This website uses cookies. You can read more about what we do with them, read our privacy policy.
0 users agree
7:18 PM, Saturday August 6th 2022
I'll be the TA handling your Lesson 2 critique.
You're making progress towards understanding the concepts introduced in this lesson and hopefully this critique will help you in your future attempts.
-
Starting off in the arrows section your lines are looking smoothly and confidently drawn. You're doing a good job maintaining a consistent width as your arrows widen while moving closer to the viewer and with more mileage you'll become more consistent. It's good to see that you're trying to implement line weight, just remember that you want to keep your applications subtle and you'll become consistent with mileage. here are some things to look out for when applying it. I'd like you to experiment more with foreshortening in your future attempts, by utilizing it in both the arrows themselves as well as the negative space between their curves we can create a stronger illusion of an object moving through 3D space as demonstrated here.
-
Moving into the organic forms with contours exercise a couple of your forms are getting a bit too complex. We want to create our forms with both ends being the same size and to avoid any pinching, bloating, or stretching along the form's length as discussed here. You're keeping your line work confident here which is great, if you feel uncomfortable working with contours still don't stress with more mileage it'll become more natural. I'd like you try to push your contour curves more so that they overshoot and hook back into the form as described here. Speaking of contours I'd like you to try and shift the degree of your contours more. The degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here.
-
In the texture exercises you're focusing largely on outlines and negative space rather than cast shadows created by forms along the texture itself. This makes it difficult to create gradients with implied information which we could then use to create focal points in more complex pieces, by doing so we can prevent our viewers from being visually overwhelmed with too much detail. You also show that you're drawing from memory at times rather than giving yourself enough time to focus on your reference. Most of our time when doing exercises like this will be spent observing our reference and looking away for a quick second to add something to our page. For more on the importance of focusing on cast shadows read here. I'd also like to quickly direct you to this image which shows that when we're working with thin line like textures if we outline and fill the shadow we will create a much more dynamic texture than simply drawing lines.
-
It's quite common for people to feel like they don't fully grasp the form intersections exercise, if you feel like you may fall into this category try not to stress too much. This exercise is just meant to get students to start thinking about how their forms relate to one another in 3D space, and how to define those relationships on the page. We'll be going over them more in the upcoming lessons. Your forms here appear a bit hastily done at times, it looks like you needed more time planning them before drawing them. Remember that whether our goal is to draw 1 form or 100, we want to be giving each line the same amount of time planning/ghosting before drawing it. Don't forget to draw through all of your ellipses as well.
-
While wrapping up your submission with the organic intersections exercise you show that you need a bit more time becoming comfortable with thinking of how these forms interact in 3D space and how they'd wrap around one another. I recommend trying to stack your forms perpendicularly rather than trying to keep them headed in the same direction to help make wrapping them around one another a smoother task. You're keeping your forms simple and easy to work with which is a good strategy to help produce good results. Your shadows are hugging the form creating them rather than being cast on to another surface believably. It appears like your shadows aren't following a consistent light source, I recommend pushing your light source to the top left or right corner of the page to start with, it's easier than working with a light directly above your form pile.
Overall this was a solid submission, while you may have some things to work on I have no doubt you will improve with more mileage. I'll be marking your submission as complete and move you on to the next lesson.
Keep practicing previous exercises as warm ups and good luck in lesson 3!
Next Steps:
Keep practicing previous exercise as warm ups.
Move on to lesson 3.
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.
Sakura Pigma Microns
A lot of my students use these. The last time I used them was when I was in high school, and at the time I felt that they dried out pretty quickly, though I may have simply been mishandling them. As with all pens, make sure you're capping them when they're not in use, and try not to apply too much pressure. You really only need to be touching the page, not mashing your pen into it.
On the flipside, they tend to be on the cheaper side of things, so if you're just getting started (beginners tend to have poor pressure control), you're probably going to destroy a few pens - going cheaper in that case is not a bad idea.
In terms of line weight, the sizes are pretty weird. 08 corresponds to 0.5mm, which is what I recommend for the drawabox lessons, whereas 05 corresponds to 0.45mm, which is pretty close and can also be used.