Uncomfortable in the post "250 Box Challenge"

2017-11-13 21:44

Yup.

Uncomfortable in the post "250 Box Challenge"

2017-11-13 21:42

Aha! Okay, so I'll mark the challenge as complete. Keep working on your use of the ghosting method (your lines are less wobbly in the rest of the set, but they do still need the added confidence that comes with using the ghosting method to the fullest) and apply the correction techniques more consistently.

Uncomfortable in the post "Lesson 4: Drawing Insects and Arachnids"

2017-11-13 21:29

That's exactly right. Everything else becomes a distraction, and it's easy to get caught up in what you're going to do, rather than what you're doing at that moment. And yes - stick to the 05.

Uncomfortable in the post "Lesson 2: Organic Forms, Contour Lines, Dissections and Form Intersections"

2017-11-13 21:28

Excellent work! Overall you've done extremely well, I just have one thing to point out with your organic forms with contour curves. Looking at those curves, their degree (if you imagined that each one was actually a complete ellipse) all remain pretty consistent through the length of the forms. This makes them feel a little odd. The degree tells the viewer the orientation of that cross-sectional circle as it sits in 3D space. I explain that a little further here.

On the same point, watch how your curves hook around as they reach the edge of the form - you're not always wrapping them around the rounded form as well as you could. One thing that can help with this is to 'overshoot' your curves as described here.

Aside from that, excellent work. Your form intersections and organic intersections are especially well done, and demonstrate a great grasp of 3D space. I'll go ahead and mark this lesson as complete, so feel free to move onto the next one.

As for your question, I'd focus more on applying the principles of each exercise - for example, the rotated boxes is more about having boxes relate to one another in a specific manner. So you could alternatively apply the idea by trying to draw a series of boxes connected by an imaginary "string", snaking their way through space. That's the sort of thing you could squeeze into a fairly limited amount of time.

Uncomfortable in the post "250 Box Challenge"

2017-11-13 21:06

It looks like you're missing some pages! Currently I'm only seeing 89, so that makes it kind of tricky to critique. I did notice one thing though - you're going to want to work on drawing your lines with a more confident, persistent pace. Right now they wobble a little, which suggests hesitation.

Also, the correction techniques are best applied everywhere - ideally upon the completion of each page. This is because the technique itself makes obvious mistakes you might otherwise have missed, so you don't really always know where you should be applying it, and might as well do it everywhere.

Anyway, I'll mark the challenge as complete when you've posted the rest of the boxes.

Uncomfortable in the post "Lesson 1: Lines, Ellipses and Boxes"

2017-11-13 20:52

Looking good so far. There is just one thing that I caught in your super imposed lines - I describe this issue in these notes, so give them a read.

Also, in the future, make sure you submit the entirety of a lesson's work together, rather than submitting it one section at a time. That gives me a lot more to offer in terms of critique, as there's a great body of work to pull from, and certain patterns become more clear.

Uncomfortable in the post "Lesson 5: Drawing Animals"

2017-11-13 20:48

I decided it would be best to write my critique directly on your work: here ya go.

At the surface, there's a lot of good here but as I looked deeper, I started to find a lot of areas where you relied far more on direct observation than actual construction. Remember that if you don't focus on how these forms sit in and flow through 3D space, then regardless of how nice a drawing may look at the end, its effectiveness as an exercise diminishes greatly.

I'd like you to do another four pages of animal drawings, with no texture or detail (don't worry about fur and whatever right now, focus on nailing your constructions and the idea that the forms you're drawing are being placed into a 3D workd as solid masses). Don't treat your drawings as being flat shapes on a 2D page, you've got to believe in their integrity and unyielding qualities.

Once you're done those four pages, do two pages of hybrids - this exercise goes a long way to test what you actually understand about construction.

Uncomfortable in the post "Lesson 4: Drawing Insects and Arachnids"

2017-11-13 19:09

Very nice work! You definitely improved in confidence over the set, and as a result your constructions end up coming out more solidly. One thing I noticed early on was that you were trying to draw very faintly, and then clean up your linework with a successive pass. The thing about cleaning up linework is that your next pass ends up inherently being much slower and more deliberate, and as a result the lines tend to stiffen up. It's not something I recommend at this stage, because we still want to focus on being able to draw everything smoothly and boldly - so we want to avoid multi-stage cleanup processes like that and focus instead on drawing our initial forms as confidently as possible.

You may be considering the clean up process as being the same thing as adding line weight, but it's not. Line weight is more about clarifying very specific overlaps by applying additional thickness to portions of existing lines, rather than the entirety of a long stroke. Because of the limited length, it's actually fairly straight forward to apply line weight this way.

I think your wasps were probably the most successful of the lot, due to the shift towards being much bolder with your initial linework. The forms feel considerably more tangible and weighted, and there's no sense that you're trying to hide anything.

I'll go ahead and mark this lesson as complete - as you move onto the next lesson, definitely push yourself to continue this trend towards greater confidence in your approach, and try to avoid any situation where you're actively trying to make certain lines get "hidden" later on. Techniques like manipulating line weight will result in that, but you don't want to concern yourself with what is being hidden while drawing a given mark. You want to leave that for later.

Uncomfortable in the post "Lesson 6: Drawing Everyday Objects"

2017-11-12 07:21

There's a lot of great stuff here. One thing I'm noticing though is that your line weights don't really follow any clear logic - there's definitely areas that are heavier than others, but they don't do much to clarify the drawing, and often times important lines that establish the silhouette of a form are left to get lost in your construction.

I believe a lot of the weight actually ends up coming from trying to correct mistakes, rather than leaving them alone. Keep in mind that adding more ink to a problematic area will not make it better - it will only draw more attention to your blunders.

You do have a lot of interesting elliptical constructions, and while they are a touch messy, you apply them quite well. Some of your boxier ones end up seeming more challenging - working on more your basic box constructions will help considerably. I know it's been a while since you last looked at the 250 box challenge, but I do these days really stress the importance of applying the correction methods described there (specifically extending your lines back towards the implied vanishing point). This will help you learn more from each set of constructions.

Anyway, I think you're doing reasonably well, though you do have plenty of room to grow. I'm going to mark this lesson as complete, so go ahead and move onto the next lesson. The subject matter there is more difficult, but you do have the freedom to use a ruler and a ballpoint pen.

