Hi @Jeremy Carter, really nice studies! I had trouble with the insertion too :) It gets easier once you know the arm bones, and even easier when you know the arm muscles. I attached two images with some home made shortcuts. If I´m not mistaken the pec inserts at about the level of where the deltoid blends with the arm. Find where the deltoid blends; find the pec insertion - I would revisit image 4. Remember that in a lifted arms position everything is rotated; now the bottom edge of the clavicular portion appear highest instead of lowest. The clavicular portion in your tracing hasn´t rotated and is still in anatomical position - Your imagination drawing is well done! Just remember that the pec goes over the cylindrical form of the biceps I hope this helps :)

Hey Jeremy! My main advice would be to try painting without a line drawing, AND start with only value. If you are highly skilled with lines, and you feel like that gap is large with your painting skill, then you will always be disappointed with adding colors to your lines. So discard the lines and see if you can start making shapes with swaths of value! The good news is - your drawing skills will be in place for this to be possible for you. After all, a shape is a shape - and whether you're using lines or values to make it, if you know what shape needs to go there, you can adjust your technique accordingly. Using only value will help get used to the change in approach. It will definitely feel uncomfortable to work this way at first, but give it maybe a week or so, and it'll start feeling less foreign. If you're having trouble, try doing a drawing with lines (maybe even shade it with a pencil), then try to recreate that same art but starting with blobs of paint first. Once you can render something with values, then you can try applying color lessons. The most basic and valuable lesson I recommend is separating things into warm vs. cool. Pick a warm light source, and let whatever it hits get that warmth. Is it a red sunset? Everything that sun hits will get a veneer of that redness. Now you have room to let your shadows be cooler by NOT influencing them with that warmth. It's hard to say this in text, but thankfully I have a video on Proko that explains this visually! https://www.youtube.com/watch?v=kYtGh2xTAlg&t=3s Also, paint very simple geometry at first. Put spheres into other people's paintings, seeing if you can get your sphere to match the lighting and color palette. This is a lesson I assign a lot to my own students. A sphere is super easy to draw and paint, so it allows you to just focus on the color aspect. Good luck!

So the thing to keep in mind is that the position of a junior artist comes with it two distinct responsibilities. First, a junior artist is expected to have the capacity to follow the instructions of their art director, to do fairly menial tasks roughly in the vein of their area of study. In any studio that's going to have more than a single artist (which unfortunately is where I worked), the new junior artist fresh off the street isn't expected to perform miracles. They're there to sweep the metaphorical floors. Secondly, a junior artist is expected to *learn*. To benefit from the experience of their seniors, and to gradually expand in their responsibilities over a period of months, and even years. I think you have a bit of an inflated expectation of what it really means to be a junior artist in a team. I mean, a lot of people do, and so they immediately disqualify themselves before they've ever applied. But the fact of the matter is, that's not your responsibility. Don't do the hiring manager's job for them. If you want a job, and you have a portfolio, send your application in. If your portfolio isn't good enough, they will toss it aside and forget you ever applied. What is there to lose?