The first 2 studies are the skulls from Jeff watts. The third is from Kentaro Miura.

I went from a Miyazaki classic straight out of the ending titles of Porco Rosso

It was really hard for me to choose an artist who uses lines, because my current references specialize in rendering :') So it took me two days to find someone that I like and is close to what I want. This person is Hicham Habchi. His lines are amazing and in my study, I have noticed that he greatly emphasizes the character's eyes and their expressions. So I focused on studying how he makes faces and what his lines are like depending on which areas of the face. It was fun and I completely left my comfort zone with a style very different from mine. Here is his profile -> https://www.artstation.com/hichamhabchi1

I chose Eliza Ivanova for my master study. @eleeza https://www.instagram.com/p/CzrIQYpvXds/?hl=en

Was a really hard project for me. Didn't want to start because i knew i was gonna struggle a lot because of perfectionism. And i did in fact struggle. Deleted 2 drawings in the process because how unsatisfied i was from the result. And generally took so much time with drawings because was concentrating on things that don't matter, the things i haven't learned yet. Still came up with something. Any critique will be appreciated. credits:https://www.instagram.com/p/DBT8vxcCAAX/?igsh=YXVoaGNkbnZiZXQ2 paolo_gaspare

This is the first thing I've felt compelled to post since the course isn't active, but it just came out so dang cute. I wish I had picked a different sketchbook to do it in since the paper bleeds a little when using ink. Refernce is here: https://www.drseussart.com/illustration-art/horton-60th-anniversary-edition

I did a master study of manga artist Yusuke Murata. I know that some of the line weight isn't the best, but it was my first proper attempt. Plus it was pretty difficult trying to replicate this drawing with accurate proportions.

some peter han studies. i in this drawing, i really liked the fur, the cloth, and the way the lines on the skin show some muscle definition and even what i think might be contour. i'll come back to doing rafael later but taking a break for now

While looking for masters that lines really standout for me, I landed on Peter Han. His drawings are the ones that I can stare for hours This was already pretty overwhelming so I took the advice from Stan's video to focus on parts of the drawings rather than the whole thing. In retrospective - I wasn't ready for this at all. I have never gone through a study so it was hard to try to focus on trying to imitate how some of the lines "feel" rather than just copying the drawing. There are a A LOT of taper lines in this drawing, plus a complex line hierarchy. I couldn't come close to it at all but it was fun and a good experience. This took probably around 2-3 hours - yes I am slow :( I will probably re visit this and do more studies from this drawing but I want to watch the demo so I have a reference for how to approach a study.

Since I took so long to finish the other master study I did, I decided to push myself and do one more by another artist before I move on to the next lesson. Here's another master study I did of one of my favourite artist, Loish.

I tried so hard to not shade anything in but it would look so much better if I did. Maybe I chose a bad piece for this assignment. It was so much fun to draw something I love so much. I didn't quite know where to change my lines so I focused on darkening and thickening the lines where the shadows where. Any advice is welcome. Based on Greg Rutkowski's Dragon Sketch.

I wanted to study three artists: Kentaro Miura, Junji Ito, and Yoji Shinkawa. For Miura, I wanted to learn line hatching and perceived texture, so I copied a panel from *Berserk*(First image). For Ito, I wanted to learn his use of value through screen tones and grays, so I recreated Kirie Goshima and tried to follow his manga values from *Uzumaki*. Finally, Shinkawa has an amazing use of shadow shapes that break contour. For these studies, I first copied an illustration he did of Venom Snake. I then used the same process in an illustration of my own using Quiet (another character from the same game). Overall, this took a lot of time, and I feel that even though it took months, it was worth it. When I first started, I made sure to collect a lot of references from each of them and tried my best to identify why I liked their work so much. It is amazing to me how, in most of the work I saw, the pieces were mainly grayscale. I hope to one day be able to create extremely strong pieces before I get to the rendering stages; that would feel so much better than what I am currently doing. In my work now, I feel like it does not feel complete unless I go full color with intricate values using light and texture.

Did my first two from Glen Keane. Happier with Pocahontas than Ariel, who ended up vertically stretched and a bit off in the face. The bigger problem is, while I can carefully construct something that's reasonably close, doing it so slowly and bit by bit makes me feel like I'm missing out on what actually drew me to Keane in the first place, even if I am managing to pick up some things about line weight organization and general observation and whatnot. Trying to emulate his confidence just goes so wrong that it feels pointless, especially working in analog at this small size, going back and forth with the eraser ... for now I'll probably end up picking someone else when I do more studies. Could also go for simply tracing his work instead to take some of the work off my plate, I suppose, trying only to get better lines down without hesitation until I'm more comfortable with it. Forgetting about resemblance would probably make the results look too demoralizing even for exercises.

Proportions are totally off and it was really frustrating because there is a drawing to compare the mistakes. Did not spend too much time in the pencil drawing as I should have. I guess i have to do a couple more of these but will try other artist. Any good suggestions that Proko did not mention in the assignment?

I just finished the first go at this assignment. It was so tough. I don't know even if the subject I picked is good to study lines. Of course, I struggled with getting the perspective and proportions right. Also, the value of the colors was always in the way to analyze the hatching.

My master studies

This is an assignment from the online course I am taking from Watts. This is the first 30 minute master study. Needless to say it took me roughly 4 hours. Working on proportions and patience. Critiques are appreciated.

Ok, so I was unhappy with my Michelangelo study... so I tried a Mucha. There's a thousand things to fix, but I learned a lot from the observation.

Here's my actual attempts at this with Michelangelo. I first went with some line practice (only some shown here) where I tried to figure out what kind of pencil would work best - I eventually went with a 4B that was really well worn. Then I did a couple of thumbnails of the ear and the face just to get a feel of it. After that, I did a full head. I think my thumbnails caught some aspects of the line better than the full size one. Also, while I was doing the drawing, I found that holding the pencil a bit more like a paintbrush helped in some cases. Once I get to the tone and value section...I will have to really practice up.

On my first try, I got by butt kicked by this exercise. I tried an Eliza Ivanova drawing. What a mess I made of it. Then I watched a couple videos of her drawing and I realized that my innate knowledge of the human form and my eye-hand control over the pencil just isn't there yet. But, I studied her lines a lot, in the future I want to try again. The second time, again I think I overreached... I went with Michelangelo. :( It wasn't all for nothing. Actually I (re)learned something that I had not thought about since art history in Uni: Michelangelo's human forms were almost completely without straight lines. Unlike modern artists (Leyendecker, Malan and Eliza Ivanova for ex.) who use curves and straights to define form, Michelangelo used almost exclusively curved lines (at least in the samples that I referred to). Another thing that made me feel a little better every time I botched a line or a drawing was that - at least in his sketches - Michelangelo erased and re-drew, and sometimes just drew OVER some previous lines. In the gorgeous head study example below, the blue lines show erasure marks, and the red arrow shows a curious double pupil where Mich decided to switch his model's gaze. Maybe someday my mistakes will look that good.