Thank you Tofu, I'm going to practice a bit more with your feedback in mind before I move on.
Could you please give some more specific examples of which textures I was more successful with versus not, based on your feedback of dynamic linework and not being overly explicit with drawing? Same with the form intersections, if you could point me toward some that I got fairly close versus ones that were way off and why.
Thanks again.
In your dissections, you've got many cases where you're leveraging cast shadow shapes quite effectively, but there are still some cases - like the tafoni rock, craquelure, wicker, octopus - where you did fall back to outlining your major forms first and foremost. The craquelure is further off the mark than the others, specifically because you've not focused on cast shadows - which are projected from one form onto another surface, and relates specifically to the nature of that form. You instead opted to fill in spaces.
One thing that'll help a lot is simply drawing bigger sausages and giving yourself much more room to work through these textures. You're already heavily heading in the right direction, but by trying to navigate such small shadow shapes in a cramped space, you're making it needlessly difficult on yourself.
As for the form intersections, most of these are indeed going in the right direction - the original wording in Tofu's critique was speaking more to the fact that students aren't really expected to grasp how intersections work just yet - the exercise tests one's ability to draw forms together within the same space such that they feel cohesive and consistent (in terms of foreshortening), and the intersections themselves are something we continue to explore and develop as we move forward throughout the course.
As such, I purposely do not have my teaching assistants address the where and the why of specific intersections being incorrect at this point. I dig into it more when the exercise comes up again in Lesson 6, once the student has had ample opportunity to work throug hit.
One thing I would add however is just that your linework itself could definitely use more attention. When you add line weight, you're doing so slowly and carefully, tracing back over whole lengths of line instead of executing more limited strokes focusing on localized areas. Line weight should be executed with the ghosting method, as with any other marks, and therefore should be drawn with confidence, maintaining smooth strokes. You may mess up your accuracy here and there, but it is more important that you not infuse your linework with wobbling due to hesitation.
OK, got it, thanks -- it's helpful to be able to pair the worst offenders with the feedback re: textures, I see what you're saying.
Controlling the lines has definitely been the biggest challenge (both with accuracy and speed), I think I'm tensing my shoulder too much or something when I draw more quickly or something. Will double down on practicing the linework stuff from exercise 1 as I move on to the next lesson.
Thanks again.
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