Complete detailed Landscape drawing

This is a drawing of the outside of the National Media Museum and it took around two hours and 45 minutes to complete.
Due to the amount of curved lines and the lack of sqere-like buildings, it is hard to say wether perspective is correct or not. Yet, the curve in the windowed part of the NMM front proves that the building goes further away from the viewer in its left parts. This means that the taller part on the right and the shorter part on the left of the museum do not break the rules of perspective. There are also a few horizontal lines (the top and bottom outlines of the NMM mostly) that show perspective going to the right. Because of the uncommon bending of the building, the top line and the window line may give the impression of false distortion, but the shading is slightly exaggerated, aiming to show the curvature of the wall better.
The composition isn't perfect, mostly because of the way the image seems to be cut on the right and on the bottom. Yet, there is success in placing the top lines near the rule-of-thirds line. Also, the entrance to the building, the deepest point in the drawing, is close to the rule-of-thirds intersection point.
The focal point of the drawing is clearly the entrance to the building. It is emphasized with strong implied lines formed by the rooftops and the road coming from the foreground. Both of the lines lead the eye to the entrance. Being a mid-ground element makes the entrance of teh building an even stronger focal point.
In terms of shading, the image doesn't look as dramatic as all the curvature and windows in the building would have allowed. Light is coming from the right, so most of the drawing shows shadowed areas resulting in most of the shading being due to tightness between elements (the end of the glass part of the building in the middle of the drawing). There are a few areas showing an interesting light-shadow contrast, but they are small and just a few (shadows from the signs next to the road in the foreground, the top-left edge of the NMM's entrance, the building right behind and over the entrance, the small wall between the stairs and the road leading to the entrance).

Complete detailed Life drawing

This is my complete detailed Life drawing. The drawing was made out of a photo of a friend of mine and it is showing him in an open, semi-dynamic pose - stretching his arms and back. The widely spread arms and the somewhat visible distance between the legs speaks for a very open pose. The legs are very static and are seen staing firmly on the ground(well, atleast the leg that is visible, the other one is far enough to the right to be hidden by the bed).  The arms, however, are in a position that would be hard to hold for long - this speaks for an upcomming or past movement / dynamic pose. The spine is also visibly stretched, again showing an open, dynamic pose.
Shading seems overally successfull. It suggests detail in the drapery on and over the bed. The scene setup also works well with the contrasting dark bag between the bed and the corner of the room and the contrast between the dark floor and the lighter leg.
As for the character - the shading shows proper smooth shading for the dark pants and fairly sharp shading for the body. The shading also shows the muscle twist on the bicepses and on the lower (visible) leg.

Week 12 - Landscapes - Colour 2

This was my drawing for week 12 on the topic of colour in landscapes again. It took aproximetly 50 minutes in total. The drawing shows a low detailed scene with a noticable dominanse of horisontal lines. In terms of composition, the drawing puts the wide grass field in the foreground in a rule-of-thirds line. The gap between the closest buildings also seems to get close to the vertical rule-of-thirds line. As mentioned, there are very strong horizontal lines that give the feeling of a pattern that gives an overall feeling of order in the drawing. The bands of green and grey shading further enhance the feeling of a pattern.
It is hard to say wether the perspective is correct because of the level of detail and the nature of the scene.
Light and colour seem to have been represented accurately. The image clearly shows a dull day (there are no hard shadows or brightly lit areas) The colours for the grass fields accurately shows the mixture of hues commonly present in grass areas (hues of green, brown, orange). The muddy road on the bottom of the drawing also shows good variation of brownish hues, but might need to be darker. The forests further away shows various hues of brown, green and orange - somewhat typical for the period of very early spring.
The shading on the houses also attempts to show the light direction - on the left and against the drawing viewpoint.

Week 11 - Landscapes - Colour

This is my drawing for week 11 on the topic of basic colours in drawing. The drawing took just over an hour and a half and it was done at late morning (around 8-9 am). Weather was dull (as usual), so there are no strong highlights or shadows. Since the sun wasn't visible at all, there are hardly any shadows visible.
In terms of compositing, this time I decided to experiment and try putting the drawing in a implied frame. This is the reason for the curtain on the far right to be present in the frame. The table being cut in the bottom left corner was also supposed to be a framing element along with the tree at the left edge of the image.
Rule of thirds has been used to position the mid-ground ground level and the deepest point of the image (on the right of the yellow-ish building).
In terms of colour usage - I didn't get a lot of opportunities to mix colours apart from the trees, the grass and the grey-ish path in the foreground. The grey path also shows a subtle shadow from the brown building on the right, speaking for a light that's coming from the right and in front of the viewing point.  The table on the far-left shows the reflected sky in the horizontal flat areas.
The image also seems to lack enough shading - the curtain and the small grey building in the bottom-right rule-of-thirds point need to be darker.

