I keep restarting this challenge because I never seem to find time to draw! It is no prioritised in the calendar so I get on with it! Well done everyone who has achieved a daily practice.

I started this course last year and probably made it about half way through. But then life got busy and my drawing practice took a back seat. Started again from the beginning for a refresher and redrew the snail and the boots. I found the shape of the snail shell difficult to keep simple and those laces! I invented some of my own as I found them difficult to follow. Any feedback would be greatly appreciated.

Here is my first attempt with the project. I was having a lot of trouble getting a straight line across the full page for the snail.

Looking forward to starting! I began my art journey when I retired. I've found the Proko courses and YT freebies to be so helpful. My intent is toward fine art and illustration although I have a long journey ahead of me. I see others, too, are influenced by Jean Girard (Moebius), M.C. Escher, Thomas Schaller. I'm adding: 1 Frank Frazetta; 2 Jeremy Mann; 3 L.S. Lowry; 4 Maxfield Parrish; and 5 Roger Dean.

For a long time I have been able to draw boxes in any perspective I want, but whenever I add even just one other face to a box, it clutters my brain. The three main things that I aim to learn are, #1, how to draw an object from any angle that has complex form or is made up of curves. #2, how to rotate objects in perspective, and #3, how to draw landscapes and structures rather than just singular objects. Thanks for the course Marshall!

I came to visit the UK from Canada as a teenager, and fell in love with the architecture. It was decided then that I would return here to live and here I am over 26 years later. The buildings, from those with historical significance, national trust estates and the simple Victorian or Edwardian streets still never fail to fill me with a sense of wonder and appreciation. It would be wonderful to learn perspective as a means to capture some of these fabulous buildings in a drawing or painting. I also have an interest in sculpture, and I believe learning to draw with a good grounding in perspective will be a useful tool as I pursue this area. My current work already has a mathematical element, which I believe a deeper understanding of perspective will support in order to create space and depth in the paintings. Thinking about who inspires me as a perspective master was a challenge because I have so many to choose from. I widdled it down to five all for different reasons, and included a variety of subjects. 1. Vincent Van Gogh - Bedroom in Arles (1888) Fascinated by the one-point perspective and the fact it feels claustrophobic 2. Leonardo da Vinci - Mona Lisa (1503) Amazing space created within a portrait painting 3. Liu Xiaodong who has an unusual use of perspective with a human touch. Really love the use of everyday subjects in his work. Unsure of the name of the painting I attached but you can find more out about this artist on meetingbences.com 4. Anselm Kiefer - Dem Unbekannten Maler (To the Unknown Painter) (1963) Image found on Christies.com A painting of true significance representing an iconic bit of architecture and the sense of desolation and foreboding is conveyed to beautifully. 5. Albrecht Durer - 1512 St. Jerome in the Cave woodcut has the most amazing detail and perspective for such a small image. I was honestly spoiled for choice with Durer because he was an absolute master in all aspects of perspective in so many different mediums. This image thought, with the opening out to the sea from the cave, the city in the distance, the horizon line with the tiny boat in the distance ... brilliance. There are so many applications for perspective and I am excited to take part in this course.

I was really pleased to see a combination of level 1 & level 2 in the same video. We all have things to learn and seeing all levels is beneficial. I believed when I started the course that I was quite good at drawing but wow, have I had a lot to learn. Thank you as always for your great content @Stan Prokopenko

I know this is not directly related to the subject at hand, but I wanted to ask: when you are learning the fundamentals like gesture, construction, or perspective, is it better to try it on paper or on digital? I ask because I recently got a digital tablet for my birthday and I find that though comparing the references to my drawings is easier, actually making the lines and navigating clip studio paint is pretty difficult. So I was wondering if it would be better to focus practicing on paper for a while longer then coming back to digital, or to keep trying at digital right now even if the progress is much slower.

A little late attaching this one. I know this was a project and there is already the demo but better late than never. I have to admit if I had done the assignment before the demo I probably would have struggled to simplify it. I am going to try the boots without watching the demo.

Did anyone try the “overhand” pencil grip? I did and it seems easier to control the pressure. Just wondering.