Uncomfortable in the post "Lesson 7: Drawing Vehicles"

2017-11-12 07:02

You definitely improve over the set. Early on, you struggle a fair bit with keeping your boxes consistent, resulting in a lot of lines that go off at odd angles relative to their neighbours and generally weaken the construction. This gets better through the pages as your grasp of 3D space in relation to these objects improves.

The matter of capturing solid forms definitely still is something that is lacking, and I blame that partially on the use of black/blue pens. I have nothing against using blue to lay down your construction grids, but I do feel that in doing so you've become somewhat more careless with your black lines. Your line quality is considerably looser/sketchier, and you're not drawing through your forms. As a result, they tend to feel much less solid.

Aside from the turret, I do like this tank quite a bit. You didn't take it all the way, admittedly, the construction that is there feels much more solid. On the topic of that turret though, notice the larger cylinder halfway along the length - it's sitting there like it's a ribbon of paper that's loosely hanging around the rest of the tubing, rather than being solidly grounded against it. The piece we can see coming out of it does not connect to it - it literally passes through, and that makes that part of the drawing much less believable.

This car looks really nice. A lot of the details feel more grounded, and while the black lines were pretty much reserved for more of a last minute detail pass, you did draw them with the sort of confidence that maintains structure and solidity.

One thing I notice frequently is the use of curves where they don't feel entirely supported by the sort of boxier scaffolding that precedes it. Basically it's an issue where regardless of what you built up underneath them, you're not really regarding the drawing of the curves as though you're smoothing down those forms - instead the curves feel separate and independent of the actual structure. Take a look at the front of the jeep - notice how those curving lines kinda just do whatever they want, not actually regarding the underlying box?

Anyway, you've gained a lot of ground here, but you've also got some things to work on. Overall you've earned the lesson completion, but feel free to submit more for critique later on.

Uncomfortable in the post "Lesson 1: Lines, Ellipses and Boxes"

2017-11-12 02:05

I'm going to move forward on the assumption that you're a recently pledged patron, because your reddit username matches one quite closely.

Your work is generally looking pretty good - your lines are looking smooth and confident. Ghosting does need work, but you're going about it the right way and will improve with practice. Your ellipses are a little uncontrolled, so you'll definitely want to work on applying the ghosting method more stringently before executing those - try to stick to drawing through them two full rounds instead of 3 and see if that helps.

One thing about your ellipses I do like though is that they are confident, and while the lines don't necessarily line up super well all the time, you aren't hesitating too much. There is a sort of fine balance we want to achieve when it comes to drawing (between confidence and control), so be careful not to lose that quality while striving for the other.

Nice work with your rough perspective boxes, but be sure to go over your completed work for this exercise as described here. This will help you better grasp how each box sits in 3D space.

Your rotated boxes weren't bad - in general you kept the boxes pretty close together and maintained consistent, narrow gaps which in general kept things structured. Where you stopped doing that though, is where things started to fall apart. Doing this helps because it allows you to use neighbouring edges as hints when adding new lines.

Your organic perspective boxes were a good attempt. I included this exercise here largely to get students to start thinking differently about how boxes can be manipulated in 3D space, and to break them away from thinking about perspective as something to be learned by rote memorization. By being forced to contend with this kind of task, you have to consider more what the rules of perspective represent, rather than trying to replicate the same behaviour every time.

I'm going to mark this lesson as complete, but I'd like you to move onto the 250 box challenge next. Be sure to read through the notes on that page - especially the tip about drawing through your forms, which should help you better grasp how each box sits in 3D space. In addition to this, the correction techniques described there are also quite important and should be applied upon the completion of each page of boxes.

Uncomfortable in the post "Lesson 2: Organic Forms, Contour Lines, Dissections and Form Intersections"

2017-11-12 01:41

Definitely a good start.

• Nice work on the arrows, they flow nicely through space. To help reinforce the idea that you're pushing them through the depth of the scene, consider exaggerating the change in scale (getting much larger as they get closer to the viewer, and much smaller as they move away.

• Your ellipses in your organic forms with contour ellipses exercise are coming along alright, though they are definitely looking a little stiff. You need to be drawing through them more confidently, focusing on executing them with a confident, persistent pace. If you hesitate, they will wobble, and they'll lose their shape.

• For the organic forms with contour curves, remember that the curves are really just the visible portion of a larger ellipse. As the curve reaches the edge of your shape, you really need to push the sense that it's hooking back around and continuing along the other side. Consider applying the 'overshooting' method described on these notes. Also remember to keep the curves aligned to that central minor axis line, as though they were ellipses.

• Nice work with your dissections - lots of interesting experimentation. While there is room for improvement, you're exhibiting a lot of good habits. Not a lot of scribbling (though work on reducing what scribbling is there!), and not shying away from really looking and studying your reference. Practice will improve things, but you're heading in the right direction.

• Your form intersections generally came out pretty well. I think drawing through your boxes definitely helped give you a better sense of how they all sit in 3D space and how they relate to one another.

• Also good work with your organic intersections. The sense of piling the forms up comes through quite nicely.

I'd like you to do two more pages of organic forms with contour ellipses, then two more pages of organic forms with contour curves.

Uncomfortable in the post "250 Box Challenge"

2017-11-12 01:31

Nice work! A few things to keep in mind that should help you improve:

• The technique described in the notes for correcting your work (extending your lines towards their implied vanishing point) is extremely useful and should be applied upon the completion of each filled page of boxes. This will give you plenty to learn from before moving onto the next page.

• You may find that drawing through your boxes gets a little visually confusing - filling in one of the front facing faces with some tight, consistent hatching will help eliminate the resulting illusion of being able to see the box in multiple ways.

• Your line quality is generally okay, though I do detect a hint of hesitation which causes a bit of stiffness and wobbling. Always push yourself to apply the ghosting method so you can maintain a confident, persistent pace when executing your marks. Remember that the ghosting method includes placing points where you want your lines to start and end.

I'll go ahead and mark this challenge as complete.

Uncomfortable in the post "Lesson 7: Drawing Vehicles"

2017-11-11 18:56

You also appear to have no homework! Looks like you forgot to include the link. I've added your submission to my backlog anyway (i'm at work on a weekend again so I probably wasn't going to get to it for a while yet) so go ahead and edit the post to include the link when you get a chance.

Uncomfortable in the post "250 Box Challenge"

2017-11-11 01:16

Excellent work! This is definitely a great example of the corrections having their intended effect - your initial work was alright, but you were able to identify exactly where things were going wrong, and grew considerably over the course of the full set. By the end, you were producing solid boxes with a strong sense of weight and a cohesive construction. Very, very nicely done. Keep up the great work, and consider this challenge complete. You have indeed earned the name of "boxstudent".

