I have a feeling you’re a perfectionist like me so you’re in danger of digging yourself in the same hole I dug myself in not too long ago - which is trying to perfect the characteristic-ness of a subject too early (in my case I was 6 months into art and a lot worse). Studies are not meant to look perfect and it’s going to take mileage between understanding something and being able to reproduce it where it completely feels like that person. It already looks much better than the previous. There’s benefit in moving on to the next one than redoing the same thing again and again because your skills won’t change very much in a day or two and there’s only so far you can take something with how your brain sees today. Unless you’re using plumb lines and take many hours to push accuracy to the max…which can be worth it for a finished work ̶o̶r̶ ̶i̶f̶ ̶i̶t̶’̶s̶ ̶V̶i̶k̶t̶o̶r̶ ̶a̶r̶c̶a̶n̶e, it will look a bit different. My recommendation is to stop caring about likeness right now and instead create a simplified head/face mask system that you can reliably trace on top of any face anywhere quickly. This will help you see how shapes change with perspective which is a key part leading to achieving likeness. You know the system, so it’s time to break all the rules and make stuff up. Mine consists of bony landmarks, Michael hampton’s landmarks/shapes (especially the eye area - there are some really bad versions out there for the eye area), a couple of Reilly rhythms (I only like two so I scrapped the rest), ONE single loomis measurement because I can only take loomis proportions in small doses >.> and some other divisions that are mine but I like them because it splits the front of the face planes from the side planes in all four directions. And lastly, the Asaro head a huge staple, (there’s an amazing model on sketchfab that you can rotate). Then, imagine it’s the Elden Ring face slider and you’re moving the controls randomly.Some things will work and some won’t. Put the eyes too low or too high, change shapes, don’t worry about likeness or rules. For example, I found that the jaw angle always looks amateur if it’s 90 degrees or less. But break the rules any other way and it can add character. Having less than an eye distance between them looks terrible but pushing them too high can feel regal (and is a personal preference of mine despite being told that they have to be in the centre). They’re definitely not in the centre in the superhero from imagination I tried quickly below. And I’m willing to bet that other head has the eyeballs in the wrong place XD but it’s good enough for me now compared to the travesties I used to make. Once you get more comfortable with the same system you’ll notice things begin to slide in a little better too. I used to care about eyeball size in perspective underneath the lids, now I just care they’re in the eye socket somewhere. If it doesn’t feel right I shift them. I know they’re too wide apart sometimes, but that will even out with time xD

See?! It looks so deceptively easy. I used the word “relaxing” when I started it 😆 Here are some tricks I found way too late: - lay out the all encompassing container and divide it first. My proportions are off because I realized way too late many divisions are neat units and I can use diagonals and squares to divide. - try working from the back towards the front of the viewer otherwise it might get difficult when everything in the front covers the back with lots of lines - different colors help a lot keeping things situated - drawing a vp grid very lightly on a loose light sketch at first from intuition slanting lines more and more on mindless setting can make things a lot easier because you’ll be matching and correcting these lines when you’re in the thick of it. I usually try both ways. If digital and the grid is accurate, I make the grid invisible then try on my own and switch it on to see how off I was. all in all these look great for no VPs!

YAY

Lin, Any turn you like, any angle you like, at any degree. The 30° or 45° positions are for convenience because they are familiar. If you venture into very forshortened positions, you create new challenges, so take them up as you need new challenges.

I am currently doing his head course and have his figure course in the queue (while doing Marshall’s perspective class) but every single notification I get about this is so enticing. XD I think I might cave and just get it even if I can’t do 3 at once efficiently.

Human faces are hard because tiny differences look much bigger than they should. It’s very close imo, just a little longer and thinner than the photo. (Forgive me for using round rhythms, as I’m only now reaching this section of the lessons)

Nice studies!