Texture Analysis really stumped me, I don't think I did a good job at all; I feel better about Dissections tho, probably because the sausages actually have a form around which I can wrap the texture around.
Also Form Intersections probably came out shy in the first two pages, sorry about that I did my best to avoid that in the next two.
hi, i'll be the one critiquing you,
so texture analysis is really a pain in the arse, and you're not alone since we all experienced it, it really takes a lot of patience and effort, but this won't be your last since there's still the 25 texture challenge(which is optional) and on L3, L4, L5 which is also optional.
ok so starting off with your arrows the flows on these ones are pretty nice, and you did a good job maintaining a correct placement of the hatching lines in the arrows but keep in mind that hatching lines shouldn't be done sloppily or rushed as there are times where i've seen you just drew those lines either floating on space or unevenly spaced, i'll point out that there are some few cases wherein you were hesitating/ afraid to overlap your arrows, you can avoid this by ghosting first the curves of the arrow then executing it in a single go or multiple goes, another issue is that your arrows seem to pinch or swell arbitrarily which destroys the feeling of it moving through from the back of the page to the front of the page, remember that as the arrow move towards the viewer the arrow would gradually increase in width and when it goes at the back of the page it'll gradually decrease in width, you won't be consistent at first with this so would be best if you include this exercise in your warm-ups
for your sausages great job with varying your degrees of ellipses/ contour curves i can really see that you understand how ellipses would turn as they go far to the viewer, this would certainly be helpful on l3 and above. so there are 2 other different orientations of sausages as shown in this image here and it would be great if you experiment or do these 3 orientations in your warm-up.
now onto your texture analysis
whenever filling cast shadows avoid leaving out small white negative spaces since shadows don't really have those on them unless the object that's casting a shadow on it has a hole on it like a swiss cheese, a torn shit or something. on your 2nd and 3rd texture's 3rd panel it seems like you are heavily relying on outlines and not cast shadows as the transition from dense to sparse is barely visible same goes with your crumpled paper texture and the black bar should be blended with the texture and not obvious that it's a black bar. now i can't give a critique on your first panels since you didn't provide any references that i could work on but that's all that i have to say in your texture analysis
now onto your dissections the texture, now here i can say that you did great here, but one thing i'll point out is that your transition from dense to sparse is sudden? or there's no transition at all, there are some textures that i feel that you've overworked it or you've worked explicitly which not only does it mean more work but it's also not appealing to the viewer as there is too much visual noise going on so if you checked out the video implicit vs explicit, comfy talks about it there(honeycomb good tho).
you did good sticking with shallow perspective, but comfy specifically said to do boxes in your 1st page and you're hatching lines in your cones/ cylinders aren't the one that comfy instructed to do, plus it looks sloppy and feels rushed be very patient and don't rush this as it can serve as additional experience/ mileage, you can also read how to do hatching lines properly here: https://drawabox.com/lesson/2/8/hatching also be careful with your use of lineweight since line-weight is only used to solidify the forms in 3d or to determine which forms are in front and/or at the back and a really great resource for the intersections that our active, lovely user optimus in discord made this imgur link showing all possible intersections that could happen, you can take a look at here and try to incorporate the ones that you saw in the form intersections first aid pack to your own work.
now lastly onto your organic form intersections, these circled in yellow feels as if it's either contradicting the shadow that you've established in the entirety of your drawing or it's not resting on top of the form that's being casted on, but other than that the rest feels solid.
there is still some improvements that you could do and don't get me wrong this a solid work but it feels as if you still need some work to do in your intersections, so i'll be assigning you 3 more pages of intersections and one page which is only for BOXES and 2 more pages for any type of form(cylinder,cone,boxes,circles,pyramids) that you can do, remember to do warm-up first.
Next Steps:
1 page of intersection, only BOXES
2 pages of instersection
This is a remarkable little pen. Technically speaking, any brush pen of reasonable quality will do, but I'm especially fond of this one. It's incredibly difficult to draw with (especially at first) due to how much your stroke varies based on how much pressure you apply, and how you use it - but at the same time despite this frustration, it's also incredibly fun.
Moreover, due to the challenge of its use, it teaches you a lot about the nuances of one's stroke. These are the kinds of skills that one can carry over to standard felt tip pens, as well as to digital media. Really great for doodling and just enjoying yourself.
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