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12:58 AM, Thursday February 10th 2022
edited at 1:17 AM, Feb 10th 2022

Tofu's tagged me in for the explanation, and fortunately this should be a quick one. Basically by referencing this section of the instructions, he was pointing out that the spacing between your arrow's zigzagging sections (the negative space in between the ribbon itself) was either remaining the same, or inconsistently jumping back and forth between big and small gaps. Instead, those gaps should be getting smaller and smaller as we look farther back in space.

I've marked those gaps out on your work here to add some more clarity to the concept.

As for the bulging, here's what he meant.

edited at 1:17 AM, Feb 10th 2022
11:54 AM, Saturday February 12th 2022

Thanks Uncomfortable. I just realized that when it comes to constructing the second identical curve all the problems that have been mentioned come up because I think about making consistent spaces, making sure the lines overlap and then at the same time trying to take into account perspective which then leads to the inconsistent spaces, bulging e.t.c which affect the 3d feel of the arrows. So my question is there another way other than the instructions provided to approach drawing the second curve or is matter of getting that mileage through practice?

4:56 PM, Tuesday February 15th 2022

Unfortunately it largely comes down to practice and mileage, although there are two main factors that play the biggest role:

  • While drawing with confidence is always very important, that doesn't strictly mean drawing as fast as you can. We do draw more quickly earlier on because that's the easiest way to understand what it means to draw confidently, but once that is solidified, we can often ease back and reduce that execution speed (right up to the point that the confidence wavers) to regain some control. This of course is a threshold you'll continually be testing, and that will continue to lower as you get more comfortable with the idea of drawing confidently.

  • Drawing the marks from your shoulder helps as well - if you're at all familiar with working with digital tools, drawing from the shoulder is similar to using "stabilization" features in many drawing softwares, where it kind of evens out a lot of the places we might make sharper, more jerking motions, resulting in a generally smoother stroke with fewer erratic changes.

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