Lesson 5: Applying Construction to Animals

7:35 AM, Saturday December 28th 2024

Lesson 5: Applying Construction to animals - Album on Imgur

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Hi there! This may be my second-favorite lesson after lesson 2. The concepts are very useful and the challenges brought on by the unique forms of the animals that I've studied. That said, I know my work here isn't perfect. If need be, I'll be more than happy to review, and attempt new constructions if need be. Whatever is decided, I want to thank you for taking the time to look at my submission!

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10:21 PM, Thursday January 2nd 2025

Hello Chieftang, this is Canoe from the Drawabox Discord server. I've noticed you haven't been critiqued yet, so I'd be happy to take a look and get you your completion badge.

Starting off with your organic intersections, your placement of your forms shows a good understanding of how those forms exist in 3d space. They have believable mass to them and they "flop" (for lack of a better word) nicely over each other. There are some areas where the shadows cast by those forms somewhat undo the 3d illusion, most prominent is the center right area of your second page of form intersections where a shadow seems to completely ignore a sausage form underneath it. Overall though, you've done very well in this section.

Moving on to the meat of this lesson, you've done a good job on your constructions for the birds and the cat. Importantly, you've started your construction with the use of basic forms like the sausage for the "core" of the animal, then convincingly added mass onto your animals as if you were adding lumps of clay to a sculpture. The result is that your constructions here all come across as very solid and believable. This is most well demonstrated with the cat since cats are often covered with a lot of excess fur that makes their internal structure hard to see at times.

You've done the same with the stoat to similar effect. However, one thing to bear in mind that is central to this course is drawing through your forms so you can understand how they exist in 3d space. I bring this point up because there are some instances where you've left out the underlying structure of the animal from your construction. Look to the front right leg of the jumping stoat and back right knee of the drama stoat for what I'm referring to. In the first instance, the stoat's leg disappears behind its head, while in the second instance the stoats knee hasn't been placed there leaving its foot to feel detached from the whole construction. In the grand scheme if things, this isn't that much of a mistake and your decision here to omit those details does make your picture look prettier, but the main focus of Drawabox is to deepen your understanding of these things in 3d space and you're losing a bit on that through your omissions.

Moving onto your hooved quadrupeds, the tops and heads are expertly constructed, while the legs loose their construction a bit. It looks like you've opted to draw 2 dimensional boxes to represent different parts of their legs rather than relying on 3d forms. There also doesn't appear to be the same process of sculpting out of 3d mass as you've done for the animals' heads and torsos. The legs may not be the focal point of your constructions, but they're still worth doing in 3d. Admittedly, I made the same mistake too back when I did lesson 5, so it may be a common mistake of a case of the demo being out of date. Either way, something to consider. Apart from that though, you've done an excellent job using heavy cast shadows to imply form and separate some of your more complex forms. Your texture work is similarly well developed, especially for the rhino!

There's not much I can comment on for the remainder of your exercises. Building up from basic forms to more complex ones definitely shows in your work here and there isn't anything major I can critique apart from what I've already mentioned for your earlier animals like drawing through your forms and using 3d forms to lend your constructions believability. All in all, even if you slip up here and there, your work here demonstrates a fine understanding of the concepts for this lesson. With that, I'm confident you'll be able to apply those points moving forward and will mark this lesson as complete.

Have fun with lessons 6 and 7, they're a whole different beast than everything you've done so far! But first, it's time to face the cylinders.

Next Steps:

Move on to the 250 cylinder challenge.

This community member feels the lesson should be marked as complete, and 3 others agree. The student has earned their completion badge for this lesson and should feel confident in moving onto the next lesson.
9:39 AM, Friday January 3rd 2025

Hi there! Nice to meet you Canoe, and congrats on your recent completion of DAB! Looking back through my submission, I have to agree 100% with your comments. And that stoat.... that blasted stoat. I know Comfy advises against grinding, and that guy was the one that really cemented the principle in my mind. In fact, a number of my errors on those things I recognized only after I considered the work done, so instead of redrawing the work, I tried a different ref and a different approach.

And I'm glad you liked my rhino! It was one of my earlier works, but easily one of my favorites, especially that second one. The old method worked well in that case, but it was confusing to apply in my work for a good while(re: that stupid mustelid). I enjoyed this lesson deeply and it's gone a long way to elevate my aptitude for spatial reasoning. I'll move on to the next challenge, and thank you so much for taking the time to review my work!

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Framed Ink

Framed Ink

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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