## Lesson 2: Contour Lines, Texture and Construction

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##### 8:07 PM, Friday June 23rd 2023

I'll be the TA handling your Lesson 2 critique.

You're making progress towards understanding the concepts introduced in this lesson and hopefully this critique will help you in your future attempts.

• Starting off with the arrows section you want to be making sure you're drawing confidently to keep your arrows as smooth as possible, accuracy will come with mileage. I will note that this is something that is prevalent in nearly exercise of your submission, I'd encourage you to revisit the principles of markmaking in lesson 1 as it seems you may not be following them as closely as you could be.You're doing a good job maintaining a consistent width as your arrows widen while moving closer to the viewer and with more mileage you'll become more consistent. When it comes to line weight it looks like you may be trying to apply it which would be a good thing, however you're redrawing your lines so frequently it becomes difficult to distinguish if the intent is line weight or to cover a mistake which hurts the attempts overall. I'd like you to experiment more with foreshortening in your future attempts, by utilizing it in both the arrows themselves as well as the negative space between their curves we can create a stronger illusion of an object moving through 3D space as demonstrated here.

• Moving into the organic forms with contours exercise some of your forms are getting a bit too complex or too simple to the point they're nearly ellipses. We want to create our forms with both ends being the same size and to avoid any pinching, bloating, or stretching along the form's length as discussed here. Your line confidence suffers here at times as well, most notably in your contour curves which you're frequently redrawing. Speaking of contours I'd like you to try and shift the degree of your contours more. The degree of a contour line basically represents the orientation of that cross-section in space, relative to the viewer, and as we slide along the sausage form, the cross section is either going to open up (allowing us to see more of it) or turn away from the viewer (allowing us to see less), as shown here.

• In the texture exercises you're focusing largely on outlines and negative space rather than cast shadows created by forms along the texture itself. This makes it difficult to create gradients with implied information which we could then use to create focal points in more complex pieces, by doing so we can prevent our viewers from being visually overwhelmed with too much detail. For more on the importance of focusing on cast shadows read here. I'd also like to quickly direct you to this image which shows that when we're working with thin line like textures if we outline and fill the shadow we will create a much more dynamic texture than simply drawing lines. Unfortunately you're not sticking to the principles of markmaking here either which is noticeable in attempts like your pineapple skin dissection, instead of making solid marks and then filling in shadows it's mostly just sketchy lines.

• It's quite common for people to feel like they don't fully grasp the form intersections exercise, if you feel like you may fall into this category try not to stress too much. 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 lessons.Your forms are looking quite solid here and they believably appear to belong in the same cohesive 3D space, which is great but your lines per usual are holding the attempts back.

I won't be moving you on to the next lesson just yet, each lesson builds upon each other and I'd like to make sure you understand a few of these concepts a bit more before potentially creating more problems down the road.

Seeing as how the principles of markmaking were underutilized in every exercise through this submission I did consider assigning a full redo. This is because it's a core principle of the course and as such remains important in every exercise. That being said, line quality aside your attempts here were often quite solid so I feel like that wouldn't be the best use of anyone's time. I won't be asking for a total redo but you do still need to prove that you can utilize the principles of markmaking properly in these exercises that aren't primarily focused on just your line quality, so I'll be asking you to complete the following exercises:

• 4 pages of the form intersections exercise

• 2 pages of the organic intersections exercise

Thesse pages should give you a good mix of curved and straight lines as well as plenty of time to re-form the habit of drawing confidently.

Once you've completed the pages mentioned above reply to this critique with a link to them, I'll go over them and address anything that needs to be worked on and once you've shown you're ready for the next lesson I'll move you on.

I look forward to seeing your work.

Next Steps:

• 4 pages of the form intersections exercise

• 2 pages of the organic intersections exercise

##### 2:03 PM, Monday July 3rd 2023

Here's the link to the completed pages.

https://imgur.com/a/5orlA2h

##### 5:23 PM, Monday July 3rd 2023 edited at 5:32 PM, Jul 3rd 2023

While these are an improvement you're still noticeably redrawing as well as adding additional lines and line weight to marks you shouldn't be.

As explained in the box challenge instructions here if you add line weight to your form intersections it should only be to overlapping lines to help provide clarity to the image. You're adding it seemingly randomly while also redrawing lines which makes your work messier and harder to follow than it needs to be.

In the organic intersections exercise you're not always drawing through your small ellipses on the end of your forms, and you're redrawing your contours as times as well as not drawing them as confidently as you could be. I'm also uncertain why you've gone over some of them with a brush pen, none of these should have line weight applied nor would it be applied with a brush pen.

I'll unfortunately be asking for another page of each exercise, I really can't move you on until you're following the principles of markmaking correctly as the later course material will be much more difficult if it's difficult to follow what your lines are representing.

To reiterate the principles of markmaking are that you should first take the time to ghost and plan your line, and then draw it in a single smooth confident motion. Don't redraw over mistakes, work with them and plan accordingly to prevent them the best you can. If you apply line weight do so consistently with clear rules (in the form intersections exercise only applying it to the overlapping lines).

I'm aware you can do this as you've done it before in the box challenge. If you aren't certain of the instructions then please read through them again and go back to prior lesson material if you need further clarification on these ideas. This is ultimately an issue caused by choice not by your ability so I don't want to discourage you into thinking that you're incapable of doing this. The fact that it's a choice is also why we need to be as critical of it as we are.

If you have any questions before getting started feel free to ask them, otherwise I look forward to seeing your work once it's completed.

Next Steps:

1 page of form intersections

1 page of organic intersections

edited at 5:32 PM, Jul 3rd 2023
##### 8:43 PM, Monday July 3rd 2023

Thanks for the critique I tried to be more mindful about redrawing over my mistakes this time. There were a few times I did it on the form intersection though. I also made sure to only apply line weight to where the forms intersected especially on the organic intersections.

https://imgur.com/a/sKvka02

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### Sketching: The Basics

A lot of folks have heard about Scott Robertson's "How to Draw" - it's basically a classic at this point, and deservedly so. It's also a book that a lot of people struggle with, for the simple reason that they expect it to be a manual or a lesson plan explaining, well... how to draw. It's a reasonable assumption, but I've found that book to be more of a reference book - like an encyclopedia for perspective problems, more useful to people who already have a good basis in perspective.

Sketching: The Basics is a far better choice for beginners. It's more digestible, and while it introduces a lot of similar concepts, it does so in a manner more suited to those earlier in their studies.