In this lesson, we'll apply the drawing & painting approach we learned in the previous lesson - to drawing a complete scene.

In this project, we'll practice measuring accurate proportions with a portrait. Using our measuring toolkit we'll break down the face into basic shapes, starting with the biggest shapes and working towards smaller details.

Map out a mannequin and practice attaching pipe and diaper folds. This helps you edit the fabric to create consistent movement around the figure.

A few gestures after Glenn Vilppu. This was an exercise in lines of action, as well as practicing my mark-making, (CSI stuff) and trying to keep things clean (and failing haha). Gesture is one of my weakest areas, and since I'm hoping to one-up my overall figure drawing now, it seemed like doing a master study was as good a place as any to start. Let me know how I can improve, Proko community! Thanks!

In this unnarrated demo, I shade a sphere using a charcoal pencil, with a 5 minute time limit.

In this unnarrated demo, I shade a sphere using a graphite pencil, with a 5 minute time limit.

In this unnarrated demo, I show you how I shade a sphere with a 10 minute time limit.

Learn how to Draw the Head from Any Angle!

In this unnarrated demo, I show you how I shade a sphere without a time limitation.

Here’s a project to help you avoid chicken scratch. We’re going to simplify our drawings to C curves, S curves, and straight lines.

Simplify complex forms into basic shapes to master drawing objects and environments from any angle.

After suffering from a massive dose of inspiration to draw, I decided to do some more gesture studies! I put "gesture" in quotations because the more I dig into this concept for my own drawings, the more I'm realizing it almost doesn't even exist. It's like penmanship... everyone's handwriting is different despite using the same alphabet (assuming we're all using the same language, i.e. line is the alphabet, and gesture is the distinct handwriting). There is no definitive gesture drawing method or style or means or anything, no way it's supposed to look. All it is is expressing the figure in as few of moves as possible before going into the rest of your drawing. How it looks for you, how sloppy it is, how it shows up... it doesn't really matter! As long as it allows you to spot your figure and get it on the page, it's fair game. Although I wish I could tame my sloppiness a little bit... but again I blame the fact that I'm working so small in a travel sketchbook. It's my excuse and I'm sticking to it! At any rate, I usually begin my drawings sloppy anyway to find my lines, then once I've located my shapes, I come back and emphasize what I like with darker, more deliberate marks. In charcoal this is super easy to execute without having the drawing turn into a gross mess, erasing plenty and ghosting in light swiping lines... but in pen... Oh heavens does it show off the bad habits haha. These are 5-minute "gestures" done in ballpoint pen, after Julliette Aristides. I'm continuing to spot and draw in the line of action and really trying to feel things like contrapasso and proportion and straights, curves, etc. I like this style of gesture better than my previous Glenn Vilppu studies, too, even though I find that style more beautiful. I'm partial to the envelope method, and this speaks more to that than Glenn's free flowing form feel, which I find almost too poetic to turn into something accurate enough for my taste. I also chose to do it in pen because I really wanted to force myself to commit. To go for it and stop getting too uptight about it all. I'm still not super happy with these. Too scratchy, too indecisive, wonky line choice... But the rusty old cogs in my head are turning! There's always this point when I'm drilling myself on something that I consider a weakness. It starts off super frustrating, then gets more frustrating. Then, even though I'm still frustrated because I can't do what I want yet, I begin to understand what I need to do to change my hand. I think I'm at that point now. Once I can start working larger again, I'm confident I'll experience the leap into enlightenment that always follows this frustration period. But for now, this will have to do! Again, let me know what you think, Proko community.

Hello everyone I have a question is that i to draw in tintin herge style, anime style,flintstone style,ben 10 style and semi-realistic style and since my goal is to draw in that particular style and not to draw in realistic anatomy style then why should I spend time in learning real human anatomy and I am confused in it please shed light on it and end my confusion pleaseeeee!!!!! *Is it necessary to learn real human anatomy to be able to draw in the tintin herge style, anime style, flintstone style,ben10 style and semi-realistic style!!!!!!!

Alright guys, this is going to be a fun one! In this project, we’ll be constructing animal portraits using basic shapes.

Let's draw a nice and neat house and a messy wreck of a house using the different approaches in line that we just reviewed.

It’s time to inherit some power from the masters! In this project, we’re continuing to improve your line quality by choosing a master drawing that excites you and studying the artist's use of lines.

Now that you’ve all had some time to try the first project on your own, you can watch how I do it and figure out what areas you are exceeding and struggling with. Here is my step-by-step demo on how to properly execute the first project for level 1 students.

Can u guys help me I need critical analysis of my work😭

Explore the three-quarter view of the skull and learn how landmarks shift with perspective.

A recap of the key ideas from the module and a simple assignment to help you lock in the basics.