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12:56 PM, Wednesday February 21st 2024

Hello koppeko2, 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, although with a couple of signs of hesitation present, which helps communicate a nice sense of fluidity in your arrows as they move through the world. You're keeping foreshorting 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 great 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 do remember that your hatching lines must still follow the principles of ghosting and mark-making, they must have clear end and start points, be carefully planned and execute and not end at arbitrary points. It's good to see that you're making use of added line weight but don't forget that this tool also possesses it's own rules for being applied. It must be added subtly, with a single mark on top of the overlaps to reinforce their depth.

In general you're doing well, so keep tackling this exercise during your warm ups in order take your understanding of arrows and 3D space further, keep experimenting with the different ways arrows can twist and bend and move across space to keep challenging yourself.

Leaves

Your linework here is looking quite smooth, your leaves have a nice sense of energy and flow to them. 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.

It's good to see that you have experimented with more 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.

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 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 which allows you to create some 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's good to see that you're aware of it, it can still be improved, as it stands your degrees are sometimes too consistent which flattens your structures, make sure to limit the amount of ellipses in your structures, and 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 nicely. 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 starting to develop a strong sense of spatial reasoning.

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 their tridimensional space by drawing through your forms and thinking about the way each piece of your construction exists in 3d space.

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.

All of your attempts at the demos are turning out quite well made.

Avoid adding notes to your homework pages.

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 drawing stems as single lines such as in here, here and here, which does not communicate any sense of form or structure. They're not guidelines or suggestions - they are rules.

While your addition of edge detail in your page of leaves is quite well made in your plant construction pages you're foregoing it entirely, edge detail would have greatly helped you further communicate the form of your structures and how they move through space, but by not adding it they're left very simple, so make sure to add edge detail whenever possible, and remember that only the last step of leaf construction - texture - is optional.

  • When approaching cylindrical structures such as plant pots make sure to start with a minor axis in order to keep your several ellipses aligned to each other more easily, going further make sure that you're also constructing the outer rim that's present in most types of plant pots.

Final Thoughts

In general your work is looking pretty good, you're clearly understanding the instructions for the exercises and applying them to great effect in your work.

I believe you have understood the purpose of these exercises and as such I'm going to be marking this submission 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.

This critique marks this lesson as complete.
6:47 AM, Saturday February 24th 2024

Thank for the critique, and sorry for the late update.

There are couple of things i want to ask:

  • I do drawabox lessons by drawing with pens so i have a habit of rotating my paper when i try to do the lines from multiple spots. But when i do the digital drawing, i can't rotate my canvas freely so it feels kind of odd when i try to do something there. So i have been limiting from rotating paper when i do drawabox lessons either drawing for fun, is that a correct way to do ?
9:48 AM, Saturday February 24th 2024

You can do whatever you want during your play 50? time, but when working on Drawabox homework you should be rotating your paper in order to find the most comfortable angle to execute a mark.

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Sakura Pigma Microns

Sakura Pigma Microns

A lot of my students use these. The last time I used them was when I was in high school, and at the time I felt that they dried out pretty quickly, though I may have simply been mishandling them. As with all pens, make sure you're capping them when they're not in use, and try not to apply too much pressure. You really only need to be touching the page, not mashing your pen into it.

In terms of line weight, the sizes are pretty weird. 08 corresponds to 0.5mm, which is what I recommend for the drawabox lessons, whereas 05 corresponds to 0.45mm, which is pretty close and can also be used.

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