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1:40 AM, Saturday February 4th 2023

Hello Newquest, thank you for getting back to me with your revisions. Don't worry about submitting the Demos alongside your homework, overall it's not a big deal, I would just like to mention it so that you can be aware of it in the future.

Starting with your page of leaves they're looking much more fluid and energetic than your original attempt. Your branches are also looking good.

Moving on to your plant constructions your plants are looking pretty solid and it's good to see that generally you've applied my feedback, although there are some issues to point out here.

In this plant construction, outlined in red is a very important problem, and it's the fact that you're trying to capture some parts of your plant reference in your drawing, but you're not construction these forms, you skip construction steps by not making use of the branch method nor the leaf construction method, instead trying to capture them as flat shapes.

Another big problem besides not constructing these structures is that you leave the relationships between all of these shapes vague by not connecting them, which makes it unclear how all of these forms relate to one another and flattens your construction.

Remember that Drawabox is a course with one very clear goal: teaching you the foundations for drawing, one of those being the skills for spatial reasoning, Aka understanding how to draw forms that feel believable and tridimensional on a flat page. It's not important that you capture the exact likeness of the subjects you draw here, instead, it's more important that you're making use of the exercises and drills here, following their instructions to the letter so that you can train your brain to think in 3D. As such, always construct all of your forms with the methods and techniques introduced.

Besides not connecting different parts of your construction together, another thing that you shouldn't do is leave any kind of arbitrary gap between your leaf's flow line and it's outer edges.

Now onto your comments and questions.

Starting with your arrow's, I've outlined here the places where your hatching was incorrectly placed and the places where it was correct. As with most other exercises in Drawabox your understanding of how arrows work will deepen the more you practice these objects, however, there is something you should keep in mind for them, and that's the fact that arrow's perspective ( and most perspective in general ) is a comparison game.

What part of the arrow segment is the biggest segment? Let's take arrow 1 for example here, we can see in this arrow that the segment at the very top is the biggest segment and thus, the one closest to the viewer, and down below we have the smallest segment, which logically will be the segment furthest from the viewer.

By the rules of perspective we know that this means each segment in-between these two must then be gradually changing in size, from top to bottom segment 1 will be bigger than segment 2, segment 2 will be bigger than segment 3, and so on until the end of the arrow. This concept gets more complicated for twisting arrows but let's focus on the basics for now.

As such, knowing this we can determine that the bigger part of the segment is always the segment that is in front, and so the smaller segment is the one behind and as such should always be the segment that gets the hatching applied to it.

You can see here the places where you've zigzagged your edge detail and places where you should have made use of the forking branches method.

Red - Zigzagged edge detail.

Blue - branches that stem from a preexisting branch and as such should have been built with the forking branches construction method.

Let's take a look at this plant. Let's remember the principles of texture in Drawabox, as you might remember and as shown in my slight demonstration texture in Drawabox is based on cast shadows, this means that in order for these big patches of black to exist as cast shadows, there would need to exist a form on this flower's surface that could reasonably cast it, but due to the nature of petals such forms cannot exist, as such this texture is in part explicit, as it focuses on local color variations and some form shadows, looking at the reference picture we can see that in these areas of black there are actually some small indents and clearer parts which indicate a more subtle change in the surface of the petals.

Some of the demos are slightly outdated, the mushroom demo is one such case, although by reading the step by step guide on the website we can see that using a minor axis can actually be very beneficial and is recommended if you struggle with keeping your ellipses aligned to each other.

The following link is broken, but regardless it's still possible to answer your question. The answer is that you should always be constructing all of your forms in full, if the form is too small and doesn't allow you to engage your shoulder you have two options.

First, draw bigger, draw less plants in your pages and make sure that you're starting your branch structures at a comfortable size that allows you to engage your shoulder, this means a long enough minor axis, big ellipses drawn from the shoulder and a good chunk of space between each ellipse so that you can ghost and execute the marks from your arm.

The second option is to focus on a smaller part of a plant structure, sometimes some structures will be way too complex and trying to capture a big part of them in your A4 page with your 0.5 fineliner will prove not only incredibly challenging but sometimes near impossible, in such cases where the photo of your plant is so zoomed out that attempting to capture it completely will force you to skip construction steps then you should either choose a better reference photo that's more zoomed in, or choose to focus on a smaller part of the plant.

I believe you've shown adequate understanding of the concepts this lesson seeks to teach, although there are definitely some bumps you encounter, so make sure to keep honing your skills by adding these exercises to your warm up list. I'll be marking this submission as complete, good luck in Lesson 4.

Next Steps:

Don't forget to add these exercises to your warm-up list.

Move on to Lesson 4.

This critique marks this lesson as complete.
7:22 AM, Saturday February 4th 2023

wow thank you so much for even taking the time to show me how the corrections look, that added so much to my understanding and for answering all my doubts. I'll work on them.

about my revison exercise , I drew the surroundings as flat shapes on purpose remember how the potato plant demo where they made flat rocks to show how the plant sits in space. so that only applies to rocks ?

1:13 PM, Sunday February 5th 2023

Hello Newquest.

Keep in mind that rocks are solid objects, a rock will look the same no matter how you're holding it, as shown here silhouettes of hard objects are already enough to communicate their form.

However, leaves are organic objects, they're easily influenced by the environment, gravity and their own weight and the flow line is important for communicating this "gesture" of the leaf, by skipping the flow line you fundamentally change how a leaf will be perceived, so drawing leaves in this manner only flattens and makes them look unnatural.

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