Uncomfortable in the post "Lesson 1: Lines, Ellipses and Boxes"

2017-11-11 01:09

Generally you're doing well, but one thing I'm noticing is that you are allowing some of your enthusiasm drive you to rush a little, and perhaps not pay as close attention to the instructions and notes as you should. Nothing dire, but definitely some things to be aware of.

• Super imposed lines: Fraying/Separation on Both Ends

• Ellipses: Drawing Through Ellipses Too Much!

• Your rough perspective boxes definitely would benefit from taking a little more time to think through your spatial problems, making sure that your horizontals run parallel to the horizon and your verticals run perpendicular to it and so on. Take more time when applying the ghosting method, and try to fight against the urge to lay down any marks without thinking them through. I noticed that you applied the double checking method on one of your pages - do this for all of them, and as a rule, avoid broken/dashed lines. I'm guessing you drew these with a ruler, and that's fine, but in general freehanded broken lines aren't trustworthy, as their flow and trajectory breaks every time you lift your pen. All that said, your rough perspective boxes certainly do improve over the set, so good work keeping on top of them like that.

• For your rotated boxes, your second attempt was actually quite good, but I do want to stress the importance of drawing through your forms. That is, drawing them so you can see all of the lines that makes up a given form, including those that would sit on the opposite side of the form (being occluded by itself) or those hidden by a neighbour. By drawing each form entirely, we get a fuller grasp of how they sit in 3D space and how they relate to their neighbours. Neglecting these additional marks makes us think more about how they exist as shapes on a 2D page instead.

• Solid attempt with the organic perspective boxes exercise - this was meant to be quite challenging, and there is plenty of room for improvement, but we'll work on that next.

I'm going to mark this lesson as complete, but I'd like you to move onto the 250 box challenge next. Be sure to read through all of the notes on the challenge page, especially the tip about drawing through your forms, which I mentioned in regards to your rotated boxes. The correction techniques mentioned are also important, and should be applied upon the completion of each page to ensure that you gain the most out of the exercise.

Uncomfortable in the post "Lesson 2: Organic Forms, Contour Lines, Dissections and Form Intersections"

2017-11-11 01:02

Nice work! I do have a few suggestions though that should help as you continue to move forwards:

• For your arrows, right now they do feel a little like they flow largely across the 2D plane of the piece of paper you're drawing on. Try and think about one end of the arrow sitting farther away from the viewer, and the other sitting much closer, and try to push through the depth of that scene as you connect those points. Exaggerate the difference in scale as the arrow moves towards the viewer. Be dynamic.

• Great work with the organic forms with contour curves - just don't forget to include the central minor axis line, as it is still important when determining the alignment of your contour lines. Ideally you want them to represent cross-sections that run perpendicular to the flow of the overall form.

• Your dissections are coming along well. One thing I did notice is that some of them are a little more cartoony - this is totally normal and expected at this stage, and generally comes from the way one approaches observational drawing. We have a habit of relying more on memory rather than direct observation, and that is what is happening here. You'll find some helpful notes explaining the idea and how to improve on the texture challenge page notes. That said, you're absolutely heading in the right direction with these.

• A couple things for your form intersections. First, try to fill the page more - large blank areas are missed opportunities for further development. Second, when adding line weight, try to avoid applying it to the entirety of a line. This usually causes us to stress too much over keeping it accurately in line with the mark we're trying to add weight to. As a result, we stiffen up and wobble. Instead, you want to apply line weight locally, to specific areas so we can clarify particular overlaps. Lastly, draw through your boxes as mentioned in the 250 box challenge page so you can better grasp how each form sits in 3D space.

• Very nice work with your organic intersections, I get a strong impression that you fully understand how these forms relate to one another, and how they rest upon their neighbouring forms, sagging where appropriate.

I'll go ahead and mark this lesson as complete, so feel free to move onto the next one. Just be sure to keep up with the exercises from lessons 1 and 2 as part of a regular warmup routine.

Uncomfortable in the post "250 Box Challenge"

2017-11-11 00:47

:P Yes, instructions are important. You did well all the same - corrections are best done upon the completion of a page (immediately after each box is too closely connected to the drawing of that box and kind of distracting, after the whole 250 set you end up too detached from each individual box and don't have any way to apply what you learned) - all the same, doing them at all is better than not doing them, and you applied the principles well. The other benefit to doing them upon the completion of each page is largely that there aren't so many, and you are more likely to apply the techniques to all of them. It also encourages you to break up the challenge into several sittings, doing one page each session instead of rushing through.

Of course, you didn't rush at all. You took your time and constructed forms that feel solid and cohesive. There are certainly things that can be improved upon, and the correction methods certainly helps with that, but you're heading in the right direction.

I'll go ahead and mark this challenge as complete. Keep up the good work.

Uncomfortable in the post "Lesson 2: Organic Forms, Contour Lines, Dissections and Form Intersections"

2017-11-11 00:37

I think one of the problems is that you're trying to complicate things unnecessarily, and it distracts you from the main core concept of wrapping those 'rubber bands' around the rounded form. Stick to simple sausages, no branching or anything. Try and hook your contour curves around a little more near the edges, overshooting rather than focusing on stopping right at the edge. You actually do this in a few places, though to a minimal degree. I explain it a little further in these notes.

You are almost there - there are definitely successes here, you just need to solidify the gains you're making.

Uncomfortable in the post "250 Cylinder Challenge"

2017-11-11 00:26

Very nice work! Your constructions definitely get a lot more confident and solid throughout the set. Just a few things to keep in mind as you continue to move forwards:

• Don't build your ellipses centered on the end points of your minor axis - you want that minor axis to cut all the way through, as it helps with alignment.

• Closer to the end, you seem to draw through your ellipses a lot less - this is still important, and should be done for all of the ellipses you draw for my lessons.

• You may not have succeeded with constructing your cylinders inside of boxes, but that's no reason not to include them and continue practicing them as part of the challenge. There's no sense in focusing on your successes - failures are the important part when it comes to learning. Make sure you continue practicing them.

I'll go ahead and mark this challenge as complete.

Uncomfortable in the post "Lesson 2: Organic Forms, Contour Lines, Dissections and Form Intersections"

2017-11-11 00:22

Sorry about the delay - things have been busy at work.

