial shape be something constrains both branches or would each branch get their own? Is the heuristic simply pain and experience?

Also, I'll try to be more conscious of zig-zagging as I think what have been doing is not really thinking about building on top or cutting from the form I've placed and instead just thinking of it as a "guide" causing any sense of 3D/volume to fall flat simply because the lines stop have a sense of form and just become 2D lines.

I realize I am almost parroting what you've already said in many different forms of media as well as maybe asking questions that you've already answered and for that I apologize and I also want to apologize for potentially being one of those students that takes up more of your reviewing time than most.

9:04 PM, Wednesday August 17th 2022

In regards to the heuristic, it is something you'll get more comfortable in judging with experience - but in general, focusing on what it means to be simple versus complex may help. A line that maintains a single trajectory - like a simple arc, unchanging throughout its length - is inherently simpler than a line that follows a trajectory, then suddenly incorporates a little cut into its path, and then resumes the same trajectory.

You can also refer to the concepts from the Principles of Markmaking - the third for example addresses the matter of zigzagging quite specifically.

As to what you said about using the previous phase of construction as a "guide" - what we're doing here is fundamentally the opposite. Every step involves establishing a solid structure in 3D space - something we actively treat as though it exists physically. So for example, the by the second step of the leaf construction exercise (as outlined here), we have a structure that is akin to having a leaf shape cut out of a piece of paper. In the next step, we add edge detail to it in a variety of ways, all of which occur in 3D space:

  • We can lift or droop sections of the edges to create a wavy edge.

  • We can add protrusions - yet more pieces of paper stuck on - to have little spikes come off the edge.

  • We can physically cut with scissors into the shape, where the lines we're drawing denote the path the scissors would follow.

This is core to the course as a whole - we are not sketching loosely, nor drawing. We are building in 3D space, and the visualization of what we build is what ends up on the page.

10:27 PM, Wednesday August 17th 2022

Thank you for your advice. One of the fundamental things I keep coming back to is I simply need to be on and make sure every action I perform on the page actually has meaning and intention, but man does the brain just want the ease of running on auto pilot.

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