View Full Submission View Parent Comment
0 users agree
4:44 PM, Friday October 1st 2021

Hello sikcool, I hope you are well.

Great decision to draw 1 insect per page. Drawing small at certain points becomes awkward for our shoulders, which we should always use.

Starting with your organic form, those came out quite great. You hook your contour, align them to the form. I don't see any major mistakes here, as you did a really good job here. There are a few sausages that have a very small problem(2ng page, top right corner), which is that both ends aren't the same size.

Your contour lines are stiff in a few places, which tell me that you didn't take as needed time for ghosting in those places. Remember that confidence comes first. Take as much time as needed with ghosting and then when it feels right execute your curve with one confident stroke.

I would also keep in mind to vary your degrees more. As it stands now, you shift them only slightly.

Moving onto your insect drawings, what stands out the most to me is your lineweight, it could see some work. When we add lineweight we want it to go over the previous line, which gives out evenly more thickness. But we don't just trace it, we want to make it in one confident stroke with a ghosting method. https://imgur.com/OHvr7Mb this diagram may help you understand it more.

There are times in the beginning when you add flat forms which is a wrong way to think about our form, because it breaks the feel of a "3d" to the viewer. As we add additional forms it is perfectly fine for them to break the silhouette of the previous form. But when we add them we also want them to feel like 3d form stack on each other. This image represents a way with which you should tackle additional forms.

I highly recommend going over shrimp demo, as it is the most recent demo mady by uncomfortable and it shows how we should tackle insect construction.

Sometimes you forget to add a contour line when your sausage(legs) meet. This is a crucial step in our leg construction so don't forget about it. Good example can be found here https://d15v304a6xpq4b.cloudfront.net/lesson_images/a20182ab.jpg.

I would also recommend looking back into a texture's material covered in lesson 2. Right now you add marks that don't convey much of a texture. With texture, we're communicating to the viewer what they need to know to understand what it'd feel like to run their fingers over the object's various surfaces.

Lastly your lines could be more confident, some of them wobble, which shouldn't be happening if you took enough time ghosting them. Take as much time as needed, be patient with each line. Don't rush, because the rushed line is ugly one. When we construct we want every line to be designed and put with a confidence as it serve certain purpose in our construction.

Summary, there is a slight problem with your mark making which would go away with enough practice during warm up with what I pointed out here. Also keep in mind to paragraph about forms that I wrote, it will become crucial skill in lesson 5 that you will have to leran.

Since there weren't any major mistakes I will mark this lesson as complete.

If you have any question feel free to ask,

Have fun during your journey,

Next Steps:

Continue to lesson 5

This community member feels the lesson should be marked as complete. In order for the student to receive their completion badge, this critique will need 2 agreements from other members of the community.
5:06 PM, Saturday October 2nd 2021

Hi, thanks for the crit!

Regarding the lineweight, I tried to ghost and do another line on top properly, however I feel that it doesn't make a huge difference. That is to say, the line doesn't get that much darker when I draw over it again with my .5 ink pen. Maybe I just need to press the tip down harder, or do the movement slower so more ink gets dispersed? I have a brush pen as well, but I don't think you're allowed to use it for lineweight so I avoided it.

I will try to do some textures in my warmups. Its hard to add details that wrap around the form properly, so doing some texture sausage might help.

8:51 PM, Monday October 4th 2021

That sounds weird to me, I had used a few brands of fineliner and never had this. But that might also be caused if you press the pen too hard. That would give more ink and damage the tip in the long run from my experience.

Also don't go slower, if you do that your lines will start to get wobbly and what we want is a confident line on top of the previous one that blends seamlessly.

And on the subject of brush pen, there wasn't anything said about brush pen because I presume adding line weight as it is expected would require tremendous skill with it. So if you are confident in your skills with brush pen go for it, just remember to meet the criteria in this imgur that I sent previously https://imgur.com/OHvr7Mb

Doing textures on sausages will improve your textures and feel of the form for sure. I have to do them myself as I forgot a bit about textures when I tackled the 25 wheel challenge.

ComicAd Network is an advertising platform built for comics and other creative projects to affordably get the word out about what they're making. We use them for our webcomic, and while they don't pay much, we wanted to put one of their ad slots here to help support other creatives.
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 I've used myself. If you're interested, here is a full list.
The Art of Blizzard Entertainment

The Art of Blizzard Entertainment

While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.

The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.

This website uses cookies. You can read more about what we do with them, read our privacy policy.