Hey sorry it took so long again, Ive been back and forth between states and havent had time to sit really sit down and give it a real focused effort, but I finally got back to my regular routine. If I have to do them again it will only take about a week this time.
Starting with the organic forms with contour lines, the contour curves themselves are coming along very nicely. The contour ellipses you're placing at the tip of the sausages however aren't so great - they all seem to be drawn as circles, rather than having their degree roughly match the contour curves that precede them. So you might have a fairly narrow contour curve just before on the top left of this page, which suggests that the form is flowing across our field of vision (rather than coming straight at us), but you're still drawing a really wide ellipse right after, which tells us that the sausage is coming towards the viewer.
As for the insect constructions, it appears that both of the drawings you've done here are copies of the demonstrations themselves. While these are allowed to be part of your original submission (though they must make up less than half of your total submission), this is just to get you started before you go on to tackle your own references and attempt the problem solving on your own.
When you get revisions, it isn't terribly useful for you to submit work that was just done following along the step by step demonstrations. The revisions are assigned so you have the opportunity to demonstrate your understanding of the material, how to apply it yourself.
I really hate to do this again, but try the revisions a third time. Your line quality and construction is coming along decently, but it just doesn't make sense for me to accept demonstration drawings for these revisions.
Next Steps:
One page of organic forms with contour curves (instead of two), two pages of insect constructions from your own references. I want to see that you are able to apply the principles from the lesson on your own work, outside of just following along with the demonstrations.
Very nicely done! I feel that this is a pretty big step in the right direction, and that you've certainly made an effort to address the points I raised. As you continue practicing this on your own, don't be afraid to build on top of the base structures you've built up for the legs. I talked about this in my original critique, where I show how you can build on top of the base sausage structures, so I recommend you take another look at that.
Anyway, I'll go ahead and mark this lesson as complete.
Next Steps:
Move onto 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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