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.