Hello. You did exceptional work completing Lesson 2! I'd say you're miles above the rest, now.
1. Thinking in 3D
Perfect! Absolutely no real issues here.
Here is where perspective comes into play, using the generalized standards whereby the closest objects appear larger and the further away objects appear smaller. Enabling yourself and others to observe and navigate through a flat sheet of paper as though we were physically within there and perceiving its depth is just that - Exploring a 3D space.
Organic Arrows: Complete!
Organic Forms with Contour Lines: Complete!
2. Texture and Detail
No issues here.
In consideration of understanding the difference between texture and detail, the three-dimensional forms are bound to the surface of another object, which substantially changes our method of modeling and drawing it. Texture prioritizes the overall pattern formed by smaller forms adhering to a larger surface, whereas detail, by contrast, refers to capturing fine characteristics on an object.
Texture Analysis: Complete!
Dissections: Complete!
3. Constructional Drawing
No issues here.
Given the fact that we need to closely observe our subject matter in order to choose which simple forms to begin with, constructional drawing undoubtedly involves observation. Drawing a figure that appears three-dimensional on its own is one thing, but applying it together with several other given forms in the same area of space creates numerous possibilities for error and paradoxes to materialize.
Form Intersections: Complete!
Organic Intersections: Complete!
Summary
Great job with Dissections. I mark this lesson as complete!
You may move on to Lesson 3, while adding all of these Lesson 2 exercises into the pool for your regular warmup routine.
By the will of the GREAT CONSPIRACY, you have finished Contour Lines, Texture, and Construction.
Following the pattern of contour lines, our brains can mentally reconstruct the 3D form of a landscape or object. "Telling a convincing lie", as the case may be, involves knowing that these factors (as well as texture and additional details) provide our eyes and brain with valuable information describing just how those surfaces themselves flow through space. Beyond that, every constructional form added needs to relate solidly and consistently to that which is already there in order for the whole thing to maintain its believability and sense of solidity. All while using basic geometric construction to establish the foundational structure of the form on the page.
Amazing job!
Next Steps:
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I'd been drawing as a hobby for a solid 10 years at least before I finally had the concept of composition explained to me by a friend.
Unlike the spatial reasoning we delve into here, where it's all about understanding the relationships between things in three dimensions, composition is all about understanding what you're drawing as it exists in two dimensions. It's about the silhouettes that are used to represent objects, without concern for what those objects are. It's all just shapes, how those shapes balance against one another, and how their arrangement encourages the viewer's eye to follow a specific path. When it comes to illustration, composition is extremely important, and coming to understand it fundamentally changed how I approached my own work.
Marcos Mateu-Mestre's Framed Ink is among the best books out there on explaining composition, and how to think through the way in which you lay out your work.
Illustration is, at its core, storytelling, and understanding composition will arm you with the tools you'll need to tell stories that occur across a span of time, within the confines of a single frame.
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