Lesson 7: Applying Construction to Vehicles

8:22 PM, Sunday October 24th 2021

Drawabox lesson 7 - Album on Imgur

Direct Link: https://i.imgur.com/VBKz3Ux.jpg

Discover the magic of the internet at Imgur, a community powered enterta...

This is it! I came here with all the drawings! Thanks a lot for your time as always!

4 users agree
2:51 AM, Tuesday October 26th 2021

Alrighty, let's get going! Starting with your form intersections, excellent work, for the most part. You've really packed the pages, but didn't skimp on taking your time in figuring out all of these intersections, and for the most part, they've come out quite well. There was maybe one that I caught where it was off - a cone/box towards the upper left, but based on the orientation it could either be like this (where the angle was just a little wrong) or this where it should have been a curve instead of a straight edge. Still, all very well done, and your cylinders in boxes were mostly similarly well done.

Moving onto your vehicle constructions, aside from the tendency to skew your windshields in your car constructions (which I'll touch upon in a sec) you've done very well. You're incredibly meticulous and careful in applying all of the subdivision to break down your constructions and find specific locations for every element. Constructions like this one really show off that patience and care, though it's present in each one.

So the main issue you're running into here are those windshields, and I think it's really just a matter of getting a little lost in the forest. I find it very useful to look at where everything falls relative to the ground - so if we drop the positions of the frontmost and backmost edge of the windshield of this car, we can see that they don't actually line up - not even close. Hence the dramatic skew. Conversely, if we take your fastback mustang and use the same technique in reverse to transpose the positions from one side to the other as shown here, we end up with a windshield that isn't quite as wide across.

This kind of mistake is incredibly easy to make, especially when we rely a little too heavily on copying the reference image. A slight mistake on the orientation of the car relative to the camera/viewer will place that far edge at different locations along the hood, so if you're using elements of the hood as landmarks then you can easily end up with a stretched windshield. Instead, we always have to fall back to the geometry that is present. The things we draw will always need to be informed from keen observation, but accepting that we always need to understand how they apply to the construction present in our own scene. Assuming we're copying the reference closely enough to leverage those landmarks can be quite dangerous.

It's still a technique we do use in some cases - for example, in airplane wings it can be quite useful, but at that point they're going to be so far out that you can't really tell their off one way or the other. Closer in towards the center, it's trickier.

Moving forward, there's another small issue that caught my eye - the turrent on your tank's angle is pretty drastically off, as shown here - or at least, it is if it's meant to be coming straight outwards. If it's tilted upwards, then it's correct, but I don't believe I've seen tanks that articulate in that fashion. I am of course, not an expert in tanks, though.

The last thing is just another similar observation - I think there were some issues that came up with the ellipses making up your locomotive that resulted in some potential distortion. As shown here, my gut tells me that based on the orientation of that front plane, the ellipse itself should be narrower. Yours was much more circular, suggesting it being turned more to face the viewer head-on. Just something to always keep in mind - when we start using really wide ellipses, is it really lining up with the orientation we wish them to have?

Anyway, while these are definitely things to take note of, as a whole your work is still stellar, and you've done a great job of applying the concepts throughout the lesson, and of demonstrating a grasp of 3D space that has developed wonderfully. As such, I am going to go ahead and mark this lesson - and the course with it - as complete.

You are now free to draw your cute anime waifus. Congratulations.

This critique marks this lesson as complete.
3:54 AM, Tuesday October 26th 2021

Thanks a lot for the critique! And for the whole course, it really has helped me inmensely!

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.
Cottonwood Arts Sketchbooks

Cottonwood Arts Sketchbooks

These are my favourite sketchbooks, hands down. Move aside Moleskine, you overpriced gimmick. These sketchbooks are made by entertainment industry professionals down in Los Angeles, with concept artists in mind. They have a wide variety of sketchbooks, such as toned sketchbooks that let you work both towards light and towards dark values, as well as books where every second sheet is a semitransparent vellum.

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