Heyho Akky!
Welcome on the forums. Great that you decided to work on your art with the structure provided by Art school.
I think you did a good job on those lines, I personally like to rotate my whole canvas when doing these drills, that way you can draw the lines at an angle that fits you best (just like rotating the page with traditional medium). Also, ghosting as taught in the Drawabox course is really helpful.
Hope that helps.
I am looking forward to see more of your work here!
Best,
Mau 
Thanks for the tips, Mau. It hadn't even occurred to me that I could rotate the canvas like I would with paper. Doh! I need to learn some hotkeys!
You're right about ghosting, something which never fails to be useful. I've repeated the exercise a few times now in between making a start on the figure drawing assignments and my line quality is already adapting to digital very nicely.
Kicking things off with gesture drawing today. I took part in the Love Life Drawing figure drawing month in February this year and really struggled with it. This is the first time I've attempted any gesture drawing since.
The first couple are 30 seconds, but I think it was too quick for me to produce anything that actually helped me learn or improve, my brain just can't analyse the photo and get anything legible down on canvas that quickly. So I upped the timer and most of this page are a mix of 1 and mostly 2 minute gestures.
Feedback is very welcome on these assignments as I've always struggled with getting proportions anywhere near accurate in the short timescale. Maybe I should slow down even more.
ah your poses are really nice, you are delivering the message at least for me!
the proportions part I think you need to power through it for a while and it starts coming along, but i have the same feeling that my drawings get super loose on those short time spam x)
But welcome and keep up with the good work!
Thank you!
I'll probably keep drilling the gestures every day for a couple of weeks and gradually introduce the other assignments as I go along. I want to balance my studies so that I devote enough time to each topic whilst also keeping it varied enough that I don't get bored.
Satisfied with progress on line accuracy so far.
Introducing cylinders and basic skeletons on poses too.
Had fun with these action poses. Need to focus on using less lines so that they don't look quite so rigid. I've been reading "Force" figure drawing by Mike Mattesi and want to start implementing some of his advice into my efforts.
These are a mix of 30 seconds, 1 minute and 2 minute gestures.
First go at the proportions exercise:
Happy weekend all.
Some more gestures from the daily routine. Trying to be conscious of making my lines flow to capture more of the pose with less. Proportions slowly getting better too.
Starting with the perspective assignments tomorrow I think.
Tried the measuring proportions assignment and got to say that I don't really get it. Marc seemed to suggest it wasn't really an effective technique for digital artists and the explanation on what to do instead wasn't enormously clear. I measured the model in head heights, made a clear marker where the legs began and generally mapped out the joints and then essentially just winged it for the rest.
I'm not sure how much benefit I'm getting out of this one. I don't want my end results to be exact copies of my references anyway when I come to actually creating my own pieces. Maybe I'm tired, but right now I'm just confused. 
This one will take a lot of repetition to sink in.
The practice is about observation, which is really important 
You won't use this method for your own creation, the construction is part of later Terms
exactly as julia said, the way he explains that exercise and shows is kinda confusing in my opinion as well, but its very important for you to understand landmarks of the body and how they interact and transfer that idea ( assuming you are using a reference for anything ) to your own art. So its really important to pay attention to negative spaces as you go along on this exercise, but your drawing was almost perfect fit to the reference. good job !
Thanks both for explaining. I think maybe I missed the point of that exercise a little!
Hello Akky, and welcome to Art School!
Good job on doing the exercises and getting the momentum rolling on your art improvement. I'm just adding a little comment, or nitpick, to "maximize your gains" so to speak.
Try using thinner lines.
Thinner lines can still have plenty of energetic weightiness and flow to them, but they are less forgiving. If your line placement is less than exact with a thin line, it's gonna show immediately. This is fantastic in the context of learning, because you'll need to afford a greater care to the quality of your line-art work. It's gonna be harder at first, but struggle is growth!
Another thing regarding thinner lines is that, upon consulting industry-level work, you'll find that thick lines are extremely rare in the illustration/concept art world, and they're very much relegated to a cartoon niche of heavily stylized drawing. Try imitating the style of line that is featured in the artworks you enjoy most!
Thanks for the tip, Vonschlippe. It's something I need to work on for sure, hopefully I'll be less heavy handed as I get more adept with the stylus. It's probably not helping me that I'm using a brush pen with a very sensitive output setting on the pen pressure option.
I love heavily stylised brushwork and played around with Pentel brushes quite a bit earlier this year, but I don't want it to hide my inaccuracies when I'm still picking things up for the first time.
Started throwing perspective assignments into the mix today. Not sure how wise it was in terms of clarity to combine the single and two vanishing point homeworks onto a single canvas but it was fun so nevermind.
Those painful 250 cube and 250 cylinder DrawABox challenges proved to be quite helpful in the end.
A few mistakes in there - notably the center-top box's red side is not converging away from the viewer correctly. It has a distant vanishing point (off-canvas) but the lines should still tilt toward the horizon.
Your cylinder's ellipses need to change in aspect-ratio as the cylinder is viewed more and more to the side. Right now they're too circular!
Keep it up, this is a fantastic exercise and 2P perspective is easily one of the most common depictions of a scene. Getting comfortable with it is extremely handy!
Thanks, but are you referring to the top box at the front in one point perspective or the one behind it in two point perspective? I appreciate the feedback but I'm struggling to see which side you're referring to that has the convergence problem.
I think I need to revisit my cylinders in isolation as I drew construction boxes in first and then used the grid method that Marc explained in the perspective video to draw in the cylinder faces before erasing the box around it. So I'm not sure why they came out so circular. My boxes must have been off.
No problems asking! I did a quick overpaint of what I mean.
The top box was pretty much in 1P perspective, with the sides not converging to any vanishing point. I fixed it by adding a VP off-canvas, and making it converge. I also did a slimmer ellipse for the cylinder.
Cheers!
Ah, okay. So it was correct for 1 point perspective? The forms that you corrected plus the lone box on the floor on the right were all intentionally meant to be 1 point perspective. Maybe I shouldn't have combined 1 point and 2 point perspective shapes on the same canvas, I can see how having the 2 point perspective shapes makes the one you've corrected look wrong in context.
Thanks for taking the time to do the paint over though!
Yes, 2P and 1P can coexist in the same canvas, but only in a very specific context.
1P only works when your line of vision matches up exactly with the alignment of the environment. You're looking straight down the end of a long tunnel, or exactly at the horizon at the end of train tracks, etc. As soon as you turn your head left or right, you're in 2P perspective now.
This is why the alignment of things in space with regards to your line of vision is the prime director of which perspective sub-case to use. In the strange scenario where you're looking through a paper tube at a street corner, the street corner (not aligned with your line-of-vision) is in 2P, but the paper tube itself (aligned with your line of vision) is in 1P.
In the example above, the only place where you can use 1P is if an object or box is centered in the image, and its vanishing point is central to the canvas. A box would look like a simple square, maybe with a visible top or bottom if it's far above or below the horizon.
Ah, got it. Rookie error on my part then, I just threw 1P perspective in without really thinking about it like that.
I really should have clocked that mistake. Thanks for explaining!
