Can you spot my awkward sink? 😆 had fun doing this assignment. I got a little lost when adding the legs to the tables. Not sure how they line up to the table top, probably over thinking this.

Wonderful lesson! Would love to eventually see how you find the rhythm for animal gestures. I tend to get lost in the fur. Understanding that you are coming to the drawing with some "presets" helps tremendously.

So i had a question. Recently I have been only having a lot of time for just the practice content. For someone who wants to get better at drawing, is just practicing the lessons for my only time in my schedule for practice going to help? Or should i alternate days where i draw something i see or something I like?

"Drawing is part what you see, part what you know and part what you wish you saw." Very well said!

So basically we're not trying to copy it exactly, but trying to think about it abstractly how they drew the line? And if we get as close as possible to their drawing that is bonus points?

Master studies from Sorie Kim, Marco Mazzoni, Eliza Ivanova and David Colman. Was an interesting challenge to focus on the line aspect when looking for artists. I feel like what I am attracted to almost contradicts each other. For example, I love the bold line quality from Sorie Kim but I adore the loose, gestural quality from Marco and Eliza. So I guess the challenge lies in marrying the two? Was very excited when doing the studies and I could see why the artists used what line where.

First Rhino is light and shadow priority and second being hierarchy of importance. With the flowers, I focused more on the lighting and with the Hares, I tried to make the center hare look most important. Aside from the obvious shadow lines, I struggle with knowing where else to place a thicker line weight. Normally, my images can get extremely busy fast. On the other hand, I am not sure I use enough shadow lines? My brain is still learning how to "see".

Thank you for this video and the very clear explanations. I think I understand all the individual rules for line weights, but I struggle when I try to combine different sets of rules when drawing. For example: a cube sitting on the ground. Everything thick for the outlines: okay - but then it fights an ambient occlusion approach, that would tell me to make a thin or no line at all at the edge "touching" the ground. I tried to reverse engineer the rules of how other artists solve this, but I never got any universal solution out of it. Any ideas?

Whether its pretty picture, or practices lines, my sketchbook will take all marks! :) This is oddly nostalgic, as I did some DrawABox Lesson and there is some cross over exercise (only more fineliner). But that was a LOOOONNNNGGG time ago and I tossed most of my practice sheets. Pity.

Hey guys, I tried my hand at the level 2 assignment. My daughter wanted to get a dumbo - octopus to color it, so I settled on it. I attached a clean lineart out of habbit, but the assignment probably asked more for something in the lines of the page with the 2 designs. Hope you like it.