2 users agree
10:02 AM, Sunday June 16th 2024

Hello! Today I'll be critiquing your submission for Lesson 2. For this lesson I'll be dividing it into three sections: Thinking in 3D, Texture and Detail, and Construction.

Thinking in 3D: Arrows and Organic Forms with Contour Lines.

Arrows

In the submission of the exercise, the arrows are drawn well done in terms of: Confidence, Spacing, and the application of Line weight. Just make sure for the line weight that it needs to be subtle, so adding 1 or 2 lines is enough.

One mistake and you can improve on is the size of the arrows: https://d15v304a6xpq4b.cloudfront.net/lesson_images/0f7c806c.jpg. In the submission, the arrows are on the same size when they are approaching or going towards the viewer, Especially on Page 1. They should however, need to be getting bigger and bigger or smaller and smaller when they are going away to the viewer. You can also slightly polish the spacing of the arrows depending on the compression: https://d15v304a6xpq4b.cloudfront.net/lesson_images/011d064f.jpg.

So arrows are solid, but it needs improvement on size.

Organic Forms with Contour Lines

I noticed in the Organic Forms' Ellipses were a bit wobbly, so as a refresher, you should prioritize Confidence over accuracy: https://drawabox.com/lesson/1/16/remember.

Some Ellipses of the Sausages were not aligned to the minor axis or the spine of the sausage. For that I recommend you to plot the end point of the Minor axis, while also ghosting, and keeping it to the middle of the sausage as possible.

Also keep in mind the degree of the Ellipse: https://imgur.com/rXLBxSg, other than that, you are doing great.

Texture and Detail: Texture Analysis, and Dissections

I will keep this section brief as there is not much to uncover.

Texture Analysis

To start things of for this section, the transition from dense to sparse is not that smooth: https://d15v304a6xpq4b.cloudfront.net/lesson_images/7d1f3467.jpg. Also when you are going to approach the shadows, it is better for you to attempt it like this: https://i.imgur.com/M9JJfr4.png.

Dissections

Keep in mind that we are drawing cast shadows and not outlining the texture: https://drawabox.com/lesson/2/2/castshadows. Since we are drawing Cast Shadows only, this means: No reflection, No refraction, No form shadows, and No local color. So this means, Chrome is not a texture in this course.

The silhouette of the Dissections is important because this is the only place where you can outline the texture, and has the biggest impact because it is easily noticeable, so breaking the silhouette is essential.

Construction: Form Intersections, and Organic Intersections

Form Intersections

Great job conveying the scene of all of the forms, there is not much to say other than to merge the boxes more in page 1, and to give you this resource (in case if you did not know) for this exercise: https://imgur.com/a/forms-intersections-first-aid-pack-6Inx5Bz

Organic Intersections

Great job, there is also not much to say for the submission of this exercise, but to still remember to draw through the forms.

Overall, the submission was solid, just a few setbacks in some concepts of each sections such as: Thinking in 3D and Texture and Detail. I would recommend you to implement the exercises to your warmups. Even do the 25 Texture Challenge, just be sure to do it in parallel with the lessons rather than to do it all just like the 250 Box Challenge. Other than that, Congratulations, the gate to L3 is open.

Next Steps:

Proceed to Lesson 3

  • Follow the 50% Rule

  • Do warm-ups

This community member feels the lesson should be marked as complete, and 2 others agree. The student has earned their completion badge for this lesson and should feel confident in moving onto the next lesson.
8:00 PM, Monday June 17th 2024

Thank you so much for your feedback, I really appreciate it!

The recommendation below is an advertisement. Most of the links here are part of Amazon's affiliate program (unless otherwise stated), which helps support this website. It's also more than that - it's a hand-picked recommendation of something we've used ourselves, or know to be of impeccable quality. If you're interested, here is a full list.
Color and Light by James Gurney

Color and Light by James Gurney

Some of you may remember James Gurney's breathtaking work in the Dinotopia series. This is easily my favourite book on the topic of colour and light, and comes highly recommended by any artist worth their salt. While it speaks from the perspective of a traditional painter, the information in this book is invaluable for work in any medium.

This website uses cookies. You can read more about what we do with them, read our privacy policy.