Level 1 -- I would love to hear feedback from anyone. For the first image, I did the top 3 and bottom center (the bigger one) by painting them out. The rest on that image were then copied and altered to see how I could adjust the composition. I found myself mostly just changing the background and the mouth a bit. For the second image, I tried to be a little bit more organized since I did the first round. This time, I did my 5 thumbnails, picked my favorite 3, and then started adjusting them like I did the first time round. This time, I tried to push myself by simplifying the shapes even further, changing the background, and other minor adjustments. This was pretty tough but I think I managed to "let go" per se the second time around and throw things down on the canvas a lot quicker to see what works and what didn't. Another thing I noticed was that using more decisive shapes with less fluff in them meant I could more easily go back with the magic wand tool and quickly change the tone of the more defined pieces. I could definitely see myself taking advantage of that more often during the planning phase of a piece going forward.

Could someone give me some feedback on these digital studies? I think I did the boat / Sargent / Leffel studies a bit wrong (I kept the 3 values but I don't think I broke it down properly -- I was basically just observing and drawing what I saw.). For the Rembrandt, I first sketched in the rough proportions, then tried to break down the shapes in the middle picture, and then I went back and tried to refine that. I think my proportions ended up being a bit off. How could I have executed this better? I think I'll give it another go and try to match the value of the shadows of the coat to the shadows on the head. Maybe I should also do that for the red part of the shirt and the things he is holding too?

This was challenging but, really fun! Please let me know what you think. I think I lost some structure as I added details but, I still like the end product.

My first attempt at level 2. I made a ton of proportions (and a few anatomy) mistakes here, I don't think I accurately captured the likeness of the reference (photo #13), but I think it looks cohesive and believable enough at a glance. I'll try another one and see how it goes.

The first image is me just cleaning up the image and trying to apply some of those previous lessons we learned across the course. Image 2 has the vanishing point and how I constructed everything. Image 3 is my thumbnails for deciding what I wanted to do and some problem solving too. I should really try to do a vanishing point off the page. I can't quite put my finger on it but I feel like my work is boring. If anyone has any feedback I'd appreciate it.

Just tried to understand the perspective in a geometric way but I believe I got confused and over did it and the image looks flat. Any ideas how to better interpret this image?

Attempt 1 before the demos. I'd love feedback if anyone has any for me! 1.) I started with the top left figure. I didn't start as loose with this one so I think it feels a bit stiff, but I got my proportions pretty good and I think the actual flow and shapes look nice. 2.) Next I did the left pose with the head measurements. Not quite warmed up yet still. I messed up the angle of the pose and I think there are some anatomical issues. However, I think I did a decent job salvaging the pose and the rhythm lines. 3.) The lady sitting in the middle was next. This was a bit more gesture-y and I think I did a decent job here. I also started to play with rhythms in the face and I discovered that that also kind of works! At least for this attempt. I went back and tried it on some of the other faces and I think it helps. 4.) I did the top right DIO pose. I kept this one loose and sketchy to try to capture the energy and time myself. I think that was a 1-2 minute job and I think I got the rhythms and pose down, but I wasn't quite sure how the anatomy works on his back left leg. 5.) Finished up with the bottom right. I spent a bit more time on this one and I'm very happy with how the rhythms and proportions turned out. I cleaned it up a bit just to experiment with the magic wand.

I think drawing is fun and rewarding, but I also want to make video games so having this skill will help with concept sketches, storyboarding, etc. for the various pipelines. Painting will also be great for that purpose too!

I think the simple answer to your questions would 1.) yes, use the CSI lines. 2.) Add line weight as you go during the sketch phase and later on too. I am going to give you a much longer answer now. I think the point of the Master Line study project is to see how the artist you are studying used their lines throughout the entire composition, n a specific or concentrated area, or both. Keep in mind, the artist who produced a particular piece may have a different process to complete their work than another artist may have. Someone like Peter Han or Karl Kopinski may not need to go through a sketch phase because they have tons of experience, techniques, problem solving skills, intuitive understanding, and other skills that enable them to do so. In fact, Proko has a great video on YouTube with Peter Han on building your ability to draw from imagination. I suggest you watch it because it gives great insight into the sort of skills someone like the possesses. The reason I bring that up is because they may have a more intuitive control of line weight than a beginner or intermediate students, or even professionals, might have. Ultimately, in this project, I think you want to pay attention to these things: 1.) How the negative space is used 2.) The flow and energy of the lines 3.) The line tapering 4.) All the various line qualities they may possess and how the artist uses them, blends them together, or chooses to use them in a composition (remember, that's the thin to thick, hard to soft, etc. stuff) 5.) How much detail is used in specific areas (Stuff farther from the camera "could" use lighter line weight or have less detail) 6.) How cross-hatching or lines may follow the form I could go on, but I think you might get the general idea. The important part is that you aren't just mindlessly trying to draw each line and instead trying to see the effect each line brings together. The other half of this is you asking yourself why an artist might choose to make a line the way it is. For example, a thick and dark line might help separate one part of something's form for another, or indicate it is holding a lot of weight. So, I think that is more in the ballpark of what you should try to accomplish when doing the master line studies. I still think that means you should draw the piece of work you are studying, but you should try to remain goal oriented and mindful of the reasoning behind their decision that you can make out and what effect the lines produce. Lastly, I would recommend starting by sketching the big shapes, then go in and do the medium shapes, and the the small shapes so you can get your proportions right ahead of time. I hope this helps. Good luck, and keep at it. You too can become as good as the great masters :)

Attempt from imagination. Any critique or feedback is welcome! In particular, I feel like my usage of creasing isn't as strong as it could be. Lmk and thank you!