The overhand grip was soooo taxing to do, and so difficult to be precise with.

The girl was so much more difficult to draw because her face doesn't have as many sharp angles and straight lines, and I also drew her bigger. Not brave enough to draw her hair. I found the nose hardest to get right because in both drawings I got it wrong. I think because it kind of "floats" in the middle of the face. I had to double-check once with the guy's nose and twice with the girl's in Photoshop to figure out what went wrong.

This was loads of fun. Basically a character design brainstorm session.

The biggest takeaway for me from this exercise is how often artists use broken edges, and intuitive hatching. Credit goes to Shirahama Kamome, Dave Malan and Giovanni Civardi.

Samurai Cat!

That was a lot of fun. Gotta love raccoons. I draw a blank when it came to a good concept for the final sketch (first image on the left). I think it could have a much stronger personality.

I think it'd behoove all of us if you were emphasizing the way you positioned your hand. One thing I noticed is that in order to draw a curve more confidently, you really have to put your hand at sort of a "center" or that curve (or arc). Place your hand elsewhere seems to make it easier to fail.