View Full Submission View Parent Comment
11:50 PM, Thursday July 1st 2021

Your new insect constructions are definitely moving in the right direction. One thing to keep an eye on however is how you actually shape any of the forms you add to your existing construction. With a lot of these, you're adding them as random blobs, so they end up feeling more like flat shapes that have been stock onto a flat drawing.

As you can see here, if you actually consider which side of your added form is pressing up against the existing structure, and how its silhouette (which can be drawn in multiple, separate strokes), actually shows the way in which that mass is wrapping around the structure it's attaching to.

I talk about that in this diagram I shared with you last time. It all comes down to thinking about where your mass is pressing up against something, and where it isn't. When it isn't, we keep it nice and simple, sticking only to outward curves. When it presses up against something, the silhouette gets more complex, forming inward curves and corners that respond to whatever structure it's pressing up against.

I can see you trying to do that here, but you appear to be placing those sharp corners somewhat randomly, rather than having them actually fall in specific spots, as shown here.

Looking at your organic forms with contour curves, you're still running into some trouble here, specifically with the degree of your contour lines. I can see that in the middle of each of your organic forms, you let one of the contour lines get very narrow, but then all of the others remain the same. Take a look at this - there I show three different configurations. Along the top, both ends are facing the viewer, so the contour lines have to reverse as the sausage bends back over itself. That's similar to what you're trying to do, but the difference is that once the middle contour line gets narrow, the next ones actually reverse their direction. This is similar to the bottom left one where both ends are facing away.

The third, in the bottom right, is where only one side faces the viewer - the contour lines never reverse themselves, and they never get thin through the middle. They keep getting wider as we move away from the viewer.

In your drawing, you're definitely just drawing one end facing the viewer, and so your contour lines need to be getting wider as we slide away from that end.

I'm going to need you to try this page of organic forms with contour lines again - I recommend that you don't keep them so straight. Draw a simple, gently curving sausage form, and then make sure that you're using the ghosting method and drawing from your shoulder to execute each contour curve.

For this page, try to include cases of all three configurations - some with both sides facing the viewer, some with just one side facing the viewer, and some with no sides facing the viewer.

Next Steps:

Please submit 2 more pages of organic forms with contour curves.

When finished, reply to this critique with your revisions.
3:26 AM, Tuesday July 6th 2021 Hello, here are the forms.

10:33 AM, Tuesday July 6th 2021

These have definitely improved. While there's certainly more room for improvement, that will primarily come from further practice. As it stands, you're moving in the right direction, so I'll go ahead and mark this lesson as complete.

Next Steps:

Move onto lesson 5.

This critique marks this lesson as complete.
ComicAd Network is an advertising platform built for comics and other creative projects to affordably get the word out about what they're making. We use them for our webcomic, and while they don't pay much, we wanted to put one of their ad slots here to help support other creatives.
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 I've used myself. If you're interested, here is a full list.
The Art of Blizzard Entertainment

The Art of Blizzard Entertainment

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.

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