I love Kopinski, and Wendling! These are really nice studies. Keep it up!

Looks like you got it

amazing!

Nice job, and you picked such a fun master work to study from :D Overall good work capturing the tapering of line weight and the line efficiency/cleanliness. The only other thing I would point out from the original is that the outer linework uses heavier weight than the inner line, which helps it stand out, create a hierarchy of importance, and feel cohesive as a whole. Hope this helps!

I think you did a good job capturing the shadow of the nose. As for the mistakes that jump out at me the most, when it comes to the linework- the original has a lot of sweeping, uninterrupted, confident lines in the curls of the hair, and I'm not seeing much of that in yours. As for the overall picture, the proportions are a little off- the lower half of the face is a bit elongated, and the mouth placement is a bit off. I'm sure this will be a fun one to try again down the line to really see your progress!

Yeah, I would agree about the Mcburnie scene. It has beautiful use of line, but it's rather difficult to make it out for its own study given how well it's integrated with the rendering. As for Ivanova, the study is quite close, but there are a few notes I think can help: - The line weight is used most heavily around the areas of emphasis. You applied it properly for the area around the face, but you can also notice it in the original for the toes grabbing on the branch and the fingers grabbing the fruit. Having not just one place to center the attention helps continue the flow throughout the piece, avoiding a static focal point. - Ivanova's use of strokes for fur detail is very economical and distinct. With rare overlapping, each stroke feels very purposeful and intentional, and the simplicity prevents weighing down the drawing or creating unintentional focal points. - It's a very masterful piece for line flow, and I think warming up with line quality exercises beforehand as seen here https://www.proko.com/s/iu1Q can really help loosen up a bit and get closer to that level of fluidity. Of course, it's not an overnight thing to achieve, but every practice session helps.

Good work! You have the same hierarchy of line and line quality in the Jahnoy digital studies. I would just say that the Mingchen study could practice a greater range in line weight like seen in the original. It may have to do with using traditional tools, so practicing tapering towards thicker lines would be beneficial to incorporate into your warmup. You may find this video from earlier in the course helpful as well: https://www.proko.com/s/M8iG

Very cool! You captured the tapering of the strokes, the confident lines, the curving and continuity of lines in certain places like the nose and brows. I do notice that the original has an interesting rhythm to the hatching, like around the bottom left area for the hair for instance, that has a repetitive quality that I think lends itself well to overall geometric composition. It's always amazing seeing the smaller details that build up to a very harmonious piece from a master artist.

this is amazing! Keep it up!

Nice picks :) You captured the use of line weight and hatching details in the Otomo study very well. I think for the Ivanova study, flow is a very good quality to note and emulate. There's a certain rhythm to her linework that carries flow throughout, starting from certain points of tension in her hair and leading downwards into the figure. Everything starts from a "pinch point", expands, and compresses again, creating a pleasing ebb and flow with balance. As for Kley, he's the master at explorative and imaginative linework, something reflected in his "scribbly" lines left in--like around the small figures indicating the floor or the clothing folds. It's almost like watching his thought process unfold, while also creating an interesting continuity and motion for the piece as a whole. I'd highly recommend checking out Marshall Vandruff's series going through Kley's work more in depth, it's such a treasure trove of information: https://youtu.be/NJYnHNCmHFY

Nicely done! I think you captured Malan's hatching style quite well. You've got the variation in weight and thickness that gives it three-dimensionality. Malan's choices seem largely informed by the plane changes, which will be covered more in-depth later down the line or through the portrait course, so it's good to start getting a feeling for it. For Yurkov's studies, I think you captured the most important part, which is his construction through-lines that set up the structure for the drawing, along with the searching quality of his strokes. If there's something to take note of for future practice, it would be his use of line weight that he applies to tighten up the drawings and add more volume. Overall good studies, great work! :D

I think these were pretty successful, especially the ink examples. They show your understanding and careful attention towards line weight and variation. The pencil study also shows some variation but it could have a greater range, though you could just be being limited by the pencil itself. I would recommend (re)visiting this video to assess your sharpening/grip: https://www.proko.com/s/M8iG When it comes to using line to render fur, something I noticed in the original was that it used the tapering to indicate volume, both by curving around the "egg" shape of the arm and adding the heaviest line weight at the core shadow. You could try tapering strokes or playing around with different line variations in a single stroke as a warmup, but you're on the right track. I hope this helps :)

Hi! Such a beautiful example you picked for hatching, it blends so smoothly into the shading but you can still see the individual lines close up. It's a good idea to take a smaller section to study, and the neck is an especially good pick. Something that I think stands out about the original is the cleanliness of each placed line--try starting all the lines from the same direction and being intentional about their placement rather than going back and forth in one go, in order to prevent a messy zig-zagging. This will also help with controlling the line weight, as the lines taper out in the same direction in order to indicate a change in value as a group.

Awesome job! I love all the examples you picked and they all have such great qualities to learn from--looseness, confidence, and weight variation. I think you did great replicating their work, though something that stands out to me from Glen Keane's work is the presence of his searching lines as they add a sense of movement and gesture and give insight into his process. You can see this especially around the arms for the Tarzan examples, where he starts to mark the general area before going into smaller details, but the lines give a sense that he was thinking and working things out on the page in a continuous flow. I think these lines are worth studying as they help you get a sense (and muscle memory) of the rhythm that eventually led to the tighter, cleaner final drawings that carried such energy and feeling.