View Full Submission View Parent Comment
12:56 PM, Friday June 2nd 2023
edited at 1:00 PM, Jun 2nd 2023

Hello JustCuteGirlzArt, thank you for getting back to me with your organic intersections.

This is a substantial improvement on your previous attempts.

Your linework appears quite smooth, confident and purposeful, and I can see that you've resisted the temptation to redraw things to make corrections, nicely done.

The middle two forms are wrapping around the forms below very well, and have a convincing sense of weight to them.

The top form is the weakest of the bunch, with the far end poking up in the air it looks like there is no weight to the far end, and like it might topple off the pile. Here is how we might draw that top form in a way that feels stable and supported.

I have a couple of notes regarding your contour curves, and I've marked them on your work here.

In blue, I've redrawn a contour curve that was quite skewed. This flattens your forms. If you're having difficulty aligning your curves you can draw a central flow line for your forms, and then try to draw your contour curves so that they're cut into two symmetrical halves by this flow line.

In red, your contour curves were contradicting the orientation of your form. The cast shadow you had drawn tells us that the right side of the form is facing towards the viewer, but your contour curves tell us that it faces away. I've flipped their direction to correct for this. In green I noted that if the right end of the form faces towards us, then the left end will be going away, and wrapping behind the form below, so you'd want a bit of additional line weight on the lower form to clarify this overlap.

Your shadows are miles better! I can understand the logic behind each one, and you're definitely on the right track with them now. The shadow being cast by the lowest form isn't quite selling the illusion that the whole form is resting on a flat ground plane. If I use the little x you've drawn as an indication of the light source I think the shadow will probably look more like this.

All right. I'll check this exercise off as completed. Please continue to apply the advice I've provided here when you practise this exercise in your warmups.

When you complete your animal constructions please submit all 4 pages together. We do not have the resources for TAs to critique work piecemeal, and so you do need to submit everything together, as assigned. While that puts more work on you (in terms of giving you more room to end up making the same mistakes more than might feel necessary), it is necessary to put that on the student (as explained here in Lesson 0) due to the extremely low price at which our feedback is offered.

Next Steps:

Please complete 4 pages of animal constructions.

When finished, reply to this critique with your revisions.
edited at 1:00 PM, Jun 2nd 2023
8:26 PM, Monday July 17th 2023
edited at 8:27 PM, Jul 17th 2023

Here is the link to 4 additional animal constructions I did. I think this shows some improvement when adding additional forms. Let me know if you need anything else.

https://imgur.com/a/CKNzBHd

edited at 8:27 PM, Jul 17th 2023
9:24 AM, Wednesday July 19th 2023
edited at 9:34 AM, Jul 19th 2023

Hello, JustCuteGirlzArt, thank you for replying with your additional animal constructions.

I think it is best if we go back over the 4 main points I called out in the initial critique, to see if they have been addressed.

1- Altering the silhouette of forms you have already drawn.

As discussed on discord there was a moment where you cut back inside the silhouette of the rib cage form of this squirrel when you drew the torso sausage, albeit accidentally. The same issue is occurring on the pelvis of the raccoon, to a lesser extent. While on the subject of the torso sausage, remember as discussed here on the lesson intro page, the torso sausage should sag, you're arching it upwards in the last 2 constructions, which may be exacerbating the tendency to accidentally cut back inside the silhouette of your major masses. There are a couple of spots where you had extended the construction with a partial shape, and I've highlighted a couple of examples of this here. This looks like you were attempting to draw additional masses. As I pointed out on your squirrel over Discord, (just a couple of days before you drew this raccoon, so it should have been fresh in your mind) additional masses need to have their own, complete fully enclosed silhouette. While this is occurring less frequently than in your initial submission the fact that it is occurring at all after I've called it out 3 times and shown you how to draw complete forms instead suggests you're not doing whatever is necessary at your end to remember to apply the information you have been provided with.

2- Leg construction.

Alright, you're using the sausage method consistently, keeping your sausage forms simple, and applying a contour curve at the joints, nicely done.

