I have struggled a bit to finish the last one. I was blocked a couple of weeks and I was stuck because i thought about the hybrid as a drawing that had to be perfect instead of a step in the learning process. Sometimes it is hard to keep learning.
All feedback is appreciated!
Hello Raulilo, I hope you are well,
Starting with organic intersections.
These came out pretty good, you stick to simple sausages and you think about how they relate in space. But there are cases where you leave an empty space between sausages. That's bad because you aren't bending sausages in those cases, but even if you did bend them, their shape would become too complicated for our exercise. So what I am trying to convey is that you should think more how those sausages correlate in space to each other and try to not leave empty space between them
Second thing that I want to point out is that your shadows mostly hug forms creating them. Remember that our shadows needs to warp around the surface it is cast on. Also try to have only one light source for a whole scene to make it consistent and easier for ourselves.
Moving onto your animals.
You forgot to add an intersection contour curve at the joints, this is an important step for us. Because if done correctly it definitely will strengthen the feel of 3d in our drawing.
Second thing that I want to point out is that your additional forms feel flat. When we add them it could be helpful to imagine the mass that we want to add in an empty space. With line line drawing it all comes to the silhouette of the mass. If nothing is touching it will be simple but if we press it against another mass it will change drastically to a more complex silhouette. But remember it is never random, it changes when there is a contact with a mass it is touching. As shown in this diagram
Keep in mind that when we add masses we want them to feel 3d, it is shown perfectly in this diagram.
I went over most important things you should adres right now in this overpaint of your camel drawing.
Please revisit this head demo, as it contains most up to date information. This is a really important demo in this lesson so please go over it a few times if needed.
Additional do it also for a fur.
I am not a fan of putting my own work in critiques but I drew a camel for lesson 5 and it should help you learn how to tackle it with construction.
Last thing I want to point out is that you aren't paying enough attention to reference. Making a perfect copy of an image isn't a point of draw a box, but studying our object or animal is. So I want you to keep in mind to look more than your draw. You can do overdraws in photoshop with your mouse or stylus if you have one. I did this lesson for this lesson and I learnt a lot of the subject I was drawing at the moment.
Conclusion
I feel like you rushed through demos or didn't do them at all. As your construction is lacking in most areas. It does get better but it isn't good enough to get a pass. So I will assign an additional pages before marking this lesson as complete.
Please do 4 pages of animals and please do few recent demos to get a hang of drawing animals quicker.
Next Steps:
Please draw 4 additional animals, dont forget that you can use demos as your drawings
Thank you for your detailed critique, it has helped me a lot! I have revisited most of the demos (I didn't practice much with older ones though) and I have added what I got in the submission.
I tried to focus on adding extra masses, improving the head construction, and figuring out how to improve my textures a bit. I didn't spend as much time on shadows as in the first submission because I think it could make it more difficult to critique and drawabox is not centered around learning how to make details.
I think I have improved a lot but as you have pointed out in your critique I struggle at observing the subject I am drawing. More precisely I struggle with the process of knowing how what I see translates into specific lines. The way I have tried out for this revision is taking a paper that is not part of the exercise and trying multiple ways of connecting what I see into a basic scaffolding. I don't draw any of what I've put in these drawings as a "first attempt" thing, I do sketches of everything, and most of the time I don't even end in a final good result, I just continue with the exercise to not keep grinding.
Hello again,
For your head construction,
I notice that you skipped a couple of steps in the process, for example muzzle in a fox drawing and masses. You aren't supposed to use an initial ball for a head/cranium as our whole head, there should be additional masse. You should draw the cranium smaller. We sometimes underestimate how much fat and fur there is. By making it smaller it lets us focus more on those additional masses as the brow ridge, the cheekbones, muzzle, eye sockets, etc. Remember to fit masses written above like a puzzle, it helps to create an illusion of a solid 3d head.
Take more time to look at your references. You should be looking more than drawing, be patient. You can't rush those things, but if you do your proportions and overall drawing is going to be worse in all aspects. I would recommend that you take more time for each drawing and studies.
Here I went over your fox drawing and made a few minor adjustments and pointed out things that you should look at in the future like a silhouette of your reference and how you should build a head.
I will now assign an extra 4 drawings. I also suggest for you to do the informal head demo until it stuck to you that you know how to use the method presented in it, for me it took a quite some time to get used to it and grasp it all. Tapir and moose head demos go more into that refined look of our masses so they should also greatly help you. Rat demo shows greatly how we should lay our initial three masses/balls small and build on top of them our additional forms.
Next Steps:
Please submit extra 4 animal drawings.
Here we're getting into the subjective - Gerald Brom is one of my favourite artists (and a pretty fantastic novelist!). That said, if I recommended art books just for the beautiful images contained therein, my list of recommendations would be miles long.
The reason this book is close to my heart is because of its introduction, where Brom goes explains in detail just how he went from being an army brat to one of the most highly respected dark fantasy artists in the world today. I believe that one's work is flavoured by their life's experiences, and discovering the roots from which other artists hail can help give one perspective on their own beginnings, and perhaps their eventual destination as well.
This website uses cookies. You can read more about what we do with them, read our privacy policy.
