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3:49 AM, Monday October 19th 2020

Hey there I'll be handling your lesson 2 critique.

You're taking a lot of steps towards understanding the concepts introduced in these exercises, I do notice a few things you can work on to improve and I'll be listing them below.

  • Your arrows are off to a good start, I'm glad to see you're using foreshortening on the arrow itself. My only real suggestion here would be to experiment with foreshortening the gaps between edges of the curves of the arrow, by utilizing this negative space you can really sell the illusion of an object moving through 3D space. You do make use of it in some places, it just never hurts to experiment with different scenarios. For a reminder of these concepts feel free to read this.

  • Some of your sausages in the organic forms with contours exercise get a bit too complicated, remember that we're aiming for both ends being the same size and to avoid any bloating, pinching or stretching along the length of the form. You can more on the idea here. I'm glad to see you're attempting to shift the degree of your contours, but I will say that your line confidence could be better here, you have quite a bit of wobbling in places which shows you're most likely trying to slow down. Remember that every mark we make we want to ghost and plan before executing in a single confident motion.

  • Your texture exercises are off to a great start, there are some spots where you focus more on the outlines and negative space rather than cast shadows, but once you build up some more mileage you'll have no problem doing these exercises consistently. You can get a reminder of why we focus on cast shadows by reading here.

  • Once we get to the form intersections it looks like your pen may be starting to run out of ink or it could be you got a bit hasty because your line quality does get a bit sketchy in places. Overall though this was a solid attempt and I'm glad you tried to draw the intersections, if you feel like you don't fully understand them yet don't worry this exercise is just meant to get students to start thinking about how their forms relate to one another in 3D space, and how to define those relationships on the page. We'll be going over them more in the upcoming material, this is just an introduction to the concept.

  • Lastly in your organic intersections you drew your forms too complex and it hurts their solidity. While you didn't do a poor job wrapping your forms around one another again you want to make sure you're drawing all of these as confidently as you can. I'd suggest when trying this exercise again in the future to draw through all of your forms as well. When we drew our boxes earlier we would draw through the box to see the rear edge that normally wouldn't be visible to us, this helped us build a better understanding of the 3D space we were constructing them in. We can use the same idea here, by drawing through our forms we get a better sense of how each form lays on one another in 3D space, this also has the benefit of helping our understanding of light. Your shadows hug the forms pretty tight in most cases instead of being actually cast on to the forms below. With more mileage you'll have this down in no time but you can get a reminder of what we mean by simple forms here.

Good work so far, while you have some things to work on I have no doubt you can improve your attempts with some extra mileage and warm ups so I'll be marking your submission as complete.

Good luck in lesson 3!

Next Steps:

Keep doing previous exercises as warm ups.

Move on to lesson 3.

This critique marks this lesson as complete.
1:10 AM, Tuesday October 20th 2020

Thank you very much for the thorough critique. I really appreciate it.

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Staedtler Pigment Liners

Staedtler Pigment Liners

These are what I use when doing these exercises. They usually run somewhere in the middle of the price/quality range, and are often sold in sets of different line weights - remember that for the Drawabox lessons, we only really use the 0.5s, so try and find sets that sell only one size.

Alternatively, if at all possible, going to an art supply store and buying the pens in person is often better because they'll generally sell them individually and allow you to test them out before you buy (to weed out any duds).

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