In general I'm not entirely in favour of adding colours and such, but I won't stress it as you mentioned that it helped you understand your intersections better. That said, there probably was no reason to add colour to the arrows (and the colouring was pretty scribbly and sloppy, so keep that in mind).

Generally you did a pretty good job, but I do have a few key things to mention:

• For your arrows, they're flowing quite nicely. In the future, try and think about one end of each arrow being positioned farther away in space from the viewer, and the other end being closer. This will force you to think more about the depth of the space in which you're working.

• For your organic forms with contour curves, I noticed that your contour curves generally maintained the same degree throughout their lengths in a lot of cases (imagine that the curves are in fact full ellipses - their degree represents the orientation of that cross-section relative to the viewer. This would not generally remain consistent, and would shift slightly over the course of the form. I expand on this a little more in these notes so give them a read.

• Your dissections are coming along quite nicely. I especially love the onion texture, and the fruit that went with it on its cut surface. There were some other areas where the texture wasn't quite observed as carefully, and seemed to rely a little more on your memory rather than direct observation and study. This is pretty normal at this stage, but is something to look out for. Give the notes over on the texture challenge a read, as they expand on the idea of observing vs. relying on faulty memory.

Aside from that, very well done. Your form intersections demonstrate a well developing grasp of 3D space, and your organic intersections show a good sense of how these sausage forms interact with one another. I'll go ahead and mark this lesson as complete, so feel free to move onto the next one.

Uncomfortable in the post "Lesson 1: Lines, Ellipses and Boxes"

2017-11-09 03:08

Very nice work! Your lines come out very confidently, and this helps you maintain a general smoothness through their lengths and avoid wobbling. Your ellipses do suffer from a bit of stiffness here and there, but this does improve over the set. Just make sure you're approaching them with the same persistent, confident pace you use for your lines, and be sure to apply the ghosting method. This is very important for maintaining the shape of your ellipses.

Jumping ahead to your boxes, you're generally doing a very good job. Take a little bit more time with your hatching for your rough perspective boxes - try to keep the lines consistent and parallel, and have them stretch across their plane from edge to edge. It's really just a matter of presentation, but it's worth the extra time.

Very nice work with the rotated boxes - you clearly took your time and patiently followed the instructions, to fairly good effect. The organic perspective boxes could use some more work, but you're about where I'd expect you to be. These last two exercises are more about exposing students to a new way of thinking about how those forms can be rotated freely in 3D space, so it is entirely expected that these would be much more of a struggle.

We'll definitely pay some more attention to those box constructions in the next step. I'm going to mark this lesson as complete, but I'd like you to move onto the 250 box challenge next. Be sure to read through all of the notes. The bit about drawing through your forms should help you better grasp how each box sits in 3D space, and the correction techniques should be applied at the end of each completed page.

As for your question, generally the direction in which you draw your ellipses shouldn't matter, as long as it's comfortable and you're drawing them from your shoulder. Personally, I draw them counter-clockwise (and am right handed). As for the amount of time you took, it should absolutely not be completed in less time than it takes to do the best you currently can. Worrying about how long it takes can often cause one to rush, so don't concern yourself with that. We all work at different paces, and are at a different stage in our development. As long as you put forward your best possible effort, you will grow from the experience.

Uncomfortable in the post "Lesson 2: Organic Forms, Contour Lines, Dissections and Form Intersections"

2017-11-08 21:30

Definitely wouldn't hurt to finish it up.

Uncomfortable in the post "Lesson 4: Drawing Insects and Arachnids"

2017-11-07 15:21

Very, very nice. You caught onto exactly what I was saying. I'll go ahead and mark this lesson as complete, so go ahead and move onto the next one. Just a couple things to keep in mind:

• Definitely way too many contour lines on your fly's head. There definitely is a point where you get diminishing returns on them, and building a wireframe doesn't really end up doing you a lot of good. I think you managed the density quite nicely elsewhere, esepcially on the last page, but here it's definitely too much.

• Watch those contour curves' curvature on the wasp's abdomen. They're almost there, but they're not quite hooking back around enough to give the impression that they continue along the rounded surface on the other side.

Uncomfortable in the post "Lesson 2: Organic Forms, Contour Lines, Dissections and Form Intersections"

2017-11-07 06:54

Phenomenal work. Your confidence in your linework and your construction of forms is stunning. Overall you're doing extremely well, and are applying the principles of the lessons quite well. I just have a couple of small suggestions to make:

• For your form intersections, draw through your boxes, as covered in the 250 box challenge (which I assume you did, based on the quality of your box constructions - though you should have submitted that before moving onto lesson 2).

• For your cylinders in the form intersections, extend the minor axis so it goes through both ellipses entirely, rather than going from center to center.

• For the organic intersections, I definitely highly recommend sticking to simple sausage forms throughout, so you can focus primarily on how those forms interact with each other, rather than the complexity of each individual form.

Other than that, very well done. I especially liked your dissections, which have a great balance of well observed and studied detail, and clear focal areas. Texture and detail is as much about what you choose to display as it is about what you choose to simplify or hide, and you've leveraged that very nicely.

I'll go ahead and mark this lesson as complete, so feel free to move onto the next one.

Uncomfortable in the post "Lesson 4: Drawing Insects and Arachnids"

2017-11-07 06:18

Overall there's a lot of good things here. I do have one big concern though, and it comes up as a general aspect of how you're approaching these drawings. It seems to me that you're somewhat timid, and perhaps too focused on the cleanliness and clarity of your end result. That is, you're making a lot of decisions that err towards a pretty drawing at the end over really exploring and learning about forms, imbuing them with a sense of solidity and weight, and ultimately using them to construct objects with those same qualities.

So, for example - when you draw your ball forms, which are generally fairly ellipsoidal, you're not drawing through them as covered in lesson 1 and 2. As a result, you're drawing them more slowly and less confidently, which adds little wibbles and some stiffness to them, ultimately undermining the illusion of form.

You are however drawing through your forms, which is definitely good. Though when you draw two intersecting forms, it helps considerably to actually draw the intersection that occurs between those two forms. So if two balls intersect, you're going to have a cross-sectional ellipse where they meet - if you actually draw it in, it'll reinforce the intersection itself, and in turn help solidify the two forms involved.

