https://imgur.com/a/KuujVmH - references
20 insects done in 7 Days. Went a bit beyond the recommended number of pages
Now the submission commences. This is my first critique for lesson for so I don't have a template ready and will just crank this out.
Starting with your sausages they're good. It seems you understand 3-D space for organic forms like this and how to contour them. Going into your insects it stays same. You are strong at keeping with the sausage method and building the forms on top to complete the drawing. Seeing you stick with it, your insects start looking fairly three dimensional.
My main problems only lie with your mark making. You have a habit of going over lines when completely unnecessary in, what seems to be, attempts at correcting wobbly, broken, or inaccurate marks. Or just to make your work look more polished. This is devaluing our whole reason for using fine liner!! Just make your marks and realize your mistake to train yourself to be more careful in the future. If you just keep pushing anf forget the thoughts of this as a strong form we get very jotted and weakly built constructions. For example this here just looks like marks on a page. Its hard to tell what you're trying to convey from the form alone, and may be part of the causation for your heavy line-work to compensate. I want you to think more into the lines you make, but you're doing well. And I think you're ready for, if you haven't started yet that is, lesson 5. Yay.
Thank you for the critique!
it seems like I was completely missing the point of using the fineliner, as you said, which is to commit to the lines and not be fickle with it. This is a hard habit to kick, I admit, but the mantis shrimp was probably the attempt that was the one I felt was most clean, at the very least for the parts that I didn't imagine in (the scratchy lines that you pointed to, which wasn't really clear in the reference, so I just imagined it in, which made for markedly different line quality than the rest of the drawing)
On the topic of 3D spatial understanding, I still have some problems, so I will continue to work on it. Sometimes I get confused, and intersections from lesson 2 are still pretty difficult to master.
To honour your feedback, I shall commit to the lines I draw, planning them ahead of time as well as ghosting the lines for Lesson 5.
While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.
The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.
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