Nice work applying all the tips! The distinction between all the value groups reads clearly and the crosshatching adds dimension to the planes.

Kudos to you for following through! I know it can be quite challenging to get through all the levels, especially as they get more complex. Something quick to note though would be to keep an eye out for the more saturated colors -- these can throw people off a bit, as they appear darker than we would think when converted to grayscale. The green scarf and the red background in the middle Level 2 picture and the clothing in the middle Level 3 picture serve as examples for this. Hope this helps, keep up the good work!

Looks pretty good! I'd suggest easing the harsher dark crevice areas into the soft, lighter shadows, so it's more evenly distributed out. Also, in case you want to try this assignment out again, under the Assignments tab in the Examples section, you can find more images to use as reference, or you can use your own images -- sculptures, figurines, simple 3D models have worked well in my experience.

Loved seeing your different approaches to this assignment -- great improvement and lots of creativity!

It seems like you're on the right track! Just how we originally plot in a square for an ellipse, you can think of a box being extruded in the same position for the cylinder. Plot the marks used for the ellipse on both the front and back planes of the box, then connect them together.

I think you have some good improvement between your first and most recent attempt. With the headlights in the first attempt, something that helps to think about is the simple version of the cylinder you are trying to draw, so a basic box shape. This helps orient as to which direction the extrusion would go to show the thickness in the right direction. Aside from that, what may be giving the 'warped' look to the ellipses are the slight changes to the square guidelines. In the last attempt, the front wheel closest to us is slightly elongated vertically, while the front wheel furthest away from us is slightly elongated horizontally, and next to each other the small changes can cause it to appear distorted overall. Keeping an eye out for these incremental changes, double checking their alignment during the guideline phase, can help steer you closer -- keep at it!

There is a slight change in angle in their position along that horizontal axis that would affect how their eyes align. But also, if we think about the face even simpler, like an egg shape, we can note that as it turns, the eye furthest away from us reaches a point where it has to turn back down to follow the circular trajectory. That's how I understand it, at least. Hope this helps!

Good practice! Watch that when you have a box facing towards a particular direction, such as going downwards or to the side, the lines follow that direction and converge (or get closer together) towards that direction. A sign to look for is what side you see of the box, for example, in #1, you can see the top of the box a fair amount, letting us know that the box will be heading downwards and the lines in the vertical axis will get closer together. It can appear rather subtle here, because the perspective is not extreme, but that small change will make the perspective seem believable.

Looking good on your angles! Just watch out for the tendency to make the faces of the box too equal, where they almost look like square cubes. Think more of rectangular prism, with the face appearing long vertically and shorter horizontally.

Yeah, getting in straight lines can certainly pose a challenge, especially for something more precise like this perspective lay-in. I recommend continuing the warm-ups from earlier to help develop this skill Warmups to Improve Line Quality, but also, the Ghosting exercise -- where you place the start and end points as dots on the page, then practice the motion hovering over the page, before going for the final, confident stroke on the page -- can definitely be used in this drawing, too. It just takes some practice, keep at it! :)

Solid work :)

Something that can help is trying out a simplified, long rhythm line for one side of the section you are drawing (for example, an arm, leg, or torso). Afterwards, you can place in the other side, using more complex lines to solidify the placement of proportions. This can help get a sense of balance between the long and fluid, and the proportionate and more complex. Also, I see this already improving throughout your drawings, but to develop more control with a new medium, I recommend going back to more basic exercises to ease the transition Warmups to Improve Line Quality, Warmup - Mushrooms. And my go-to charcoal pencil is the Conté a Paris 1710 B :)

Love the fluidity in these! Something to look at next is introducing variety into the types of curves you utilize. While the curves you have already start a nice fluidity, this can be made more dynamic by finding different points to peak the top of the curve at, instead of defaulting to an open, C-like curve with the peak in the middle. It's another tool you can play around with to push and pull the shape. Have fun with it! :)

It seems like the ear was too high up and inwards, which may have shifted the placement of the eyes and jaw if their measurements were based on the ear's placement. It's always good to double check against different points when placing a feature. Like how you measured the ear being at the same level of the brow ridge on the outside, this same line can also be used to note that the top eyelid closest to the ear is also at that level. Your accuracy is getting pretty close though, keep at it! :)

Woah, awesome way to push the shape design!

Looking great! I love the variety explored in these designs.

Good start! This drawing you chose has such a nice subtlety in line work variety, while still conveying change according to Hierarchy of Importance and Light & Shadow. I think you are capturing areas of shadow through line weight, but also keep in mind how it's used for importance. You can spot this in the outlines for the major sections, such as the heavier outer lines for the pants or the shirt, with the details inside appearing thinner. Hope this helps!

Great source to study! I would recommend aiming for a softer/thinner taper as you reach the areas with lighter line weight. It helps to think about the areas that have the thicker line weight and the purpose behind this -- usually this emphasizes the weight and heaviness of the flour sack or a thick fold as it twists and turns. By keeping the thick line weight to these specific uses, it keeps the line emphasis noticeable and dynamic.

Hey there! While you could go for a greater variety in line weight, I think the range you currently have is enough to make a distinction between heavy and light weight -- so it's really up to you stylistically. Assuming this is for Light & Shadow, I think the effect of the light could be more clear. The light line weight's placement indicates most of the light hitting the side of the face, but more light should also be hitting the rhino's flank side and shoulder. The darker weight used for the areas break up the illusion of the unified light, so I would suggest lightening that area. It would also help to reinforce the outline of the rhino on the opposite side hit by shadow, as this is also a uniform area with a mass of darker value. Hope this helps! :)

If you feel less confident with digital, you can try out some exercises from earlier, like Warmups to Improve Line Quality, Warmup - Mushrooms, or even the first project Project - Simplify from Observation, to get your hand more used to the new drawing environment. It usually takes some time to readjust whenever switching mediums, especially traditional to digital, so more basic exercises are a perfect way to ease into it.