Another thing I want you to keep in mind is the idea that when constructing something, you're not placing flat shapes on a page and connecting them together. Think of it as though the page is a window into a boundless 3D space, into which you are inserting solid chunks of matter - like balls of marble. This means that once you place a solid form into that space, you cannot simply override it with a new line or two. You have to actually cut and carve it, which means being aware of how the resulting pieces actually sit in space, and in relation to each other. You need to grasp how everything exists in 3D, and not allow yourself to take certain shortcuts that the fact that you're drawing tends to afford you.

I'd like you to do three more pages of insect drawings, but this time I don't want to see any detail or texture whatsoever. Focus entirely on just capturing the forms themselves, and leverage everything you've learned thus far to focus on making them feel solid, and as though they carry weight. Draw entirely in felt tip pen - leave the grey markers aside for now, and focus primarily on capturing form with line. Ultimately there's a lot of additional decoration you can add (rendering, detail, etc.) on top of your forms when they're already solid, but right now I think the prospect of doing that is distracting you from what you really need to set your mind to.

Uncomfortable in the post "250 Box Challenge"

2017-11-05 23:45

Ohhh, that's satisfying to see. Great work, lovely boxes. The only thing you're missing in the correction phase, where you take a different colour of ink and do the following:

Each box consists of three sets of four parallel lines, each set having its own vanishing point. When going over a box in the correction phase, you can extend these lines two to three times their original length towards their implied vanishing point. This will give you a better sense of how these lines behave as they converge. Ideally all four lines of a given set will converge towards a single point at roughly the same rate. By extending these lines, you will start to notice how some lines within a set converge more quickly than others, which implies several points of convergence instead of just one. By being able to spot these mistakes, you should be able to learn from them that much more effectively.

Ideally you'd do this upon the completion of each filled page (doing them all at the very end is probably a huge pain, but that's what you get for not reading!)

Anyway, I'll go ahead and mark this challenge as complete. You can do that correction stuff if you like, though I definitely recommend it.

Uncomfortable in the post "250 Cylinder Challenge"

2017-11-05 23:33

Pretty nice work! You're following the instructions closely, and I'm pleased to see that you even attempted a handful of them starting with a box, which ends up being quite useful when you need to align them in a specific manner in space. The only thing that jumps out at me is that some of your ellipses have a tendency to be a little uneven, due to being drawn a little too slowly and carefully. It'll help to work on loosening them up, shifting your priorities back to flow and the general confidence of your execution. Hesitation and worrying too much about the result will cause you to stiffen up, ultimately making the ellipses less, well, elliptical.

Keep up the good work and consider this challenge complete.

Uncomfortable in the post "Lesson 4: Drawing Insects and Arachnids"

2017-11-05 23:18

I was concerned that there may have been underlying issues that were giving you additional obstacles to deal with.

I'm not sure digging into Scott Robertson right now is the best idea - it's extremely dense (much moreso than my material), and may well just overload you. Often times trying to tackle many things at once can result in learning neither thing all that well, so it's often better to give yourself smaller things to focus on.

The fact that you're taking a life drawing class is good - when doing that, I want you to particularly try to focus on observing whatever it is you're drawing from life. Try and think about the proportions of things, and really focus in on specific elements at a time. That doesn't mean focusing on tiny details - a large element of something (like one of its major core forms) can be an element that you can try to focus in on and isolate in your mind while observing it. Observation is a skill that we don't start out with, but rather one we need to actively rewire.

I'm also not 100% convinced that you won't be able to draw a straight line. It's possible that your teacher is correct, but based on what I'm seeing in your ellipses right now, at least part of it is the fact that you are still trying to nail something accurately.

So instead of going directly back to lesson 1 (we may do that anyway in a bit), I want you to do the following for me:

• Take a piece of paper, and fill it with ellipses. For each ellipse, just draw it as quickly and as confidently as you can. Don't even think if you don't have to. Just draw ellipse after ellipse, and focus only on being confident. Don't slow down. Don't try and fit it into any specific place. Avoid overlaps for clarity's sake, but if you end up overlapping here or there it's not a big deal.

• Do one page filled with super imposed lines, and try to approach them similarly. Lay down your initial line for each set with a ruler (pick a variety of lines, some longer, some shorter, but all straight). Maybe even lay down all of your initial lines first so your page is really packed, and then set to work going over each one 4x. When you go over a line, I want you to take the time to place your pen at the correct starting point, think about where you want your pen to go (which would be to the other end point), then draw confidently and as quickly as you can. Don't worry if it flies off the rails, just focus on being confident and fast.

For both of these, do your best not to use your wrist at all. When you start on each task, I want you to come back here and reread the instructions for that page, and do your best to follow them.

Uncomfortable in the post "Lesson 1: Lines, Ellipses and Boxes"

2017-11-05 23:07

Wow, this is really solid work. I'm especially pleased by a few things:

• The smoothness of your lives and the evenness of your ellipses, both of which come from being confident and persistent when executing your marks, and ultimately focusing more on flow than accuracy (so as to avoid stiffness and wobbling).

• The quantity of the work, mixed with the sense of purpose. You definitely give the impression that you're not just doing this to get it over with, you're taking each exercise and really exploring its purpose and goals.

• How you laid things out - you take up all the blank space in your pages, and demonstrate a lot of care and patience throughout.

• Your attentiveness to the instructions! There's definitely a lot there in the lesson, but you took your time and went through it all, even applying the bit about double checking your rough perspective boxes' perspective estimation.

Now, you definitely did struggle with the rotated boxes, and the organic perspective boxes exercises certainly have room to grow - but you attempted each to the absolute best of your ability and pursued it (especially in the rotated boxes' case) to completion. That is exactly what I wanted to see.

These two exercises were included here with the full expectation that they would be a nightmare for students. They're not really here to be done perfectly, but rather to get students to start thinking about these box forms and how they can be rotated freely in a new way that is not quite as restricted by the sort of rote memorization of perspective rules. We instead are forced to think more about what the rules simplify and represent, and learn to understand them in a more intuitive level. This takes time, and is not an easy thing that I ask.

So, I'm going to mark this lesson as complete. I'd like you to move onto the 250 box challenge next. Two things:

• Be sure to read through all of the notes on that page, especially the tip about drawing through your forms. This in particular should help you better grasp how each box sits in 3D space.

• The correction techniques (in regards to extending your lines towards their implied vanishing point) should be applied upon the completion of each filled page of boxes.

