Place what exactly? The jaw/chin? from what I can tell with my own limited experience, the jaw in the left one is a bit off center. Drawing a middle axis onto your sphere might help you better understand where the middle of the face would be. Also drawing the parts of the form that you do not see might help with that, especially when you are starting out. The lines that halve the sphere ends in a 90° angle to the outline of the sphere on the left for example. That however implies to the viewer, that there is actually a 90 degree angle there, rather than the round form continuing. If you look at the sphere here: https://study.com/cimages/multimages/16/sphere_cross_section7245140437775505592.jpg you can see how the cross contour lines wrap around the sphere and do not just end in a T shape when they hit the outline of the sphere. You also seem to skip the rough sketch/underdrawing for these heads. The line quality is a bit restless, because it consists of many short lines being joined together. To be perfectly honest, a lot of this implies that your grasp on 3D shapes, representing them on a 2D piece of paper and other basics is not that firm yet and I would suggest you practice that first alongside more interesting topics like drawing heads and portraits. I am not saying this to discourage you, but to save you a lot of the headache I cause myself by taking a similar approach to yours. A few years ago, I jumped in at the deeper end of the pool and basically tried to learn how to draw by taking the figure drawing class here on Proko, because it was way more interesting than the basics like drawing straight lines and geometric shapes. I had to find out the hard way however, that I lacked the basic concepts to really learn from the figure course. I learned something, sure, but certainly not as much as I could have and I did not understand why. What really helped me to get a better grasp on 3D shapes in the end, was doing the first lesson(s) on www.drawabox.com as well as their 250 Boxes challenge. (just be vary of the texture exercises in lesson 2) Maybe taking the drawing basics course here on Proko might be an even better alternative as it begins with a better understanding of 2D shapes, line quality and other basics rather than jumping directly into the more complex 3D shapes. So in summary: I would suggest that you get more practice on the basics like line quality, loose sketches/underdrawings and 3D shapes, while also practicing the more interesting topics that actually interest you (because doing only basics is boring.) Try to keep a 50:50 ration between drawings that are fun and practicing the fundamental skills. Otherwise you risk losing the joy in drawing.

So you studied from Jamie Hewlett by using… a photo? And you managed to produce that drawing as a result? Anatomy, changed clothing, good line weight,… and you have the nerve to call this a failure? Dude, you need some advanced class, not a beginner class…

Am I the only one who sees a centaur leaning forward during a spring rather than a horse in both of these? The tip is the head, shoulders, arms going back, hands forming fists? I see that in both the reference and the study. Either way, good job capturing the energy of the lines. I like the darker areas in yours better actually.

Only slightly. You did a great job!

I would suggest that you consider varying the width of your lines regardless whether they overall are thick or thin. This goes a little into what I understand about form and it is just one approach of course: almost everything we see as „lines“ are actually cast shadows caused by creases, overlaps etc. A crease on the skin is a form change on the surface of the object. Without going into too much detail, those creases are not suddenly sticking out of the skin at a 90 degree angle but rather they start small, get deeper/higher and then fade back into a surface. The shadows they cast do the same. So by drawing a line thinner on one side, thicker in the middle and the thinner at the end again, we indicate that behaviour. This gets way more complicated the more you think about it and the more you consider (like the form the shadow is cast upon is actually distorting it. In the case of the rhino, the rounded body, the position of the light, the size of the wrinkles/creases/forms we see all affect the line width and when any of these parameter changes, like a bent surface that changes the direction it faces, the line weight changes as well, etc.). Honestly it drove me insane when I got to the exercise covering this topic over at drawabox (lesson 2, texture exercise) and I have certainly not mastered it, so I won‘t go into details here. Bottom line: having your lines always be one consistent width can look constructed and mathematical. Changing the line width often looks more natural especially on organic things. (And as I said: just the way I think about it). Depending on what you are going for I am sure there are also styles that can pull of line weights that are consistent throughout

Really starting to think I am going about this wrong… Maybe I should do thumbnails like Stan did. with the shoes rather than copying 1:1 pictures. That would take away some pressure to get proportions right and also force me to understand the logic of the lines rather than focussing on getting them as identical to the original as possible. Also just using .5mm markers might be detrimental here 🤔

Well, everybody has different goals. As I learn more and more, I find that both, drawing from observation and imagination have a quite a big overlap in what you need to be able to do. As an example, I'd claim it is benefitial to both approaches to understand how to draw and rotate shapes in 3D space. It is hard to put into words why, but when I took a drawing class back in university they basically taught us only observational drawing. We used our pencils to measure out proportions, angles and so on to replicate what we saw on the page. The problem with that approach was however, that you could ONLY draw what you see in front of you and if even one of these measurements was slightly off your whole image got skewed because we lacked the understanding of how drawing shape in perspective works. As a result we were essentially slaves to our reference, unable to adjust anything we did not see in front of us. By understanding how to draw shapes in perspectives, mistakes like slightly wrong measurements can be corrected more easily and the whole image will look way more plastic and real than it would without this understanding. While drawing from imagination may not be everybody's goal, the techniques involved also help with improving observational drawing and will ultimately give you more freedom, even if you chose to draw from observation. I doubt that AI played that much a role in it given that the best observational drawing device is a camera and that existed for over a hundred years by now. Replicating something with 100% accuracy in a drawing may be impressive, but there are easier ways to achieve that nowadays. Of course that doesn't make it wrong to do it anyways, but you may find that it is not as impressive as it initially feels halfway through learning how to get there., What I did argue in the previous lesson was, that it is too soon for most people to start drawing from imagination at this point, because I had bad experiences with drawing classes that made such leaps in the past, but as Stan pointed out, that is what the level 1&2 system is for.

Very nice job on the simplification.

Very nice results. So nice in fact that I wonder what made you chose to take this course? Your skill seems to be way beyond what is being taught here.

Although those look nice, you pretty much seem to have ignored the instructions about using CSI lines and instead used many short scratchy lines to find the outline, then drew over those lines with a thicker line to better define which lines are "final". The result looks great and you demonstrated the ability to draw and freely move an animal from imagination, you did not however do it in the way that was demanded in the assignment (aka use only simplified CSI lines executed in one swift stroke to simplify the overall shape). I don't mean to discredit your work. You did a great job, but maybe try one more page with the technique explained in the last two videos?

I like that the microphone has a skull as well :D