Level 2 assignment. Drew a lot of lineweight-inspiration from the Youtube channel "Can I Learn To Draw?", I love his boxes and mannequins! From pose 12 and onwards I also drew inspiration from Patrick Bosworth's post below. More structural boxes for the pelvis and torso and a softer "inbetween".

To me, this level two assignment was the most challenging in the course so far. Had a really hard time simplifying shapes (both structural and organic) to mix and merge in an interesting way. I feel as though my final result is a fairly "boxy" house, just placed in a tree. I'm still fairly happy with the final outcome, but mainly thanks to the rendering (which wasn't the point of this exercise). Onwards to the next project, can't be stuck here forever!

I guess this is a wizard's house? I think it has wizard energy. Tried to mix up my line weight, I think some works, some doesn't. Not sure my twisty building is *quite* right? But also I'm not going to beat myself up, there are aspects I do like! Edit to add: definitely took some cues from Axel Gyllenstierna's project below, awesome work! So if you see this Axel, thank you!

If anyone has an idea about what's going on in the scene, please let me know, because I have no idea... I’ve reached the chapter "Intuitive Perspective" in the course. It’s fun to return to the "Line Master Studies" because it’s easier to understand why the artist made certain choices. In the latest project, I did another study of one of Rembert Montald’s works. Main takeaways were: 1. He uses simple geometric shapes as the foundation for everything. 2. The shapes "overlap" with each other. For example, the left woman’s leg shows a lot of foreshortening. 3. Wrinkles in the skin and compression in fabric add a lot of character to the drawing. 4. He uses several shading techniques, including smudging the ink with saliva. It’s visually interesting to mix different techniques - both in line, form, and value. 5. Montald uses centerlines and sidelines to clarify forms, such as on the sides and front of the dress and the seated figure’s clothing. 6. He simplifies shapes while keeping them interesting—for example, the hands. Almost no forms are symmetrical.

So many beans! This was a useful exercise, but somewhat repetitive. I've had the chance to use the technique in two live drawing sessions, to mixed effect. I find it difficult to attach the limbs and head in an elegant manner while still thinking "bean". Arranged in order from top left to bottom right. I think I made a subtle improvement towards the final session. Time to move on to the next chapter. Looking forward to the rest of the course!

Had a rough time getting into this. However, I found great inspiration from previous student projects below and finally got in the zone and enjoyed the process. Took inspiration from Franklin Booth and Bernie Wrightson for the clouds, simple yet effective! I could've made the buildings more gestural, might give it another go before moving on to the treehouse.

For my ginger root characters, I also wanted to practice placing them within the same environment. It was a challenging task, but thanks to our previous lessons in perspective, it wasn’t impossible! I struggled a bit with the character closest to the 'camera' - I had to redo his legs a few times to account for the foreshortening. Thankful for any critique!

Shapes on the second one seem a bit too boring

Level 2 forms. I find it hard to separate the foreground and the background with proper spacing of the CC-lines. Would appreciate feedback on how to do that better and, if possible, examples!

Level 1 gingers! Fun exercise, I experimented with which pencils would look the best, settled for ink pen, it popped the most. Underlying layer with red pencil.