Uncomfortable in the post "Lesson 2: Organic Forms, Contour Lines, Dissections and Form Intersections"

2017-11-05 22:56

There are a few things I'm noticing quite a bit of - your linework tends to be very sketchy and unplanned. I'll ignore the hands for now, as that's not really related to the lesson (though those are definitely sketchy, but it's not really my jurisdiction to tell you to approach them differently).

I believe you need to slow down. That is, slow down so you can think about each mark before you put it down, ghost through the motion repeatedly and THEN execute with a confident and persistent pace. Many of your marks come out sloppy (like a lot of those contour curves), and you've got a lot of other cases where you somewhat thoughtlessly reinforce lines with additional strokes. As far as drawabox is concerned, every single mark you put down needs to be the result of conscious thought and planning: ie, the ghosting method.

Sketching has its place, but not here. Here we learn to be deliberate and mindful in all of our actions.

Uncomfortable in the post "Lesson 4: Drawing Insects and Arachnids"

2017-11-05 22:52

A lot of the things in my last critique still stand. I've also added this additional page of notes for you: https://i.imgur.com/S5TAgla.jpg. It's not that you're not improving, but that you're continually missing important instructions. You absorb some, but not most of what is expressed in my critiques and in the lesson.

I have a question - why is it that you think you're struggling to absorb what is being shared? What is it about your approach to following these demos that makes things slip by? I think reflecting on this may help you make more efficient use of these resources.

As for the warmup stuff you included, I'm definitely glad that you're doing exercises like that. In general your linework is definitely still stiff. I have brought this up before, but I'll just repeat what I probably said in the past: draw your lines with confidence, don't allow yourself to hesitate. Apply the ghosting method so you can build up muscle memory before executing the mark. The flow and smoothness of your lines is infinitely more important than your accuracy.

For your organic forms with contour ellipses/curves, make sure you vary the degree of your ellipses, as the degree will shift through the length of a form as described here, because those circular cross-sections are going to be oriented slightly differently in relation to the viewer. I also mention this in the fly notes I linked above, where I've drawn a form with contour curves towards the upper left.

That same demo shows a contour circle that sits on the "pole" of the ball form - this is important and can help show which side of the form is facing the viewer. Right now none of your organic form practices really have any such poles, so it feels like both sides are pointing away from us, which feels somewhat harder to believe.

Lastly, I did want to mention that the flow of your fly's legs are actually quite nice, and I think you're improving on that front. You do need to put the breaks on trying to add any detail though, as your constructions still aren't up to snuff.

I'm not entirely sure where to move from here, not at least until you're able to reflect on the question I posed earlier. You are absorbing some of this stuff, but it's quite slow, and the stiffness of your lines is as I mentioned before, certainly a problem. I had given you the option before to either move onto this lesson, or to start over from the beginning and deal with the more foundational issues involved in drawing stiff linework.

I think that may be the better option for you now - to go back to the beginning - but before we do that, I want to hear your thoughts on my question.

Uncomfortable in the post "Uncomfortable's Unsolicited Advice: Nothing Can Defeat Failure"

2017-11-04 06:59

Takes off his belt

Uncomfortable in the post "Lesson 1: Lines, Ellipses and Boxes"

2017-11-03 22:46

Very nice work! I do have a few recommendations that should help in the long run though.

• I noticed that your linework has a tiny bit of stiffness or wobble to it. In general it's fairly well done, but it's a little sign that you're likely stressing too much over the accuracy of your marks, and are sacrificing the smoothness and flow of your stroke. Ultimately, confidence and a persistent pace when executing is key, even if that decreases your accuracy. Remember that the ghosting method is all about taking your time to prepare beforehand, but ultimately be bold when making your mark. Be sure to apply this methodology everywhere, as this applies to both your lines and your ellipses.

• Jumping ahead to your rough perspective boxes, be sure to go over your completed work for this exercise as described here. This will help you identify where your estimation of perspective tends to drift.

• Excellent work on those rotated boxes.

• Your organic perspective boxes are coming along fairly well. There is room for improvement, and the 'draw through your forms' approach mentioned in the 250 box challenge is definitely a big help, as it helps one to better grasp how each box sits in 3D space. I don't mention it here, but often send students to the box challenge next with instructions to pay special attention to that part. So, I hope that you've followed those instructions when doing the challenge, and will continue to do so generally when constructing boxes.

So, I'll go ahead and mark this lesson as complete. I'd like you to finish up the 250 box challenge before moving onto the next one. Along with drawing through your forms, also be sure to apply the correction techniques mentioned in the notes, ideally upon the completion of each page.

Uncomfortable in the post "250 Box Challenge"

2017-11-03 22:29

Congrats on completing the challenge. The biggest piece of advice I can offer here is actually to point out something that you missed from the challenge page notes - specifically, the techniques about how to find errors and approach correcting. I'll paste it below:

Each box consists of three sets of four parallel lines, each set having its own vanishing point. When going over a box in the correction phase, you can extend these lines two to three times their original length towards their implied vanishing point. This will give you a better sense of how these lines behave as they converge. Ideally all four lines of a given set will converge towards a single point at roughly the same rate. By extending these lines, you will start to notice how some lines within a set converge more quickly than others, which implies several points of convergence instead of just one. By being able to spot these mistakes, you should be able to learn from them that much more effectively.

You can apply this method to each of your boxes upon the completion of a page. It will help you identify where things are going wrong, specifically in relation to the near/far plane relationships.

Anyway, I'll go ahead and mark this challenge as complete. It would however be a good idea to go back over your boxes and apply this technique, and keep it in mind when doing this kind of exercise in the future.

Uncomfortable in the post "250 Box Challenge"

2017-11-03 21:35

Congrats on completing the challenge. There is one thing that I noticed, specifically in how you applied the correction techniques, that may benefit from some clarification.

For many of the boxes, you seem to have extended only a few lines - often only two at a time. Additionally, you did not appear to differentiate between the two possible directions of extension.

• In order for this technique to really be helpful, it's important to extend all the lines of a given set, and really ideally, do so for all three sets of parallel lines. Determining the convergence of two lines doesn't tell you a whole lot until you start looking at how that compares to other lines of the same set. If you want to get the most out of this, extend every line of all three sets, and look at whether or not they all seem to be converging at roughly the same spot, or if they seem to be converging at several different points.

• We really are only focusing on how those lines behave as they move further away from the viewer, towards the implied vanishing point. Extension towards the viewer isn't terribly useful, and in some cases can distract you. The first and most important thing we're checking is whether or not the lines of a given set converge together towards the VP. Then, as I mentioned in the last point, we start looking at whether they're converging towards the same VP, or many different scattered points.

