Thank you for the critique, and being picky about the subtleties - it really helps! I'll definitely pay more attention not to elongate the sphere early on.

Some of the impressive stuff done by my favorite artist, Todd Lockwood, is below. I recently found his articles on curvilinear perspective (https://www.muddycolors.com/2011/06/todd-lockwood-curvilinear-perspective-part-2/) that just had me thinking "Wow, there's so much more to it!" about perspective. There's some Vallejo there, too. I've also always admired artists like Scott Robertson for their take on inventing machinery and putting them masterfully into different perspective grids. Seeing his artwork always brings me back to my childhood of inventing crazy vehicles and machinery. My big picture goal is to learn to draw things in perspective from imagination and have them read well, and how perspective can be potentially be pushed and twisted to serve the narrative of the picture.

I redid 4 of them from the previous assignment and the new 20 portraits (those are numbered). After reviewing the critiques I am still a little lost on the neck angle. I just can't "see" what you are basing the angle on or what landmarks (or implied landmarks) you are referring.

Existing ones from previous assignment, and another 20 new ones.

Tried to make the house wobbly, but not sure I got it to where I wanted it to be. Still happy, though, was fun.

Hello, here is my submission

Finally caught back up with the class! When would I need to upload this assignment by to be included in feedback session?

Tried doing the color study without the color picker, it was interesting and time flew by. The imaginary bonus (dog owl in my case) was a fun experience, never done something like that and am quite pleased with what came out after ~4 hours or so. Now that I look it at as thumbnail, though, I see I could've done more with the shadows, ha!

It's been a busy week, but I managed to do 6 of these, with more to come. Very interesting (but scary, for some reason?) exercise, I especially like the atmospheric ones where there's a general hue washed over the entire shot and color relativity really becomes apparent, was very surprised with how simply going more gray can make the darker colors seem warmer or colder against other colors.

Hi Michael and everyone, I need help with the ellipse around the eyebrow ridge & ears. In the examples below from class, my attempts at the ellipses were different than the demo's (See photos attached). I understand that the demo's ellipses are the way they are because the ear is below the brows. However, my thinking is that since the top of the head is visible in both examples, we're looking down from above. And if we're looking down, shouldn't the ellipses look like the way I drew them? I think I've been able to confirm this by finding out that this model's brows are actually higher than her ears in her front & side portraits. Let me know what you think. Perhaps I'm overthinking this when the exact look of the ellipse isn't super important... On a side note, I'm not too sure about the viewer's eye level in second portrait from class, where it seems we could be looking up her even though top of head is visible. I'm thinking maybe the eye level is somewhere between the nose & chin...What do you guys think? Often in portraits, it's hard to figure out where the eye level is.