Complete detailed Still Life drawing

This is my detailed Still Life drawing. It took around two and a half hours in total. Around an hour for planning and outline drawing and another hour and a half for shading.
The scene was setup in a dark room with three lights: A bright, point-like one inside the bowl, a soft, point-like light straight above the scene to brighten everything up enough so it is possible to draw. And another soft, but tall and narrow light on the far left of the scene - to add in a bit of light to the otherwise very dark back of the toy.
Not much about perspective in this drawing, the longer edge of the book shows very subtle perspective, so do the edges of the sheet under the objects.
The focal point of the image is supposed to be the donkey toy's nose, being brightly lit by the bowl light and being in strong contrast with the rest of the toy's body and the hole scene. There seem to be two implied lines, one at the toy's back and another one at the bottom edge of the book (actual lines really) that don't lead exactly to the focal point but manage to do a good job in keeping the eyes from going too far to the left and behind the toy's back. The donkey's nose also isn't in any of the rule-of-thirds points, but instead the detail in dents in the toy's leg and arm are put in a rule-of-thirds point making them a secondary focal point and spreading the interest around the drawing.
In terms of shading, the image has had its overall brightness reduced and contrast increased digitally.
There is a very nice, strong contrast of light and shadow with most of the top-left and bottom-right parts of the image being generally darker than the top-right. The area right above the bowl shows an interesting range of shades with parts directly lit by the bowl light and parts in deep shadow, but also an area illuminated by the reflected from the inside of the bowl light. There is a very soft shadow on the right of the bowl being cast by the tall light on the far left and softened by the direct light from above and the reflected light from the bowl.
Shading in the book successfully shows the tendency in old books where pages closer to the middle are pulled further inside the book. There is also a good representation of the cover's thickness and the offset the pages have from the edge of the cover.
The toy features some really nice, deep shadows in between its arms and legs, where any of the three lights can hardly reach. It also has some nice rim lights on its back and ear from the far-left light.

Week 10 - Landscapes - Classical Architecture

These are my fairly quick sketches of classical interiors in the top image and classical exteriors in the bottom image. Perspective is visible mostly in the two interior drawings - the subtle foreshortening in the balconies in the top-left and in the horizontal segment in the middle of the top image.
There is also a fairly good fore-mid-back-ground separation in the top-left sketch. On the very left, there is a balcony part that seems to stand out as foreground and then the two balconies beginning at mid-ground and blending to background in the furthest parts in the top-right parts of the sketch.
It can be noticed that interiors seem to feature a lot more detailed ornaments, filling almost all the surfaces visible, while in exteriors, ornaments seem to be focused mainly on ending points of bigger, simpler shapes : The bottom-right exterior sketch shows detail has been aded only to the very edge of the rooftop. As for the window frames and the chimney behind, there is only a small change in the shape. In the meantime, in the interiors there is a far more detailed column and a lot of flat walls with ornaments onto them - the horizontal segment in the 2nd interior and the outsides of the balcony walls in the 1st interior.

Week 9 - Landscapes - Modern Architecture

This is completed drawing of modern architecture interior. The drawing took about two and a half hours in total.
It successfully shows perspective, both in the panel elements on the wall on the right, and in the sizes of the buildings beyond the window. It also showcases the usage of curved lines in modern architecture in the ceiling. Most of the drawing is taken by windows - another thing very typical for modern architecture.
The shading looks nice, as it shows some good contrast in light and shadow on the window poles and on the wall on the right.
As for composition - the first thing that is noticeable is that there are two lines going very close through the middle of the image (the edge of the wall on the right and the tube in the foreground). There are also overlapping edges with the tube and the close building on the outside. Apart from these issues, the horizon is set on the rule-of-thirds line, there is a sense of order due to the pattern formed by the window poles and there is good fore-mid-background separation. All of these make for an interesting and calm image.

Week8 - Life Drawing - Non human anatomy

This drawing/sketch of a chimpanzee took around 30mins. It shows some of the musculature of the animal, along with other anatomical characteristics. It is visible, that as being related to humans, the chimpanzee has similar musculature along its arms. The body also is wider at the top part than it is at the bottom part.
The shoulders/neck area, however, is very different from a human one. It is visible that a chimpanzees head and neck are completely in front of its shoulders, unlike humans, where the neck and head go up. In the drawing, the animal's neck is also very undefined, unlike the clear definition of a human neck.
The legs are also very different from human's, allowing the chimpanzee to hold his feet very high while still being(seeming) comfortable. The structure of the feet is also different, they are formed more like additional wrists, allowing the chimpanzee to grab onto things and climb. There isn't such a huge difference in the wrists between chimpanzees and humans.