A good example of this being done (although this is definitely the top 1%, and above what I expect to see from students) can be seen here.

I did also notice that you seem to be leaving a good deal of each page blank. It certainly doesn't impact the numbers of boxes, but it does raise questions about why. My guess is that you may have felt a little disappointed with the boxes on that page, and decided that if you started on another one, you'd have a greater chance of having a nice page. If that's the case (which it may well not be, it's just my guess based on prior experience), always keep in mind - these are all just exercises that may as well be destined for the garbage bin. What you gain from them is the doing of each construction, rather than the result you get at the end.

Anyway, I'll go ahead and mark this challenge as complete. It wouldn't hurt to continue practicing this stuff as a warmup, and maybe going back to apply those correction techniques properly. Either way, you're welcome to move onto lesson 2 when you feel you're ready.

Uncomfortable in the post "Lesson 1: Lines, Ellipses and Boxes"

2017-11-03 21:24

Your work is coming along well! I do have a few things to point out however that should help you continue to improve:

• For your super imposed lines, watch the wobbling. Don't focus too much on accuracy at the expense of flow. A smooth line is our top priority here. More on this here.

• The rest of your lines and ellipses sections demonstrate a lot of great confidence, which keeps your flow nice and smooth.

• Jumping ahead to your boxes exercises, your line quality definitely gets considerably more haphazard. Remember that you've got to get in the habit of applying the ghosting method to each and every mark you make, to ensure that they remain confident, smooth and accurate.

• Also, watch your hatching - don't be sloppy. Ensure that it stretches across its plane from edge to edge, rather than floating arbitrarily in the middle. And no scribbling!

• Solid work with your rotated boxes.

• Linework was definitely chicken scratchy in your organic perspective boxes.

I'm going to go ahead and mark this lesson as complete, but I'd like you to move onto the 250 box challenge next. Be sure to read through the notes on that page, especially the tip about drawing through your forms. This should help you better grasp how each box sits in 3D space. Additionally, the bit about correction techniques should be applied upon the completion of each page.

Uncomfortable in the post "Lesson 4: Drawing Insects and Arachnids"

2017-11-03 21:06

You're definitely moving in the right direction here. There are some less successful pages, while others demonstrate a lot of strengths. Specifically the pages where you applied additional line weight and strategically placed cast shadows, as they really go a long way to help separate out your forms and clarify the drawings.

For this page, I can't be sure but I feel like it definitely could have used more careful observation for proportions and such. That said, I do still feel like your forms and construction are still very convincing and believable, which really is the goal of the lesson.

One thing I noticed was that you have two different approaches to drawing legs throughout your drawings. For some of them, you use a sort of stretched ellipse, and for others you'll use more of a sausage. The difference is that the width throughout the length of the sausage remains fairly consistent, whereas a stretched oval will have considerably more tapering throughout.

Stick to the sausages - stretched ellipses result in the legs following a pattern of pinch, swell, pinch, swell, which ends up feeling kind of static and stiff. The sausages tend to flow much better, and maintain gesture.

So, keep that in mind as you continue to move forwards. Also, push yourself to take more care in observing your reference carefully and studying proportions, as that will continue to help push your work to the next level.

I'll go ahead and mark this lesson as complete, so feel free to move onto the next one.

Uncomfortable in the post "Lesson 1: Lines, Ellipses and Boxes"

2017-11-03 01:22

Very nicely done. Your lines are especially confident, which keeps them smooth, and your ellipses evenly shaped. You pretty much nailed the first two sections.

Jumping ahead to your rough perspective boxes, I did notice that your line execution here wasn't quite as confident as in previous sections. It wasn't inherently bad, but there is a little bit of hesitation to how you draw each of them. It's important that you execute them exactly as you did before, using the ghosting method to plan things out and then make your marks with a confident, persistent pace.

Your attempts at the rotated boxes and organic perspective boxes were fairly well done. The goal with these two exercises is to get students to think differently about how forms can be rotated freely in space. The goal isn't really to have perfect work, so while there's room for improvement, you're heading in the right direction.

So, I'm going to mark this lesson as complete. I'd like you to move onto the 250 box challenge next. You seem to be grasping the concept of drawing through your forms (which is mentioned in the notes there), so just be sure to apply the correction techniques described in the challenge upon the completion of each page.

Uncomfortable in the post "Uncomfortable's Unsolicited Advice: Nothing Can Defeat Failure"

2017-11-02 18:15

You should probably start running.

Uncomfortable in the post "Lesson 4: Drawing Insects and Arachnids"

2017-11-02 14:26

That's pretty neat! I do still think there's a lot more to be gained from drawing from high-resolution photos (more accurate information, less stylization) but it's definitely an interesting tool on its own.

Uncomfortable in the post "Uncomfortable's Unsolicited Advice: Nothing Can Defeat Failure"

2017-11-02 01:39

That sounds about right, though considering what goes into them it should be much much less. I like the way they turn out, but I'm used to illustrations and digital paintings, where the end result feels more... I don't know. Just, more! But I'm glad you and everyone else likes them so much!

Uncomfortable in the post "Uncomfortable's Unsolicited Advice: Nothing Can Defeat Failure"

2017-11-02 01:25

It's kind of hard to track, but every time it's more than I'd have expected. Lately I've been doing a shit ton of overtime at work, so when I get home in the evening and try to work a little more on the comic, I'm either distracted or tired. Probably took a week and a half of that to do this one, but were I focused with no job or homework critiques to worry about.. Maybe a day or two? Perhaps three.

Uncomfortable in the post "Lesson 2: Organic Forms, Contour Lines, Dissections and Form Intersections"

2017-11-02 00:20

Definitely better. I can get a much stronger sense of the volumes and the layering. The second form there has definitely sunk into the big one, but here it seems more like the big one is actually giving way a little under its weight, so it's not like they're actually cutting into one another.

I'll go ahead and mark this lesson as complete, so feel free to move onto the next one.

Uncomfortable in the post "Lesson 4: Drawing Insects and Arachnids"

2017-11-02 00:17

Excellent work! You're demonstrating a great grasp of form and construction, and are doing a pretty good job of observing your proportions and details quite carefully. There are some areas where your proportions are somewhat off (like the housefly's thorax being too big) but that's pretty normal, and you handled it well by just rolling with it.

