Hi @Marco Sordi Nice drawing! - The shading feels a little "muddy". Maybe you could make it more clear how the planes differ in value. Judging from the photo, there seems to be planes that clearly belong to lights and some that clearly belong to darks. Then, in turn, within those groups there is variation. I know you where trying to capture all the details as well, but you might benefit from practicing doing drawings of an object like this one, where you focus on only capturing the major planes and how light interacts on them. Doing studies where you focus on value grouping might also be a good idea. You might also benefit from doing drawings, where you try to show light and value with line only. The dark contour lines you put down seem to be a stylistic choise, but I also get a feeling that it could be a habit. Maybe you don't actually want to have a line as dark as the darkest dark enveloping a shape that has a light value. I attached a study like this that I did recently. I hope this helps :)

Hi Grace, amazing work! Perspective is great. Making sure lines at the back of the forms are a bit lighter can help them to read a bit better. For the animals I’m really having to get nit picky to find things, but I feel like the form of the gorillas head and face could be better defined. For your horse, the front right foreleg is a bit hard to read, and the rear hooves would be flat on the ground to support this gesture. (Horses are heavy!) Your pig is the most adorable thing ever! Great stuff!

Hi @Kaily House , these look lovely--nice foreshortening on the back of that polar bear! Also, I'm looking at your cylinders on the first page, and the top ellipses look nice and round (which I should have been doing for mine!) On a few of the bottom ellipses of the cylinders, as well as some of the cross-contours on the cylinders in the animals, it looks like the corners of the ellipse are starting to flatten out to a point. If you round those corners a little more, I think it will help. But other than that, nicely done!

Really nice! To take the feeling of space to the next level I would ask myself which part is closest to me, and which part is furthest, and relate to these extremes as you draw the animal. Try to clearly communicate the proximity, of each part to you. In the drawing of the zebra for example, the forms and overlaps read clearly. I can tell that its right front leg is behind its left. However I don't really feel it. The space feels a little flat, like both front legs exist on the same plane. Making sure that you're aware of the different proximities of the parts will help you capture subtleties that could sell the illusion. In the drawing of the cheetah the front could be more turned toward us, and the back recede into space more. I think its left (our right) paw should be closer to us than the right. In your drawing it seems to be further away than its right. This is being picky, but when I received this tip I felt like it added something to my drawings. Hope this helps :)

Sorry for the darkness, I thought I had enough light where looking at my drawings wouldn’t be a problem. Dm me if you wish to see a brighter version of this.

Hi @yecai, your drawings show a good understanding of the structure basics! - I might work a little on the ellispes, especially the ones you've used to draw stucture that isn't visible (where the head of the soap bottle meets the container for example). They tend to be a little pointy. - Make sure to draw through the forms (drawing what's on the non-visible side, lightly). That will help you construct with greater control. Hope this helps :)

I would start by finding the gesture before clarifying the forms. Follow the process I suggested here https://www.proko.com/s/xL5Y. Work inside out. Start with a flow, then flesh out with forms to get the contour. When finding the flow it helped me to really imagine a river flowing through the body. The gesture lines I draw are the water in that river. Since the moths are short and chubby you might find it tricky to find the flow in the torso, but just do your best. "Or do I proceed with adding the gestural forms regardless of the quality of my gesture drawings?" As mentioned, I would recommend starting with the gesture. However I wouldn't expect it to be perfect, since the concept is new to you. Just do your best. Once you've drawn the gesture, add the forms, even if the gesture isn't well drawn. Did that make sense?

Hi cburdett26, I take your images for inspiration for doing my daily exercize and here the result. If i can give you a suggestion it's seem that you lack the concept of perspective and construction so first you have to train your brain to think in 3D. The course on perspective of Marshall Vandruff help me a lot (it costs 12$ bucks on his site) and drawing simple cubes and cilinders in perspective is the first step to understand more complex forms. 

Hi @Crimson The Kitsune, it might be that your drawings are not getting worse, but that you are getting more skilled, so that you can spot more mistakes 💪😎👍 "Should I try and change up my approach?" Yes I would change the approach. Try this: Start by drawing the flow, as if there was a river flowing through the body. Then wrap round gestural forms around the flow. You could think of it as a simple sculpture, where the flow lines are your armature, and the forms are large chunks of clay that you wrap around it. This is a process you could use for anything you draw. For a demonstration, check out this Drawing Demo by Glenn Vilppu. The process you're using currently, probably won't lead to the best result. However it might be a good way to practice and understand the structure concept. But I see it more as an exercise than a process you'd want to use for your drawings and paintings. Hope this helps :)

Read Betty Edwards ”Drawing on the right side of the brain”. Proko is great but Betty is the best. 😉 https://www.amazon.com/Drawing-Right-Side-Brain-Definitive/dp/1585429201