Week 7 - Life Drawing - Dynamic poses

This is my directed study on dynamic poses. There are 10 sketches of little children playing in shallow water (seemed the only way to get an action different from walking or running). N1 is a completely open pose, with both arms and legs spread apart, while walking and waving. N2 and N3 are very similar, both closed in the legs, but N2 is also closed in the upper body part, unlike N3. This also makes N3 more dynamic, as the arm pointing back suggests that there is already movement upwards. N5 also shows a dynamic pose, mostly because of the uncomfortable angle of the legs (kept almost straight, while bended forward). N7 is a completely open and dynamic pose. With one leg far ahead, both arms spread out and at different angles, it is clear that this is not a position held for long. N9 seems like a closed, dynamic pose, when instead it was very static in real life (it is a study of the "being carried around by an elderly" action).

Week 6 - Life Drawing - Movement

This is my directed study on the topic of human movement. I picked this set of sketches because there is a good difference of the poses. Top-left one is a person stretching his back and his legs, this can be noticed by the   slight bend at the lower part of the back and also the foot placed in front of the other. Also, the foot in front is touching the ground only with the heel which suggests that there is movement in that foot.
Second from left on the top row is a person in a static position. With his hands in his pockets and his right foot slightly in front of the other and on top of a small obstacle.
Third one is a person moving something towards his face. The relaxed pose of the body and the second hand at the level of the belly suggest that he is eating while standing up.
Rightmost on the top - the hand further back, pointing up suggests that the person is jumping. Also, the foot further back appears to be higher than the other one, which also is a sign of jumping. However, this difference could easily be mistaken for perspective because most of the foot on the back is obscured and unclear, hiding the angle of its knee.
First on the bottom is again a static pose with a person leaning at a wall. The dominating action in this case was the person working with the object in his hands, but it is in to small scale to be shown in a sketch like the one used.
Middle on the bottom seems like a person that is either pretending to ride a bike, or actually riding a bike. This is can be assumed by the fact the hands are on the same level and the feet are both bended at the knees, but are not next to each other. Still, the pose could be mistaken to be of a person standing firmly on the ground with his knees bended(this is why the sketch goes a bit towards the "pretending to ride a bike" pose).
At the bottom right is a sketch of a person obviously sitting on something. He can't be leaning only on his back and still have his legs so far in front because this would be a very uncomfortable pose. Again, a mostly static pose with the main movement being the hand going towards the face. With the second hand at the level of the belly, the pose suggests that the person is eating. This is most likely not on a chair, but on something higher, shows the steep angle of the hips.

Week 5 - Life Drawing - Proportions

Very similar to the directed study on the same topic for the 1st semester, I drew both male and female characters in side and back view(and the male in front view) according to the idealistic proportions.
The 1st sketch seems to be off, mostly because the marks for a head unit along the body are smaller than the head actually is. This makes for an unnatural feel for the whole character. Also, there is kissing along the entire edge between the arm and the body on the left side of the sketch. In addition, the musculature on the inside of the legs seems completely overlooked - there is a simple straight line separating the legs. In overall - bad proportions and bad composition.
The rest of the sketches have generally good proportions, with the hips at the middle of the characters, the waist at one head unit above the hips, the shoulders beginning at 1/2 head units under the chin and reaching  the widest section of the body at 1 head unit under the chin. Also, the knees are just above the middle of the legs and the width seems correct with 2 head units for the female and 2 and a half units for the male. The muscles seem to be defined a bit better, except for between the legs in the front view drawings and the front of the female's hips in the side drawing.
I have to note I really like the way the shoulders are shaped in the side drawings. Unlike the ones I had in the sketches in the 1st semester, these actually show a smoother transition from the thinner part at the very end of the shoulders towards the chest where the body is thicker. Still, the male ones might need to be just a tiny bit wider, so that there is an even smaller difference between the front of the shoulders and the male's breasts when looked from the side.