I have just one bit of critique to offer. In a lot of the lay-ins at the end of your submssion, you have a bit of a tendency in certain places to draw the segments of your legs as stretched, but straight ellipses. This tends to mess with their general sense of flow, due to the sort of regular ballooning-and-pinching through their length. Instead, try to draw them more like sausages. I pointed this out in another student's work, so you can see what I mean in the square on this page.

Aside from that, excellent work. I'll go ahead and mark this lesson as complete, so feel free to move onto the next one.

Uncomfortable in the post "250 Cylinder Challenge"

2017-11-02 00:01

Great work! The linework aside (which honestly isn't notably bad, just a little rough around the edges), your cylinder constructions look solid, and you've taken great care with your minor axes.

On the point about line weight, one thing I do want to stress is that generally you won't want to apply extra weight to the entirety of a line - usually it's something you apply to a specific locality, to clarify a particular overlap. If you try and add weight evenly to an entire ellipse, you're either going to end up with the lines separating (if you're doing it confidently, as you should be) or you'll get wobbling/stiffness from going too slowly. But if you tackle it in specific areas instead, you should be able to maintain greater control and confidence, while also avoiding anything looking to overbearing.

Also, one thing that is definitely worth practicing is constructing cylinders inside of boxes. It's particularly useful when using them in other constructions, as starting with a box lets you determine its orientation in space more easily than working on the cylinder from scratch.

Anyway, keep up the great work and consider this challenge complete! Finally! You can be free of the chicken!

Uncomfortable in the post "250 Box Challenge"

2017-11-01 23:55

Much, much better! It's clear that you approached it with a lot more patience and care this time, and it paid off. I can definitely see an improvement to the general structure and understanding of space.

If there's one thing I'd recommend to help push your boxes to the next level, it's to play with line weight. There's a tip about it on the challenge page as well, so be sure to give it a read.

Anyway, I'll go ahead and mark this challenge as complete. Feel free to move onto lesson 2!

Uncomfortable in the post "Lesson 1: Lines, Ellipses and Boxes"

2017-11-01 23:53

Your work is generally quite well done! There's a lot of confidence to your linework, which helps in keeping your lines and ellipses smooth and even. There's just a few things I want to point out that should help as you move forwards.

• For the super imposed lines, you're definitely a little too focused on accuracy, which adds a little wobble to your strokes. Give these notes on the issue a read.

• (Minor point for the rough perspectiv eboxes) Not Framing Compositions. I also noticed that you only did one page, though that's not a big deal as your work is fairly well done.

• Just be sure to go over your completed work for the rough perspective boxes exercise as described here.

• I do believe there were some steps of the instructions that you skipped for the rotated boxes. You also seem to have drawn it in pencil originally ,and then kind of went to town inking it over (avoid this in the future. Even if you go over regular pen work in this manner, one tends to go over with a slower, more careful stroke which tends to add wobbles and waves instead of keeping things confident).

• The rotated boxes and organic perspective boxes exercises were actually included here largely to get students to start thinking about 3D space in a different way, so I'm not at all surprised that you have difficulty, as most people do. Perfect work is not the goal here.

So, I'm going to go ahead and mark this lesson as complete. I'd like you to move onto the 250 box challenge next. Be sure to read through all of the notes on that challenge page before starting the work. The bit about drawing through your forms is very important and should help you better grasp how each box sits in 3D space. The point about correction techniques is also useful, and should be applied upon the completion of each page.

Uncomfortable in the post "Lesson 4: Drawing Insects and Arachnids"

2017-11-01 23:39

So there's a few things that really jump out at me in terms of both your approach, your general focus and your goals with these drawings. You're going into these drawings intending to create a well detailed piece of work at the end. As a result, you're quite focused on the texture, details and rendering of your drawing, but less so on the actual underlying construction.

You've probably noticed that drawabox is basically devoid of any information relating to lighting your major forms. There's no section on light and shadow, and so it's understandable that you were a little lost on how to approach that (as we can see from some of your experiments on the first page).

I neglect to cover that material because I find it to be a distraction. In fact, don't want students to worry about it. When it comes to a lot of fine art classes, it's one of the first things they teach - class, take out your 2B-8B pencils, here's the core shadow, the bounce light, the specular highlight, etc. I have found, however, that lighting is used as a crutch to convey the illusion of 3D form.

So, by having that element pulled away, students are forced to use the tools given in lesson 2 to capture the illusion that the flat, 2D marks they're making on their page are actually projections of an actual 3D form that exists in a 3D world, to which your piece of paper is only a window. Once one is able to really get a handle on using things like contour lines and generally drawing their forms so they give the impression of solidity, rendering light and shadow can sit on top of what is already there - like a dress on top of a mannequin, being held up by that which is already there, solid with or without its clothing.

So, when approaching this work, it is not that your abilities are lacking, but rather that what you came out to accomplish was a different task than what was requested.

Another thing I noticed was that your observation habits could use some adjustment. From what I can see, you're likely looking at your reference in small bursts, but largely focusing on your drawing. Instead, do the opposite. Get in the habit of spending 99% of your time looking at and studying your reference. Our memory tends to be unreliable, so the moment you look away from the image, your brain will go to work simplifying elements. In order to deal with that, we look long and hard at specific parts of the reference (like the nature of some major form), and then go and draw that singular element immediately - before looking back and refreshing ourselves as to where everything else is.

Currently your proportions are off due to this (for example, compare your black widow to mine and you'll notice the legs I've drawn are considerably longer), and your details/textures tend to be highly oversimplified rather than replicating existing elements that are present there. I talk much more about this in the notes on the texture challenge page, so give that a read.

Anyway, I'd like you to take another stab at this lesson, starting from rewatching the intro video and rereading the notes. Then, when you do the homework drawings, focus entirely on construction. I don't want to see any detail, rendering, texture, etc. I've found this kind of limitation to go a long way in helping students keep their focus where it needs to be.

Uncomfortable in the post "Lesson 4: Drawing Insects and Arachnids"

2017-11-01 23:18

Critiques on your work are always easy, since I've mostly said what comes into my head during your streams. I did catch one thing that I missed though - check out the spideys.

Overall you're doing great though! Since most of your drawings were from the demos, I was very interested in how that mosquito came out, and I think you did a great job applying the understanding of form and construction, and also achieved a very nice flow on those limbs. I'll go ahead and mark this lesson as complete, so feel free to move onto the next one.