Back after a brief break. Lots happening in my personal life. HOWEVER, things are settling down and I have been able to get back to drawing. Hope to keep the momentum going! Thanks again for your time and feedback.
Alan
I'm glad to hear things are settling down for you!
Starting with your form intersections, your work here is generally well done (though I did catch one intersection in the upper left of the first page which was off, as shown here), but I did want to remark upon the tendency to have those intersection lines be quite dark and hairy. Remember that first and foremost, apply the ghosting method to get one mark down. Then when it comes to line weight, try to focus on more localized areas where you want to clarify the overlaps a little more. Use the ghosting method for this as well - don't trace back hesitantly over existing linework. Keeping all our markmaking confident is important to maintain a smooth flow to our strokes.
That somewhat erratic use of line weight is definitely something that stands out in your constructions as well - at least the earlier ones. As you move through the set, it's clear that you reel yourself back, and demonstrate more purposeful consideration behind each mark. This has the positive impact of yielding much cleaner drawings.
As a whole, I'm actually very happy with your object constructions. Even those with the messier linework at the beginning show a lot of patience and care in the use of subdivision, determining more specific locations for the various elements of your construction rather than trying to approximate things too much. This allows your constructions to feel quite solid, sturdy, and believable.
There are a couple other hiccups that I will point out, but all in all they're minor. You're doing a great job of applying the principles of the lesson to achieve specific, solid constructions.
In the bluetooth speaker, I did notice that it seems the front part of the construction was altered. I'm not entirely sure what you were aiming for here, but there will inevitably be points where you might notice a mistake, but it will be far too late to do anything to resolve it. Sometimes it's a key issue with construction (like the bounding box being wonky) and sometimes it's just a deviation from your reference image. Regardless, there are mistakes that we will have to accept - correcting them will merely draw more attention to the problem.
For the stapler, just a minor point - within this course, don't worry about any local surface colour. Reserve the filled areas of solid black for your cast shadows only. By reserving the use of that tool consistent purpose (capturing the shadows cast by 3D forms and nothing else), we can ensure that the viewer will more clearly understand what we're trying to depict. Ultimately here, our focus is on communicating things to the viewer, and strategically deciding what we can communicate and what we can't can help us in that endeavor. In this case, we can't reasonably capture local colour (since all we have is black and white), so it's best to leave it aside.
Aside from that, your work is coming along great. I'll go ahead and mark this lesson as complete. Keep up the good work!
Next Steps:
Feel free to move onto the 25 wheel challenge.
Like the Staedtlers, these also come in a set of multiple weights - the ones we use are F. One useful thing in these sets however (if you can't find the pens individually) is that some of the sets come with a brush pen (the B size). These can be helpful in filling out big black areas.
Still, I'd recommend buying these in person if you can, at a proper art supply store. They'll generally let you buy them individually, and also test them out beforehand to weed out any duds.
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