Hello Kinen_Inugami, I'm ThatOneMushroomGuy and I'll be the TA handling your critique today.
Arrows
Starting with your arrows 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. You're keeping foreshortening in mind while constructing your arrows which allows you to make really good use of perspective and the depth of your page, this gives a nice extra layer of tridimensionality to your arrows.
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, but 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.
Leaves
The linework for your leaves is looking smooth which helps communicate their fluidity and sense of energy, it's good that you're not only trying to capture how these structures sit statically within space, but also how they move across it from moment to moment. Do not cross out leaf structures that did not turn out as good as you'd like them to.
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.
It's good to see that you're also experimenting with some more complex types of leaf structures, and doing so by following the instructions, which allows you to create a much tighter and more solid looking structure that still feels flexible and energetic.
Branches
Moving on to your branches they are coming along really decently made as you're following the instructions for the exercise, you're drawing your edges in segments which allows you to maintain higher control over your marks and helps you create solid but still organic looking structures.
There are a lot of visible tails present in these branch structures, while this is a very common mistake we can attempt to mitigate it by limiting the amount of ellipses in our branches, by spacing them further apart we'll allow for a bigger length of runway between ellipses, and ensure a smoother, more seamless transition between marks.
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 coming along quite nicely made. You're generally making use of the construction methods and techniques introduced in this Lesson which helps you create the illusion of tridimensionality in your work, you're not only trying to capture what these structures look like, but you also focus on how they work, how they exist fully in tridimensional space by drawing through your forms and thinking about the way each piece of your construction exists in relation to one another.
This is all very good and it's helping you develop a strong sense of spatial reasoning, there are only a couple of small things that if kept in mind will help you take your work to the next level.
Make sure to keep the stages between your different stages of construction tight and specific, don't leave any gaps in between a leaf's flow line and it's outer edges. On top of that for your jade plant construction make sure to add a contour line along it's edges. Succulents have very fleshy leaves and adding a contour line along the edges will help further your construction.
It's good to see that you're approaching cylindrical structures such as plant pots with a minor axis in order to keep your several ellipses aligned to each other more easily. Going further don't forget to add an inner ellipse to the outer rim that's present in most types of plant pots in order to communicate the thickness of the form.
And lastly let's take a look at your addition of texture to these structures, which needs some work as it's veering towards the explicit side as you make use of hatching and big areas of black in your work.
So let's revisit how texture in Drawabox is approached, by looking back on this page we can refresh our memory on texture through the lens of Drawabox and see that it is not used to make our work aesthetic or good looking, instead every textural form we draw is based on what's physically present in our reference.
Our focus should be on understanding how each individual form sits in 3D space and how that form then creates a shadow that is cast onto that same surface. Only after analyzing all of this information present in our reference will we be able to translate it to our construction. This means that the shape of our shadow is important as it's the shape that defines the relationships between the form casting it and the surface it's being cast on, which is why we need to consider carefully how to design a shadow shape that feels dynamic and communicates this tridimensional information.
This approach is of course much harder than basing our understanding of texture on other methods that may seem more intuitive or basing it on the idea that texture = making our work look good, but in the long run this method of applying texture is the one that enforces the ideals of spatial reasoning taught in this course. By following these ideals, you'll find yourself asking how to convey texture in the most efficient way possible, with less lines and ink, focusing on the implicit mark-making techniques introduced in Lesson 2. Make sure to go over these reminders in order to solidify your understanding of texture further.
Final Thoughts
In general your work is good, you clearly understand the purpose of these techniques and exercises and you're making good use of them in your work, if you iron out on a couple of issues you'll be on the path towards drawing even more solid and believable tridimensional structures.
I'm going to be marking this lesson as complete. Good luck in Lesson 4.
Next Steps:
Don't forget to add these exercises to your list of warm ups.
Move on to Lesson 4.
When it comes to technical drawing, there's no one better than Scott Robertson. I regularly use this book as a reference when eyeballing my perspective just won't cut it anymore. Need to figure out exactly how to rotate an object in 3D space? How to project a shape in perspective? Look no further.
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