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6:29 PM, Wednesday October 29th 2025

I send back the works you requested

Bye

This post includes some uploaded images. They may be linked in the text, but can also be viewed as an album by clicking here.
5:11 PM, Thursday October 30th 2025

Your organic forms with contour curves are coming along decently, but in regards to your form intersections, there are numerous points that I raised in my feedback that your revisions do not address, including:

  • Not drawing through your ellipses two full times before lifting your pen, as is required for all of the ellipses we freehand throughout this course.

  • Not constructing your cylinders or cones around minor axis lines.

  • Not applying the ghosting method in its entirety (your line quality is generally okay but I'm not seeing any of the points we place during the planning phase to identify the intended start/end points of the mark we wish to make - at most what I'm seeing are areas where the start/ends of your marks get thicker, but this seems more likely to simply be the result of holding your pen in that position for a moment longer when starting/ending, causing the ink to pool, rather than you perfectly nailing your use of the ghosting method every single time).

  • Not applying the Y method (specifically the negotiating of corners which helps considerably in our estimation of our convergences as we construct the box.

I am really not seeing any attempt to actually address the points that I raised, which was that you are not applying the concepts and strategies introduced in earlier lessons. If there were aspects of my original feedback that were unclear, you are of course allowed to ask questions - but if you charge forwards and submit the work, I can only assume that my feedback was clear to you.

If you have questions, ask them - otherwise you'll have one more opportunity to complete the same revisions for the form intersections that I assigned previously. If the same issues continue to come up, I will have to assume that there is an issue (perhaps a language barrier concern, for example) that is hindering your ability to apply the feedback you receive from us. Ultimately because we provide official critique at a base price that does not fully cover the cost of having our TAs provide you with feedback, we operate on very limited resources compared to other courses and programs, and so we have hard limits on how much we can provide to students. If students are not able to adhere to the requirements of official critique, and run into major issues in following the instructions they're given, then that can certainly result in us simply no longer being able to provide official critique.

So, give the 4 pages of form intersections one more shot, after going through the feedback I provided previously carefully to ensure you're in a good position to apply it (and ask questions if anything is unclear). Hopefully you simply rushed without giving it a fair shake - which is its own problem, given that we are covering part of the cost of providing you with feedback - but at least it's something that can be avoided going forward, if that is the case.

Next Steps:

Please submit 4 more pages of form intersections.

When finished, reply to this critique with your revisions.
3:32 PM, Wednesday November 19th 2025

I submit the 4 Pages you asked

This post includes some uploaded images. They may be linked in the text, but can also be viewed as an album by clicking here.
10:07 PM, Thursday November 20th 2025

These are definitely a big improvement over what you submitted previously. There are however two things for you to keep in mind going forward:

  • Don't arbitrarily draw your intersections with a thicker/heavier line weight. They should be drawn with the same initial line weight as the rest. You can apply line weight afterwards, but it should be in the manner described here (which I linked you to in my original feedback).

  • And in general, while your work is considerably better than before, there are still signs that you probably could stand to give yourself more time to think through, plan, and prepare your marks, before executing them. You're executing them confidently in most cases, which is good, but I can definitely see that there is still room to be more patient with the other aspects of markmaking to really push yourself to the limits of which you're capable. The more you do that, the more you'll get out of the work in this course as a whole.

I'll go ahead and mark this lesson as complete.

Next Steps:

Move onto Lesson 3.

This critique marks this lesson as complete.
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Printer Paper

Printer Paper

Where the rest of my recommendations tend to be for specific products, this one is a little more general. It's about printer paper.

As discussed in Lesson 0, printer paper (A4 or 8.5"x11") is what we recommend. It's well suited to the kind of tools we're using, and the nature of the work we're doing (in terms of size). But a lot of students still feel driven to sketchbooks, either by a desire to feel more like an artist, or to be able to compile their work as they go through the course.

Neither is a good enough reason to use something that is going to more expensive, more complex in terms of finding the right kind for the tools we're using, more stress-inducing (in terms of not wanting to "ruin" a sketchbook - we make a lot of mistakes throughout the work in this course), and more likely to keep you from developing the habits we try to instill in our students (like rotating the page to find a comfortable angle of approach).

Whether you grab the ream of printer paper linked here, a different brand, or pick one up from a store near you - do yourself a favour and don't make things even more difficult for you. And if you want to compile your work, you can always keep it in a folder, and even have it bound into a book when you're done.

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