Hi there, I'll be handling your lesson 2 critique.
You're making good progress towards understanding the concepts introduced in this lesson, below I'll be listing some things that will hopefully help you in your future attempts at these exercises.
Your arrows are off to a good start, I don't have any major complaints here. There are moments where you arrow's width gets a bit inconsistent but with more mileage this will improve. One thing I'd like you to experiment more with is foreshortening the negative space between your arrow's curves, you're making good use of it in the arrows themselves but by applying it to both of these areas we can create a stronger illusion of an object moving through 3D space as you can see demonstrated here.
In the organic forms with contours it's a bit of the same story, your forms are kept simple but are a little inconsistent at times, not something I'm worried about as long as you keep the goal of simple forms in mind in the future. One thing that can be worked on is your contour curves, they get a bit messy at times and you can also work on shifting the degree of your contours as well. The degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here.
Your texture results are a bit mixed, your analysis attempts are well done but you could emphasize your gradients from left to right a bit more. When it come to dissections however you're working from memory quite a bit and need to spend more time observing your reference, most of your time in fact should be looking at your reference and only looking away to make quick marks. Currently the textures you attempted to create float a bit aimlessly without structure on the sausage forms, I'd also like to quickly direct you to this image which shows that when we're working with thin line like textures if we outline and fill the shadow we will create a much more dynamic texture than simply drawing lines. Your corn attempt is a step in the right direction in terms of focusing on cast shadows, while your marrow and sheep wool are examples of you focusing on negative space/outlines.
If you feel like you don't fully grasp form intersections just yet don't worry, you're on the right track but right now this exercise is just meant to get students to start thinking about how their forms relate to one another in 3D space, and how to define those relationships on the page. We'll be going over them more in the upcoming lessons. Your forms are looking solid and like they belong in a single cohesive space so far, good work.
This is a great attempt at the organic intersections exercise, you kept it simple but did them well. When trying this exercise again in the future be to sure to experiment with different form piles and lighting positions/intensities. This is a great exercise for building up your comfort working with organic forms as well as getting comfortable working with light and shadow before tackling more complex pieces.
Overall this was a really solid submission, you do have some things to work on but you demonstrate an understanding of the material being presented to you. I'll be marking your submission as complete and moving you on to the next lesson.
Keep practicing previous exercises as warm ups and good luck in lesson 3!
Next Steps:
Keep practicing previous exercises as warm ups.
Move on to lesson 3.
Thank you very much Tofu, have a great day!
Like the Staedtlers, these also come in a set of multiple weights - the ones we use are F. One useful thing in these sets however (if you can't find the pens individually) is that some of the sets come with a brush pen (the B size). These can be helpful in filling out big black areas.
Still, I'd recommend buying these in person if you can, at a proper art supply store. They'll generally let you buy them individually, and also test them out beforehand to weed out any duds.
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