Hi DIO,
First off thank you for the detailed feedback and attached is the extra page of Organic Intersections! There were a few points relating to Lesson 5 that I was confused about even after finishing the homework, but your included examples have made it clear. Other than that, I look forward to your response!
Hello, no problem, I'm happy to hear that the critique helped to clear a few things up for you.
Thank you for responding with an additional page of organic intersections.
Unfortunately the two main issues I called out in my critique of this exercise are persisting here, albeit less frequently.
Let's analyse the form I've traced over in red here. The end on the right is fine, it is clearly being supported by the form below it. The end on the left is poking up in the air, unsupported. There are other forms below it on the 2D space of the page, but these forms are not beneath it in the 3D space you have created.
Probably the most straightforward way to make the red form appear supported would be to assert it as resting on top of the form I've traced over in blue here. To do this I've removed the shadow the blue form was casting on the red form.
One thing that can help is that when you start the exercise, don't imagine that you're working in an empty void. Imagine that there is a ground plane there, and that the first sausage you're placing in the world actually falls on this surface. Think about how gravity is pushing down on it, and when you add the next sausage, continue to think about how gravity is trying to push this new sausage down, but the first one is getting in the way.
In addition to this, rather than thinking of looking down at the pile like it's sitting on the floor by your feet, think about sitting at a table, and looking at the pile of sausage forms sitting on the table in front of you. Placing the pile closer to eye level makes it a bit easier to draw the forms wrapping around one another in 3D space.
I have some advice that should help you to get these forms to wrap around one another more convincingly. When drawing forms over one another try to avoid overlapping them at the peak of the lower form. This helps prevent your forms from looking like they're just drawn over one another as well as helps create the illusion that they're wrapping around each other. It sounds trickier than it actually is, here is a visual example.
If you have not already done so, I encourage you to review the exercise instructions and re-watch the video demonstration for this exercise, which you can find here.
Your shadows are more consistent here, although you're still encountering the issue of some forms casting multiple shadows in different directions, as highlighted here.
Please review the exercise instructions and this feedback carefully and complete another page of organic intersections, once again sticking to no more than 7 forms in the pile.
Next Steps:
One page of organic intersections.
Organic Intersections:
Hey DIO,
I completed another page of the Organic Intersections after reading your advice and reviewing the exercise instructions. Although I believe this page was much better, I'm having trouble wrapping my head around adding more interesting relationships between the sausages. As a result, the sausages are very similar in terms of layout. Not sure if that's necessarily an issue, but I would like to add more variety and couldn't figure out how to add sausages that are jammed into each other or spilling out.
Please feel free to let me know if any additional pages are required, I'm having a lot of fun working on this exercise and would be more than willing to submit 2 or 3 pages, if need be.
Kind regards,
Jonathan S.
Hello Jonathan, thank you for getting back to me with this additional page.
This is much better!
Each form has a sense of weight to it and is obeying gravity. The shadows are more consistent too.
It is fine to keep your arrangements simple at first, as you get used to applying gravity consistently to all the forms, and you can begin to explore more interesting arrangements gradually as you gain experience and confidence (this is why I asked you to stick to up to 7 forms, to keep things simple.) This exercise isn't neccessarily about getting the forms to cut through each other, but more about how they wrap around one another, and you're doing this pretty well.
You're showing a solid understanding of the exercise now, and I'll leave you to keep practising and experimenting in your warm ups. Feel free to move on to the 250 cylinder challenge, which is a prerequisite for lesson 6.
Next Steps:
250 cylinder challenge
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Marshall Vandruff is a ubiquitous name in art instruction - not just through his work on the Draftsmen podcast and his other collaborations with Proko, but in his own right. He's been teaching anatomy, gesture, and perspective for decades, and a number of my own friends have taken his classes at the Laguna College of Art and Design (back around 2010), and had only good things to say about him. Not just as an instructor, but as a wonderful person as well.
Many of you will be familiar with his extremely cheap 1994 Perspective Drawing lectures, but here he kicks it up to a whole new level.
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