Hello SadieLady95, I'm ThatOneMushroomGuy and I'll be the TA handling your critique today.

Arrows

Let's start by taking a look at your arrows, where your lines are looking fairly confident and smooth, which helps communicate a nice sense of fluidity in your arrows as they move through the world.

Your usage of hatching helps you establish how your arrows twist and turn in space and further your own understanding of the tridimensional space these objects occupy.

Still speaking of hatching, there are a couple of times where you've placed it incorrectly, making it seem like your arrow is getting bigger the further away it is, and getting smaller as it gets closer, which goes against the rules of perspective. It's good that you're making use of added line weight on top of the overlaps in order to reinforce their depth.

• Perspective works in the following manner: things that are further away from the viewer will look smaller, and as they get closer to the viewer they'll look bigger. The way this affects an object of consistent size and width that stretches across space is that certain segments of this object will look bigger and others smaller, either gradually or dramatically depending on the perspective of the scene, as such the bigger part of the arrow will always be the one that's closest to the viewer so the segment that's behind it should be the one receiving the hatching.

In general you're doing well, so keep tackling this exercise during your warm ups in order to take your understanding of arrows and 3D space further, experiment with the different ways arrows can twist and bend and move across space, try different rates of foreshortening and experiment with the negative space between overlaps, all of these will help you challenge yourself and develop your skills further.

Leaves

The linework for your leaves is looking smooth which helps communicate their fluidity and sense of energy. But something to note is that the majority of your leaf structures don't fold or bend in any way, this is something to keep an eye on whenever you tackle this exercise again, as leaves are organic structures that are affected by all sorts of forces, you'll improve much more by thinking about the way these objects look when they move through the world from moment to moment, instead of just trying to capture how they sit statically within it.

Your addition of edge detail is generally looking good, as you don't usually attempt to capture more than one piece of edge detail at a time, and you generally construct your edge detail additively. You're also keeping the line thickness between your phases of construction roughly consistent, all of which is very good and helps you create a tighter, more solid construction that still feels fluid and energetic.

Branches

Moving on to your branches you're not sticking to the instructions for this exercise as closely as you should. While it's good to see that you're drawing your edges in segments you're not starting your new segment back at the previous ellipse point and superimposing it on top of the preexisting mark, you're starting your new segments close to where your previous mark ended, which partially removes the healthy overlaps we seek to achieve in these structures.

So remember how branches should be approached, by having your segment start at the first ellipse point, extending it past the second ellipse and fully up to the halfway point to the third ellipse, afterwards you'll start a new segment, making sure to place your pen at the second ellipse and repeat this pattern until your entire branch is complete.

For ellipses it's good to see that you're making an attempt to always draw through them twice, as that allows for a smoother mark overall. When it comes to your application of the ellipse degree shift to your branches it can be improved, as it stands your degrees are too consistent and hardly change which is a mistake that flattens your structures. Remember that as a form shifts in relation to the viewer, so will the degree of the ellipses within that structure also shift.

Plant Construction Section

And lastly let's take a look at your plant constructions, which are generally coming along well made, however there are some issues present in these pages which are holding you back from your full potential. So here are the points you should keep in mind whenever you tackle these exercises again so that you can continue to develop your skills.

First things first, an issue that hurts your work without you even realizing is the fact that you're pre-planning the amount of constructions you want to fit on a given page before you've even committed to any of them. Drawing bigger would allow you not only more room to work through the spatial reasoning challenges that arise when tackling these exercises, but also give you enough space to fully engage your whole arm.

Always keep in mind that the construction methods and techniques introduced in this course must always be applied to your work, as they're tools which will help you construct much tighter and solid looking structures, there are times where you deviate from the construction methods by not fully constructing your structures and keeping your leaf structures simple. Remember that they're not guidelines or suggestions - they are rules.

It's good to see that you've experimented with complex leaf structures but remember not to skip construction steps when approaching these more intricate structures.

This structure is looser than it could be, because you skipped construction steps and tried to capture the complex form of the structure right away, instead of constructing each individual arm with the leaf construction method and only then connecting them together. Even though leaves are single entities they can still made be made up of several parts.

Make sure to keep all stages of your construction tight and specific, don't leave gaps in between stages of construction, such as a leaf's flow of line and it's outer edges, they must connect.

And lastly, let's take a look at your textures, where your work is starting to move in the right direction, but your textures still often look very explicit due to the way you attempt to capture it with generic hatching.

So remember that in Drawabox, texture isn’t about making your work look pretty. Instead, it’s about accurately representing what’s physically present in your reference. The goal is to understand how each form exists in 3D space and how it casts shadows on surfaces. By analyzing the reference closely, you'll be able to translate it into your construction.

The shape of the shadow is important because it shows the relationship between the form and the surface it’s on. We need to think carefully about how to design a shadow shape that feels dynamic and communicates 3D space effectively. It’s harder than just focusing on making your work look nice, but this method will help you strengthen your spatial reasoning skills. This also means that by considering the tridimensionality of the form we must consider the transitions from light to dark that your texture would have as the form shifts away in space and if affected differently by the light.

As shown in this diagram, depending on how far the form is from the light source, the angle of the light rays will hit the object at shallower angles the farther away they are, resulting in the shadow itself being projected farther. This gives us the logical grounds to say that despite two forms being identical, they don't have to cast identical shadows - and therefore we can control where we want shadows to be longer or shorter, without changing the nature of the texture being conveyed.

By following this approach, you’ll focus on conveying texture more efficiently, using fewer lines and less ink, while sticking to the mark-making techniques from Lesson 2. Take some time to review the reminders to solidify your understanding of texture.

Final Thoughts

In general you are doing well and your work is looking good, you're starting to understand the purpose of these techniques and exercises and making use of them in your work effectively, as such you demonstrate that your sense of spatial reasoning is developing really nicely. However make sure to always draw your constructions by following the methods as closely as possible.

I'm going to be marking this lesson as complete. Good luck in Lesson 4.