Lesson 6: Applying Construction to Everyday Objects
8:58 PM, Sunday July 19th 2020
Here is my submission for Lesson 6...
Looking forward to you Critique...
Starting with the form intersections, you've done a great job of establishing the forms and how they both exist in, and relate to one another within 3D space. My only real concern here comes down to your linework - it's considerably less confident than it could be, with a lot of reinforced lines making things look quite hairy, and areas where you've attempted to correct mistakes when you really should have left them be. Both of these relate back to not relying on the ghosting method as much as you should. Since the ghosting method demands that you work through the planning and preparation phases prior to the execution of each and every mark, it makes any kind of automatic, reflexive drawing impossible. Ghosting is important, so when freehanding your lines, don't let it slip.
This matter of linework is honestly the only major issue I see throughout your drawings. You do an excellent job of breaking down the subdivisions of your scaffoldings - not quite pinning down every little specific things, but getting very close for the vast majority of them and as a result constructing solid, believable objects in every case. That said, your lines are still appearing hairy and sketchy - not drawn with the purpose and planning of ghosting, but frequently falling back into a somewhat less amateurish style of chicken-scratch.
This clashes especially with the use of rulers and ellipse guides, because each of those marks come out perfectly, making the more hesitant, scratchy lines stand out a great deal. This issue is significant, and you need to get back to good habits. It really shouldn't be the sort of thing we see this late in the course, and it calls into question whether or not you've been using the exercises from previous lessons as part of your regular warmup routine.
I only really see it used here, but as a far less important note, try not to use hatching lines as you've done here to capture form shading - that is, when a surface gets lighter or darker based on its relationship with the light source. Since we only really see it here I suspect this was just a bit of an experiment gone wrong - and there's nothing wrong with experimentation. In general though, form shading is something we leave out of our drawings for the reasons explained here back in lesson 2.
Now, while I'm not pleased with the scratchy linework, everything else really is stellar. Your construction, your adherence and patience with the subdivision, and even the solidity of your forms (which is undermined by the scratchy linework) is all coming great. Just make sure you get your habits under control as you move forwards.
So, I'm going to go ahead and mark this lesson as complete.
Next Steps:
Move onto the 25 wheel challenge, but be sure to draw each and every freehand mark using the ghosting method.
While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.
The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.
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