I had hard time maintaining the mid-tone value uniform throughout the study as I was seeing so many values quite different than the mid-tone but of the shadow family. For level 2, in the study of the photo of my composition, I did two studies, one with two values in the shadow family and another with two values in the light family, pushing all the shadow into one value. I like the 2nd one better but a lot of the information got lost. Any tips will be highly appreciated.

I did the first two in isometric perspective. I was curious about why this illusion happens and why most examples use isometric perspective only. Is it only because the lines are not receding as they move away from us or is it because of that particular 120 degree angle that is characteristic of an isometric perspective drawing? So, I decided to try another axonometric perspective that uses 150 degree angle (dimetric perspective) and tried to redraw the same optical illusion. To me, it still seems to work as an illusion. So, I am not sure why exactly this optical illusion happens and if it will happen in any system that uses parallel non-converging lines. If yes, then why most people use an isometric perspective for illusions? P.S. set squares and protractors help and without them I could have never achieved those precise angles

I tried graphite and charcoal and the latter proved to be so much harder to control. I struggled to get an even tone, specially for the higher values. Should I have used the overhand grip for charcoal? Or a sharper tip? The blind value scale ( tried level 3 with graphite) was way harder for the 11-value one than the 5-value one, but it was a fun game! Most of my values in the middle are similar as it was quite hard to remember the exact value I was targeting to achieve.

Hello, This is Jyayasi. My big picture goal is to be a character designer. I aspire to draw characters full of life in dynamic poses and also place them in a fantastic yet believable world. My art heroes for dynamic character drawing are Heinrich Kley, Glen Keane, Kim Jung Gi, Peter Han, Alex Ross, Sean Gordon Murphy and Yusuke Murata. As for perspective masters, I am fascinated by the perspective puzzles of M.C. Escher and Francois Schuiten. When it comes to fantasy world-building, I am in awe of the creations of James Gurney, Syd Mead, Kilian Eng, John Howe, Yokinabu Tatsu, Denis Istomin, Pascal Campion and Amir Zand. I am almost a beginner in perspective, all that I know I learned from Stan in his drawing basics course. But while doing the perspective challenge, I encountered a few problems that I would like to solve. I have listed those in the last image.

Sketch I did this morning for an NJROTC unit in Texas. Anthropomorphic animals are fun.

This is my 2nd submission for this assignment. This time I tried to play the 5th memory game, capturing a moving animal. I wasn't able to go to the zoo but played a tiger video in loop to capture some poses. For level 1, I did 3 more from the 3D models provided. The dome shaped thing on top of the blowtorch was hard to draw in perspective and I wasn't able to do justice with that. Need some help with that. For the curve of the hammer, I made an intuitive guess and it doesn't look right to me in the 2nd one. For level 2, the last pose that I tried to do from a different angle doesn't look right to me and I am unable to figure out what I did wrong. Can anyone please help me find what went wrong with that?

Definitely an interesting yet challenging project. For level 1, I tried both games 1 and 3. At first, I set a timer for 1 min, to test the water. Lol, so much difference. I need some tricks for the anvil wedge in the bottom. Later on I used 2 mins for the rest, and the form of the switch of the blow torch is confusing. Tried to self-critique, Man, the proportion is off interestingly. And I don even know why is that. For lvl2, i tried to use some shape concepts that I have been studying lately to make a character looks readable. Do you think it's ok? I got a bit confused about where the limps are facing when i imagined a different angle I watched some videos of Kim Jung gi, and he mentioned that he only remembered 30-60% of each study, and the rest were just design. How do you balance that for the design and visual memory? For example, I was too focused on all the tiny details on the pipes of the blow torch, and forgot about 1 or 2 big forms. Do the tiny details actually matter for accuracy? Or simply looking good is fine? @Stan Prokopenko

For Level 1, remembering the forms was not that difficult as compared to constructing them from memory with appropriate proportions. Though I forgot many minor details, the 3D model helped me to visualise the working function of the props and thus I remembered it easily. While constructing I faced trouble mainly in drawing curves in perspective , like that of the base of the anvil. For level 2, it was too difficult for me. I struggle in getting the correct angles even while looking at the reference. So, drawing the pose from memory was quite difficult. I noticed that trying to remember the gesture of the pose by studying the reference helped. My first attempt for all Level 2 poses are completely different than the actual pose. And the rotated versions are intuitive guesses. I had no idea how to construct them.

Information for Ipad users. You can move the light in the 3D models by using 3 fingers.

Hi, I tried to break down the back part of the whistle into a cylinder and realized that I have trouble drawing a box from a cylinder. We've learned how to construct ellipses/cylinders from boxes...but I can't do the reverse, where you imagine a box based on an ellipse/cylinder. Below is my attempt - bascially, I found the minor & major axes first and then...guessed what would be the center of the box and went from there. Could anyone please tell me the right way to do this? I'm sure my cylinder and box is wrong. The back ellipse should prbly be fatter.