You should be using the ghosting method for every mark you draw throughout this course. That means first planning your mark out, considering precisely where you want it to go and what task you want it to accomplish, then preparing to draw the mark by ghosting through its motion, and finally executing it with a confident, persistent stroke free from hesitation.
i see, thanks
i finished them.
Make sure that in the future you don't simply reply to your own comment, as this does not notify anyone else.
Starting with your branches, these are looking much better. Be sure to continue pushing the confidence of each stroke (yours appear to get a little hesitant, so use of the ghosting method and drawing from your shoulder will be important here).
For your leaves and plants, there's two main concerns:
When you tackle more complex leaf constructions, you have a tendency to jump into far more complexity, way too soon, without first laying down the supporting structure as explained here. You handled this correctly in the upper-left leaf on your page of the leaves exercise, although the bottom left would definitely have been better off constructed as separate leaf shapes for each arm. You also jumped into far more complexity than you should have with the petals of this flower. Instead, either constructing each half of the petal as a separate leaf shape or drawing a single big leaf shape and making a relatively simple cut at the end in a subsequent phase of construction would have been better. Construction is all about breaking complex problems into smaller ones, rather than trying to handle everything all at once.
Your areas of filled black should be reserved for cast shadow shapes only. It seems that you've filled a lot of the veins of your leaves with solid black. Given that we're drawing with fineliners and basically have the choice between white and black with no midtones, we don't really have any way to worry about capturing any kind of local colour information (like where things are darker, and other things are lighter). For this reason, we pretty much have to ignore all colour information and focus instead on what the viewer could ostensibly feel with their hands. As such, we use solid black only to capture cast shadows of forms - whether larger constructed ones, or smaller textural ones. You'll actually see an example of how I handle the veins on leaves in the leaf exercise instructions. I focus on the shadows being cast on either side, drawing around the veins without every drawing them directly.
All in all you're moving in the right direction. There is plenty of room for growth, but I will go ahead and mark this lesson as complete.
Next Steps:
Move onto lesson 4.
sending this to check if i replied correctly
oh whoops, i finished the exercises you asked me to do https://imgur.com/a/ovY454R
These are my favourite sketchbooks, hands down. Move aside Moleskine, you overpriced gimmick. These sketchbooks are made by entertainment industry professionals down in Los Angeles, with concept artists in mind. They have a wide variety of sketchbooks, such as toned sketchbooks that let you work both towards light and towards dark values, as well as books where every second sheet is a semitransparent vellum.
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