As explained in previous rounds of feedback, the contour curve at the joint represents the intersection where the two forms connect together. So keep in mind that this curve can only exist where both forms are present, I've highlighted this region in green on one of your joints here and corrected the contour curve in red. On the same image is something of a bonus point. Animals are (usually) symmetrical in design, so if there is a joint in the left leg, there should be a joint in the right leg too. Take another look at this section of the lesson intro page where Uncomfortable explains that the number of joints in limbs is quite consistent, even among species that appear wildly different.

The size and placement of your legs is less chaotic than your first submission. Do make sure that you make use of the advice given previously about analysing negative shapes or using a horizontal line to help analyse your reference and plan your leg constructions to keep them organised.

3- Additional masses.

You've done a good job of addressing the point I made about drawing rounded blobs with no relationship to the underlying structure and then trying to make them feel 3D by adding contour lines to them, well done. I can see that you're thinking about how to wrap your additional masses around the underlying structures.

At this point I feel like a broken record, but it is of utmost importance that each additional mass you draw has a complete fully enclosed silhouette. I re-drew one of your partial shapes on this squirrel as an example. And you've repeated the same error on the very next construction. Here I've redrawn the partial shapes I highlighted on your raccoon earlier in this critique as complete forms.

On the far side leg I've split the additional mass into two pieces so each one can stay as a simple outward curve where it is exposed to fresh air, as shown in this diagram.

On the near side leg I've broken the addition into two separate masses, rather than fully enveloping an existing form. This allows each additional mass to have a specific relationship with the underlying form, as shown in this diagram.

4- Head construction.

Pay more attention to the shape of the eye sockets shown in the informal head demo. This was one of the key points for applying this method that I explained in your first lesson 5 critique

The specific shape of the eye sockets - the specific pentagonal (5 sided) shape allows for a nice wedge in which the muzzle can fit in between the sockets, as well as a flat edge across which we can lay the forehead area.

I also demonstrated this in this draw-over of your work. Right now your eye sockets are either rounded, or hexagonal (6 sides).

Given that I have pointed you to this demo twice before and the first step isn't being applied here does suggest that there is more you could be doing to make use of the information provided.

Next steps

You're moving in the right direction, but there is a lot of room for growth and improvement here, and a lot of information from previous rounds of feedback (and the many, many draw overs, diagrams and demos shared with you) that you're not applying as you should be. While I can't say specifically why you haven't been able to apply past feedback very effectively (I don't know your specific circumstances, and It isn't any of my business) this usually happens if a student isn't investing as much time as needed. This applies not only to the construction the student is working on, but to reviewing the instructions and feedback given. I am going to go ahead and mark this lesson as complete. I've consulted with Uncomfortable and we agree that the best course of action for you is to take a break from animal constructions and move forward with the course.

What we recommend is that you move forward with the course for now, the 250 Cylinder Challenge is the next step, then come back and review lesson 5 in a month. What we'd like you to do is take some time to review all of the feedback you have received and practice applying this information to your constructions independently. There is no need for you to submit any more lesson 5 homework for official critique, as I believe that the information you require is already at your disposal within the various rounds of feedback you have received. You can choose topost on discord to request community feedback if you would like additional support, although as community feedback runs on goodwill it is not guaranteed.

As the course itself undergoes a gradual overhaul, many of the points that I've called out and explained as part of the critique will be more seamlessly integrated into the lesson material, and that may make it considerably easier to understand, with many more specific demonstrations being available for each major concept. Once that overhaul of the lesson is complete (which unfortunately won't be for some time), you may have a more straightforward, easier time understanding how to approach this material.

Best of luck with the cylinder challenge, and thank you for all your hard work in this lesson.

Next Steps:

250 Cylinder Challenge

This critique marks this lesson as complete.
edited at 9:34 AM, Jul 19th 2023
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.
Faber Castell PITT Artist Pens

Faber Castell PITT Artist Pens

Like the Staedtlers, these also come in a set of multiple weights - the ones we use are F. One useful thing in these sets however (if you can't find the pens individually) is that some of the sets come with a brush pen (the B size). These can be helpful in filling out big black areas.

Still, I'd recommend buying these in person if you can, at a proper art supply store. They'll generally let you buy them individually, and also test them out beforehand to weed out any duds.

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