Hi there, these are my submissions for this part of the project, both level 1 and 2. Maybe it's a feeling, but once I got a couple of boxes done, they just came out easily. Don't know if they are correct or not (some do seem off), I just got to a routine of knowing what to look for to get the box started. For the deformations, I think I could have exagerated some parts more to accentuate movement and tension. If anything, maybe they are accurate?

Hi there, here's my submission for this part of the project, both level 1 and 2. A fun exercice that if I had more time would have led to using references. Instead, I focused on flow, readability through the sketch lines and giving a feeling with the overall design, mostly on the last two, while drawing from imagination.

Thank you Stan. I quite like doing this exercise, it's been something that I practiced almost since the beginning on my own. This and ribbons is really important to understand movement and to teach you how to think on your construction of an object. On a side not. I haven't received a notification on this lesson and the Ginger Root people critique, was it just me?

Hi there, didn't have much time for this project, but here are my attempts. All of them are from imagination while looking at images of ginger root to try and get the feel right. The last image with the knights are inspired from the character Nightmare from the "Soul Calibur/Soul Edge" series of games, although not from a particular design of the character.

Hi there, it was another good project. Again, it really feels great to see the different lessons chiming in as you think about every poses and subjects in this project. A soft spot for the shark with its fins on its back making lovely cross-contour lines and the sea lion for its dynamic look that seems to stand out in the way I drew it. Also, the dragon was a nice exercice in trying to get the shapes working together to indicate flow through the forms, especially in a different pose and perspective.

A few done here, but more to come soon. I really appreciate how what we learned in the previous lessons (rhythms, perspective) seem to add up here almost immediately. I don't know if the result shows it here, but it feels like they combine effortlessly in this lesson.

Busy week, but had time to get a bit of practise in. Will do more and post here even after the deadline. Here, I went for: a double decker bus, a monster truck out of nowhere (with steamroll wheels, it was a mistake, but I went with it for fun) and, from the top of my head too, Axel from the Twisted Metal series of video game (the guy stuck between two wheels). Went for his Twisted Metal Black iteration where only the arms and a missile rack hold the wheels together. All quick ones except the monster truck who, coincidently, was my favorite to figure out.

Will do more than this because even with references (I have hands too), it's hard to get right.

A box warmup with a first attempt at the first image of the project.

A question, if you will. I praticed the Y trick and boxes (will do more, but I'm short on time right now) and a point is nagging me ever since I knew what three point perspective was years ago: when something is both under and above the horizon line, what do you do? I know Stan briefly touched this in the video, but I can't find an answer else that four points and curvilinear perspective. Does it mean that you must now absolutely deal with four points or you have a certain wiggle room where you can keep it at three without breaking perspective? Can you even use a point above and a point below independently from each other? Sorry if it's a question beyond the scope of the course, I was just curious and thinking constantly about this.