Lesson 2: Contour Lines, Texture and Construction

3:28 AM, Saturday July 2nd 2022

Finally done. Feedback greatly appreciated

1 users agree
7:38 PM, Thursday July 7th 2022

Heya Wizard_Hatt. Congratulations on finishing lesson 2! I'm Strauss and would be pleased to critique your work, I hope that they can help you one way or another on your art journey. I’ll divided this into 5 major sections, now let us get into it:

=========

Organic Arrows

• First, with arrows section, your lines are being executed smoothly and confidently. You also made some great attempt at drawing the arrows bigger/smaller towards/away from the viewer (this is very important since we want to convey perspective), plus, the act of adding line weight in overlapping areas also help strengthen the illusion of 3D space we’re trying to make. Though, try to make the lineweight thinner next time (as we all know, less is more), and don’t forget to employ the ghosting method plus rotating the canvas to achieve the smoothest linework.

Please take a look at this image (https://d15v304a6xpq4b.cloudfront.net/lesson_images/011d064f.jpg) remember that not only did the size of the arrows have to change, but the negative space between each fold has to also change adhere to it, too. I can see you actually apply this in some of your arrows, I just want to remind you since this is an element that people tends to overlook.

• Also try your best to keep your arrows “consistent” even if in perspective. Like this one for example: https://imgur.com/a/hs9njbq

Organic Forms with Contours

• Now moving to the organic forms with contours ellipses exercise, you’re doing great with confident lines. You’re also sticking to simple sausage forms which is nice, since we don’t want to end up with forms that are too complex, as being said in the official instruction material. For contour ellipses, I can see that you're intentionally shifting the degree of your ellipses with an awareness as to how they rotate and moving through space, the ellipses are also fit in snugly/tightly within the sausage. Good job.

• The contour curves are also beginning to wrap around believably on the surface of the forms, but they barely changing degrees, unlike your previous exercise, keep in mind when you decided to use this exercise for future warm-ups. One way to help with this is to try using the ghosting method with more consideration and calculation beforehand, also, try to imagine how a sausage would look like in your head and the way the contour lines wraps around the form itself will help you immensely.

• I also want to note that contour curves is a double-edged sword. Granted, it’s a very useful tool to describe how a form sits in 3D space, but it can easily work against us by flattening our drawing and makes it hard to read, so use them wisely and sparingly, and make sure to keep experimenting later on.

Textures

• Textures Analysis: Great! I can see a smooth and seamless transition of dense/sparse in your work. You also being able to identify and distinguish the differences between cast shadow and form shadow, and apply them in your analysis, which consists mostly of cast shadow and clean, implicit mark-making. Please also take a look at this link: https://imgur.com/a/swyTwmE

• Dissections: Solid attempt at minding, respect the curvature of the sausage forms, and wrapping the textures around them logically. You also take every chances you got to break the silhouette of the forms, which makes them easier to read. Silhouette-breaking is a super useful tool to help convey the texture better and makes it look more believable/realistic.

• Some of your texture looks good and you’re able to achieve a nice range of gradient, for example, the Artichoke and Strawberry texture. I am also glad to see that you maintain the technique you’ve learned from Texture Analysis and employ it here to some of your texture.

But, a few of them, like the Meat or Feather texture, you're focusing largely on outlines, explicit mark-making (instead of implicit mark-making) and negative space rather than the cast shadow. Remember to employ the same method that we use in Texture Analysis to convey texture, I know you can do this.

Form Intersections

• Now moving on to the form intersections, you have drawn your forms in a way that they seem to be sharing the same cohesive, believably 3D space. Good job. It’s very normal to feel like you’re not really comprehend this at its core, since this exercise is only meant to introduce to you about forms and how they can interact and intersect with each other, like puzzle pieces. We will have a lot of opportunities to tackle this again in later lessons so no worries.

Organic Intersections

• And for the last one, organic intersections. I want to point out a few things, take a look again at the official website as how it should look like: https://drawabox.com/lesson/2/9/example , and https://drawabox.com/lesson/2/9/shadows. Please check this out too: https://imgur.com/a/9nZL62T

• I’m very pleased to see that you actually draw through each of the sausage forms, very good! Drawing through forms is and always will be a valuable tool in your tool kit to understand the form and the way it is constructed, which is Drawabox main goal, to help you with your spacial reasoning skill.

Overall, you did great! Though, I’ll ask for a redo of Organic Intersections exercise. Please keep in mind everything that I’ve discussed above.

Next Steps:

1 page of Organic Intersection.

When finished, reply to this critique with your revisions.
10:09 PM, Friday July 8th 2022

Thank you so much for your critique and thanks a bunch for the draw overs. I definitely see that I have many areas I need to improve on.

https://imgur.com/a/EY3UpMj

As requested I tried to do a revision but im still struggling with shadows a bit. I do see my mistakes as many of the shadows aren't consistent with one another and don't cast correctly on the forms so I will continue to practice this as I move forward.

4:26 PM, Saturday July 9th 2022

Np! I'm glad i can help. For your revision of the Organic Intersection exersise, i'm pleased to see that you actually follow my critique and are able to achieve a better result. Of course if i'm being nicpicky, there's a few thing you can keep improving on, for example:

But then again. you're very self-aware and point out your shortcomings yourself (which is great! since you have to realize it in order to improve on it), therefore, i'll mark your assignment as complete! Please feel free to move on to L3.

Good luck! Keep up the spirit, you can do this.

Next Steps:

Lesson 3

This community member feels the lesson should be marked as complete. In order for the student to receive their completion badge, this critique will need 2 agreements from other members of the community.
3:46 AM, Sunday July 10th 2022

Thank you??

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.

The Art of Blizzard Entertainment

While I have a massive library of non-instructional art books I've collected over the years, there's only a handful that are actually important to me. This is one of them - so much so that I jammed my copy into my overstuffed backpack when flying back from my parents' house just so I could have it at my apartment. My back's been sore for a week.

The reason I hold this book in such high esteem is because of how it puts the relatively new field of game art into perspective, showing how concept art really just started off as crude sketches intended to communicate ideas to storytellers, designers and 3D modelers. How all of this focus on beautiful illustrations is really secondary to the core of a concept artist's job. A real eye-opener.