Hey Vince... you forgot to allow comments on your Frazetta post.

Great work, @Vincent Duncombe! And a great critique by @Jesper Axelsson! When Jesper mentioned, I took a second look at your drawing and it really reminded me of Burne Hogarth’s rendering style too. Vincent, it’s awesome to know you’re following along with Draw a Box’s lessons and getting more interested about drawing from imagination! Later on, the Anatomy course should help you a lot, but even now, seems you’re harvesting the benefits of a constructional drawing approach already. Keep going! By the way: @Irshad Karim, the creator of Draw a Box, is also here at Proko, in case you didn’t know! :) Good studies!

Great work, @Vincent Duncombe! What pops to me the most is how well constructed and nicely detailed you did all the facial features - which then leads me to notice that, indeed, it is putting them all together in the overall face structure what you might wanna focus on some more in your steps ahead. I agree with Jesper: checking the alignments and proportions at an early stage of the drawing will certainly help you keep everything nicely tied together on the face. But see if you can go beyond checking just with the reference - as Jesper suggested, try using Loomis’s (or Reilly’s) method. Either one should be helpful for you to work your drawing in a constructional way, thinking in 3D to build up the head (rather than just copy the visual relationships in the photo). Along with that, thinking in 3D should also help you figure out the spatiality of the head’s volume when you place the features on it, which is a step towards better understanding the smaller planes. As an extra tool to help understand the planes of the face, you could experiment with the Asaro Head - try googling it. Asaro’s head model breaks up the main secondary planes of the head in a very didactic way, so it could be a nice complement to the Loomis method - think of the Loomis head as the most basic, primary forms, and Asaro’s, as a structure of secondary volumes. If you can’t or don’t want to purchase a physical model (I tried and couldn’t, they won’t ship to my country 😩), I bet a 3D version of it (or at least images of the model in perspective) can be found somewhere in the Internet. But, of course, the most effective way to better understand the forms of the head is to study its realistic anatomy - bones, muscles and other parts. I know Steve Houston has an awesome series of videos about head drawing at NMA (http://www.nma.art). Also at NMA, I’ve also seen Iliya Mirochnik’s dissect all bones of the head in his very detailed Russian Academy approach to portrait drawing. Feel free to look up other resources to study from and see if you can find something helpful to you! Hope this helps! Let me know if you’d like to discuss anything further! Keep it up! 🙌🏻

Hey there, i just want to say, i have looked in your profile and from what i can see, you have an amazing talant, you have very good control over light and shadow, i hope you never stop drawing because you are clearly good at it, so ya, keep at it and have an awsome day🤩

These look really good. I don't have much critique to give. Keep up the good work! :)

Great work Vincent.

Vincent, wonderful; nice values too!

Great job, @Vincent Duncombe! As a plus to Jesper's critique, I'd just add that, since the course has no specific assignments indeed, drawing along and making your own free studies (as you are) is a pretty effective way to get the most out of the learning process. Keep up the good work!

Awesome work, @Vincent Duncombe! I've got two things to highlight: 1) The bottom plane of the jaw: try to think of it as the bottom plane of a box. I'll emphasize what Jesper already said: draw the "hidden" lines! That should help you track the perspective and the construction with more accuracy. 2) In extreme angles, the visual effects of perspective can usually get intense, then things will start to look smaller pretty fast. That's what I'd suggest for number 67: even though we know the sections of the face should be the same length so we can get correct proportions, making the farther one (nose to chin) slightly smaller will enhance how much of an extreme perspective this is. Counter-intuitively, distorting the so-called correct measurements can make the head feel visually correct when it's in such a dynamic perspective. Draw-overs attached. Hope this helps!

That's great to hear @Vincent Duncombe! These studies look very solid and very well constructed, so you're off to a good start. Looking forward to see your future ones!