I had a break from Drawabox for a few months because life got in the way but I'm back at it now. To get back in I repeated an exercise from all previous lessons. For this lesson I had most difficulty getting the proportions right. The texture is also hard to figure out but I do enjoy the process.
Thanks for looking at my homework. I'm off catching up to the 50% drawing rule.
Hi there! I saw your submission in the critique exchange queue, so I figured I'd take a look. I apologize in advance if this review is short; your work is really well-done, and there's not much for me to comment on. That said I'll persevere and see if I can't find something to expand on:
Organic Intersections. So diving right in, I think your intersections look good. All of your forms are drawn through quite nicely. There's a fair bit of deviation from the original assignment as far as form goes. Originally the exercise calls for uniform sausage construction in this assignment. That said, you still respect your forms and they overlap convincingly. I think you could have been bolder with your cast shadows, at least on the first page. I did a sketch that highlights how I would've looked at the shadows. Nothing wrong with showing restraint though.
Animal Constructions. Okay, so the whole idea of this assignment is not to create a great looking piece of art, but to use organic forms in a logical way that allows us to understand the 3d nature of the animal in the space we've created on our page. In your constructions, I'm seeing exactly that. You make good use of the cranial ball, and torso balls to establish basic forms, and then build on those forms additively. As far as I can see, there's no subtractions or 2D additions that don't make sense, and this is great to see. I think my favorites might the mouflon sheep, orca, and gecko, but really there isn't much in the way of errors or incorrect markings to point out.
So there's really two things, and the latter is more of an alternative solution rather than a correction. The first thing, the only thing, I see across all your work here is that the eyelids are not created as 3D forms, but instead placed over the eye as a texture. As we consider our constructions, we want to try and add as much 3d information as we can, so just watch out for that in the future.
And the second thing is concerning the toes of your gecko. I see that you used a branch and ball approach to these, and I wanted to offer a different approach. There's a chance you considered this already, so feel free to dismiss this part. I think those toes could be done using sausage and organic form with these, and that sketch is here https://imgur.com/QGoX2Rr. That said, everything here looks great, and I'm gonna mark this as complete. Nice work!
Next Steps:
Move on to the 250 Cylinder challege. Add "animal construction" to your rotation so you can work on some animals every now and again if you're inclined. Best of luck to you!
Hi Chieftang, Thanks a ton for your review. I did really enjoy the process of figuring out which base shapes make up the animals bodies and I guess it shows.
You make good points, especially about the eyes. I'll make sure to think about that next time I'm drawing animals.
Michael Hampton is one of my favourite figure drawing teachers, specifically because of how he approaches things from a basis of structure, which as you have probably noted from Drawabox, is a big priority for me. Gesture however is the opposite of structure however - they both exist at opposite ends of a spectrum, where structure promotes solidity and structure (and can on its own result in stiffness and rigidity), gesture focuses on motion and fluidity, which can result in things that are ephemeral, not quite feeling solid and stable.
With structure and spatial reasoning in his very bones, he still provides an excellent exploration of gesture, but in a visual language in something that we here appreciate greatly, and that's not something you can find everywhere.
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