I chose two that artists that had very distinct and different line styling. The first was Frank Franzetta. I found a reference image where it looked like he was experimenting with different lines and it was a great study. Copying his phrenetic style on the tigers was a leap of faith. Somehow it worked out. The study of the leg was difficult. It took a lot of practice to get the lines down, but I like the effect. The second artist is Jean "Moebius" Giraud. I love his blend of sci-fi and fantasy and how organic his work looks. The patterns of his lines are interesting.

Here is this study I did from Karl Kopinski (blue one is the original). I tried to replicate the looseness of his lines. I think it's quite impressive how he manages to put so much in his drawing with loose lines while managing to make it make sense. Like you get the idea he had in his mind for this futuristic character. I realized i could kinda replicate the line work if i didn't lift the pen from the paper while drawing shapes so that's what i tried. Also i tried making the line weight heavier to indicate where a big shape was.

Tried to do a master study of a piece by Joe Benitez. Felt very daunting at first and had to attempt it three times until I locked down proportions to some extent. My lineweight work is a little messy due to focusing on the proportions too much. I tried my best to interpret the line thickness, however it feels quite random. He uses what I can only interpret as a line weight that is used to depict shadows and light in specific areas, and then thickness in front of overlapping objects to depict some depth. Will probably perform another master study since I didn't feel like I got a lot out of this, hopefully one that's less complicated because this took forever, lol.

side question, is there a name for the technique where u hatch w different directions to create something like what Luke Eidenschink does? I’d love to see some others’ work in that vein

Attempted the study on Glen Keane's work. Tried to go with the rough and loose, confident strokes & it was quite intimidating. Also, with the texture of paper, it was kinda hard to replicate the lines, but I think I did the job. Anyways, feel free to express any critiques on this one.

Taking a break from drawing roosters, hippos and buffalos! Gave Robert Montald a go today. Trying ballpoint pen was a lot of fun. There were several interesting lessons to be had from copying his lines. My main takeaways were: 1. His shadows often go in a direction from the light source (not as much following form, I think). 2. He uses smaller lines to indicate form (the short ones on the arms). First I thought this was to show the texture of the jacket. However, I later found the same lines going over skin in other drawings. 3. He has fantastic control over tension in fabrics. It looks as if he draws lines towards points of tension (eg a button) and then fills out shadows between the lines. I enjoyed the tension in the shirt as opposed to the loose suit pants. 4. Montald has great knowledge of anatomy. Same as any other master I enjoy copying. I came to think of this because he indicates the extensor tendons on the back of the hand. Also, he has fantastic sense of gesture! Any critique is most welcome!

Ok so, I worked on a sketch from Charles Ouvrard, a French artist I follow on instagram because they worked with Fortiche on Arcane. First image is the artist’s original sketch (post: https://www.instagram.com/p/CygTTucK7T1/?igsh=MXhxOGppMWNyNGV6Mw== ) Second one is the rough sketch I did to outline the main shapes (I like to do it with a white brush because it makes me don’t focus that much on details, and more on the big picture, but I inversed it here for readability). Third one is my final study. it was a truly amazing exercise, when you zoom in on a skilled artist’s work, you really get to see how intentional and fluid each of their lines are. In contrast, mine are more sloppy, less confident. i am gonna follow up with more studies from other artists, but yeah, i really liked this project,

I love the ease of Glen Keane's style, but oof it's a challenge for a newbie that doesn't have the control or confidence to make these sweeping lines that requires a confident and fast motion. Regardless, it's fun to try and experiment with techniques! I feel like I lost the spirit of Keane's fluidity and line quality in the one of Rapunzel (I think?) and got caught up in trying to make it look good, but recognizing that is part of the process I suppose. I loved this assignment.

I went with Junji Ito. He's probably best known for his horror graphic novel Uzumaki. Since I have a thing for faces (also his more complex pages would have been too much), I picked two characters - Azaki from Uzumaki and Yoshiko from his adaptation of No Longer Human. Ito has an interesting way of increasing the chaos of his lines with increasing horror. If you zoom in into Azaki's jawline you can see how the little hatch-lines go across the jawline - it sort of breaks the edges. It was really hard to follow along how to do the wavy lines inside the spiral - that's where most of the chaos resides. Another thing is that when things go off rails, he changes how people's faces look by shading and lines. I compared Yoshiko's face in the beginning of her meeting Yozo - everything minimal, clean lines, no strong shadows. You can also notice that there are chopped lines used to reduce line weight. After Yoshiko has been driven mad - her hair gets frazzled and the chaotic shadows appear. Had issues trying to do this with pencil (6H and 4B) instead of ink. The white highlight strands on Yoshiko's hair really needed some white ink / paint marker instead.

This is my first try using a drawing by Kathe Kolwitz. I had some problems trying to translate all the shading to lines. I love her drawings so will try some more

Here’s my master study for Oleg Yurkov. Could keep going on it but already spent a couple of hours on this and previously spent time reproducing some of his loose warm up sketches. Think I’ve got the idea down and eager to move on to shapes.

Would love any critique! These are a lot of fun to do! Its an easy assignment to fall back on when not feeling very creative. References included. I kept going with the De La Torre studies after watching Stan's demo. I did the Old Hun in his entirety as well as a Viking study. Found it hard to work with graphite so I wanted to try with ink which worked much better. Main takeaways were: 1. Separate your lines. Spacing the lines can really alter the perceived value. - I could've improved this in the Hun and did a better job with it with the Vikings. 2. Use lines that go with (and imply) the underlying form. This was a reoccurring theme in both De La Torre's and Watts's works. - I could've thought about this more in the Hun.

I tried master study from Glen Keane.

This was another line study I did, I saw this sketch from Oleg Yurkov and I really liked the lines when I dug into it. I didn’t do the background cause that felt like a lot but the entire piece is interesting. Line hierarchy - making the lines thicker or making them darker to separate certain forms while making the inner lines lighter and thinner, generally speaking Light&shadow - the light seems to be coming from the upper left Diminution - the background is fainter, blurrier and lighter. Really like this piece and I think this is a good artwork to do a master study of.

After doing a couple of Jeff Watts studies I wanted to do an original (with a reference image) but with "Jeff Lines" as Proko calls them. I am fairly happy with the end result, though I think I could've had more line variation and some crisper edges to make it pop a bit more.

I tried to capture variety of lines, most of them I suppose represent light and edges some maybe were a stylistic choice not sure. Hope I'll be able to see more in future

Roberto de la Torre study. Seems that sometimes the best way to draw a line in a specific place is to not do it all or to only draw a part of it.

I did a master study of Peter Han. I had a lot of fun with these. I also tried doing some in colour as well.

This project just made me appreciate Karl Kopinski even more. Studying this opened my eyes to how in control he is. Trying to emulate the taper and organic feel of his lines made me realize just how NOT in control of my lines I really am, and how much I need to study and practice. Tried to do some self-critique as well. I realized after watching a like 25 of his Reels that he definitely doesn't always start with the eyes. Looking forward to more studies like this!

elegi a Eliza ivanova, siento que me faltaron cosas por comprender asi que continuare estudiando sus dibujos.