Week 4 - Still Life - Foreshortening and Oblique Angles

From these drawings, the book is probably the most interesting example of a drawing at an oblique angle. It is noticeable that the top-leftmost short edge(the one across the thin side of the book) is shorter than the top-rightmost, because it is further away from the drawing position. However, the leftmost vertical edge is longer than the closest vertical one. This is because the edge closer to the drawing position is at a very small angle, while the other one, being further back, is at a slightly bigger angle, revealing more of the length of the real edge. Both these may make the drawing seem wrong in terms of perspective, but according to the explanation above, it is logical that the edges look this way.
The pencil drawing shows effective use of foreshortening with the back being smaller than the front and without the proper texturing, making the pencil seem shorter.
The same goes for the drawer. The front side is obviously larger than the back one due to perspective. Again, a texture along the sides would aid in showing the depth of the drawer.

Week 3 - Still Life - Composition

These are the four compositions I came up with using these five objects. I'll refer to them as 1, 2, 3 and 4 counting left to right, top to bottom.
N1 has some very strong vertical lines which seem to interfere with the almost horizontal lines of the tube on the right. There are no clearly defined implied lines. The negative space line is very angular, resulting in an intense and rough feeling. All of these issues make the composition slightly disturbing and rough. Objects also seem to be focused on the right side, which puts the composition out of balance. All of these flaws make the composition unpleasant.
N2 has some really nice implied lines that are marked on the drawing itself. Again, the line separating the negative space is very complex making for an intense feeling. The two implied lines don't seem to be enough to soften the look and guide the eye. The cup on the right and the tube behind it are positioned very nicely, as they don't obscure each other, but they don't "kiss" either. The cup on the left, however, is at a very bad position - having it so close to the book and parallel to it, confuses the viewer even with the slight overlapping apparent. The pyramid is also at a bad position, being far away from the other objects, making it seem like an orphan object.
N3 appears to be the best composition amongst the four on the image. It's got an interesting, yet calm negative space line. There is also a very subtle implied line formed by the top edges of the two cups and the tube. Having three of the objects facing a similar direction also helps soften the scene, because it gives a more natural feel to the setting. The pyramid's top edge is almost kissing with the book's edge behind it, but again the fact that the objects are laying on their sides seems to give enough reason for the pyramid's position. Even without an image frame, there is a rule-of-thirds focal point forming at the top of the pyramid. There is an obvious mistake in the form of the leftmost cup, but this is not a composition issue.
N4 attempts to create an interesting composition by setting the objects in a very unexpected way. However, having the book support one of its corners on the pyramid makes it bend, which in turn appears as a mistake in perspective without the shading to reinforce the bended feel. The cup on the left seems to be positioned well, as it is not kissing any objects, nor it is left too far from them. The tube is showing an edge under the bended book which is confusing to the eye. In overall, this composition seems unpleasant, because the objects are situated in a way, very unusual to real life.

Week 2 - Still Life - Form and Shape

This is my drawing(drawings) for the topic of "Form and shape". The top one focusing on form of the objects by showing the shadows and shading and the bottom one focusing on the shape of the objects by showing only the space they occupy.
The top drawing shows the form of the bananas with the subtle difference in the shading that is apparent along the bananas width. Notice how the shadows are darker just before the subtle edge a banana has along its lenght. Tha shadow on the branch however is solid because it has almost no dents on it. The darkest patches on 2 of the bananas sugest that there these surfaces are facing each other, while the brither patches sugest that they are facing away from the composition and they dont have anything nearby obscuring the light.
The shadows also successfully show the position of the subjects in an environment. Even without any defined objects around, it is clear, that the fruits are not floating in mid-air.
The orange might be a pour example of representing form because of the interfierence that the shadows cast from the bananas cause. They make a dark arc along the orange's shape and might confuse the viewer about the orange's form.
In comparison, the bottom drawing shows shape by ignoring the shading over the objects and showng only the space they occupy. This makes for an easier evaluation of the overal compostion. On the bottom drawing it is easier to notice that there is a lot of empty space on the right  side of the drawing. It also rises concerns about the bottom lines of the bananas merging and confusing the viewer. Having all the objects in black also makes it easier to se where kissing between objects may appear, in this drawing this is where the orange overlaps with the bananas.

Week 1 - Still Life

This drawing took around 50minutes to an hour and it followed on from the drapery we drew in the first drawing session.
Light was comming from above and slightly inbetween me and the object. This can be noticed in the highlights on the towel on the top of the back of the chair and also on the part of the towel that is stretching from the left arm handle.
Most of the dents on the towel should be visible because of the dark shadows on the insides of the dents, but there are also areas with several very subtle creases like just after the towel bends over the arm handle.
I believe the shadows worked out nice because of the differeence that can be found in their sharpness. The shadow casted by the end of the towel that drops very low is farely hard compared to the shadows further back under the chair, where more light comes in because there are no objects too close around.