8:20 PM, Monday December 19th 2022
Starting with your form intersections, I'm definitely seeing clear signs that your understanding of how these forms relate to one another in 3D space is developing nicely. I do have some corrections to share with you, which I've noted here, along with this diagram to help solidify what you've already developed thus far.
Continuing onto your object constructions, as a whole you're doing very well, and I'm exceptionally pleased to see that you're leaning into the core focus of this lesson: precision. Where our past three lessons focus on organic material which can be approached in more of an inside-out, reactive fashion (where we can simply adjust our next steps according to our previous ones without impeding the exercise), this one marks the first of two lessons that prioritize working outside-in.
Precision is often conflated with accuracy, but they're actually two different things (at least insofar as I use the terms here). Where accuracy speaks to how close you were to executing the mark you intended to, precision actually has nothing to do with putting the mark down on the page. It's about the steps you take beforehand to declare those intentions.
So for example, if we look at the ghosting method, when going through the planning phase of a straight line, we can place a start/end point down. This increases the precision of our drawing, by declaring what we intend to do. From there the mark may miss those points, or it may nail them, it may overshoot, or whatever else - but prior to any of that, we have declared our intent, explaining our thought process, and in so doing, ensuring that we ourselves are acting on that clearly defined intent, rather than just putting marks down and then figuring things out as we go.
Here, both in your use of subdivision, and even moreso in how you employed the orthographic plans (where you took them further than the demos currently do, but in a manner that I tend to encourage students to push into in critiques, and will be expanding the lesson material to reflect when the overhaul gets this far in - so truly fantastic work there), you've held firmly to these principles of precision, and as a result your work is coming out very solid.
There are a few points I want to call out, but as a whole you've done very well.
The first of those points is fairly straightforward - try drawing bigger. You're handling the small scale pretty well all things considered, but it's still best when working through these exercises to maximize your use of the space available to you on the page. This will both help you in thinking through your spatial reasoning problems, while also helping you engage your whole arm as needed when freehanding strokes. Not to mention that it gives you more room to capture smaller details.
Secondly, I noticed cases where you were freehanding some straight lines - like in this pen it appears that you used a ruler for the initial bounding box and subdivision, but still freehanded the rest of the construction within it (or at least for the line weight). We encourage the use of rulers here specifically to remove additional complexity from the task, so we can keep focused on what the lesson's target is, without distraction. Sometimes students will make a point of freehanding more than they need to in order to get more practice, but we do have exercises targeted towards that kind of practice. If the instructions allow you to simplify the problem, it's likely that it's for a good reason.
Additionally, rulers have an additional advantage, if they're longer - we can use them to see exactly how a given line will extend off into the distance (along the edge of the ruler) without having to commit to the stroke. This helps us choose the orientation for a line to ensure it's converging more consistently with the other edges with which it's meant to be parallel. At least, if we know to take advantage of that aspect of the tool.
Thirdly, be sure to hold to these principles when tackling line weight. With the pen it definitely seems you were trying to just reinforce all your linework, which is not the purpose of line weight as we use it in this course. To sum it up, we use line weight primarily to clarify how different forms overlap one another, in the specific localized areas in which they overlap.
And the last point I wanted to make is to remind you of the distinction between form shading (which as discussed here is not something we are meant to employ in our drawings for this course), line weight, and cast shadows. Along the left edge of this can, you appear to have conflated line weight and form shading, in that you made that side darker due to that side turning away from the light source. For your drawings in this course, leave that out, and remember - line weight is (again, in this course) for defining overlaps.
In this wrench, you kind of mixed cast shadows and form shading, especially where you filled in the side planes of the structure (which again is where the orientation of that surface in space relative to the light source dictates whether it's lighter or darker, so that falls under form shading and should be left out). The shadow being cast upon the ground beneath it is indeed a cast shadow, so that's fine - although rather than attempting to "paint" the shadow on stroke by stroke, you'll have a far easier time by first outlining your intended shadow shape, then filling it in. This will allow you to focus on designing the shadow shape so it reflects the spatial relationships between the given forms. Here I've demonstrated this (without filling in the shadow). In blue is the shadow shape, and in red I've clarified the structure that got somewhat hidden by your own shading/shadows.
So! Keep all that in mind, and apply it as you move forwards. I'll go ahead and mark this lesson as complete.
Feel free to move onto the 25 wheel challenge, which is a prerequisite for Lesson 7.