curriculum
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level 1 · Mark Making & Dexterity

A confident, controlled line — ghosting, drawing from the shoulder, consistent stroke speed, accurate simple shapes.

straight edgesFlat-sided shapes only — commit to the line and land the corners.80%simple curvesRound forms in one sweep. Draw from the shoulder, not the wrist.78%ellipse in a boxNo line to follow — fit the curve to a box and touch all four sides.74%many-sided shapesPentagons, hexagons and kites — hold a plan across more than four decisions.76%compound curvesC curves, S curves, waves and spirals — direction changes without a stall.72%
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level 2 · Perspective I — Basics

The horizon, vanishing points, and simple solids that genuinely converge.

one-point boxesOne vanishing point, straight ahead. The simplest true perspective there is — and the right place to start.58%the cubeThe whole of perspective in six faces. Every edge must reach its vanishing point.58%rectangular prismsA box with unequal sides — proportion now has to survive the recession too.60%pyramids and wedgesConverging edges that meet off the ground plane.56%cylindersCircles in perspective. Watch where the minor axis points.60%conesAn ellipse base and a single apex — the hardest of the six to keep symmetrical.60%
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level 3 · Proportions of the Human Body

The 7.5–8 head canon, landmark alignment, and measuring a figure by eye.

the head as a rulerA figure at rest. Find the crown, the chin, and everything you can measure from them.62%torso landmarksPit of the neck, nipple line, navel, crotch — the four that decide a torso.60%where the limbs landElbows, wrists and knees, left and right. Foreshortening starts to bite here.54%proportion in a poseThe same landmarks on a moving figure. The canon stops lining up — measure anyway.54%from any angleTwelve landmarks on the écorché, from worm's eye to bird's eye.48%
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level 4 · The Human Head

The cranial ball and jaw, planes of the head, feature placement, and holding the construction at any angle.

the ball and the side planesA sphere with two slices off it. Find the cut, and how far the jaw hangs below.62%dividing the faceHairline, brow, nose, mouth. Equal steps — measure them, don't place them by eye.60%the divisions, unmarkedThe ball stays. The tick marks don't. Step the same divisions without them.54%
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level 5 · Perspective II — Advanced

Everything perspective can throw at you once boxes are easy — inclined planes, cast shadows, reflections, multi-object scenes.

inclined planesA roof is two slopes, not two triangles. Their edges converge — just not on any vanishing point you have been given.55%the slope vanishing pointThe same block, turned away from the reference. Find where the roof's edges meet before you draw either of them.51%circles at any angleThe same square and circle as Level 2, but the plane now tilts from nearly open to nearly edge-on. Guessing the degree stops working here.52%cast shadowsA box, a light, and the light's point on the ground. The shadow is a construction from those three, not a shape you invent.57%
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level 6 · Skeleton & Torso

The rib cage and pelvis measured on a real skeleton, reduced to two blocks, then found again under muscle.

the two massesA skeleton with the arms taken away. Find where the rib cage starts and stops.60%the bottom of the basketThe breastbone ends higher than you think, and the arch opens from there.60%the pelvisWhere the spine goes in, where the front is, and how much wider the hips are.54%an egg and a bucketThe same torso as two solids under one light. Shade the tilt between them.62%
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level 7 · Limbs — Arms, Legs, Hands, Feet

Draw every limb at any angle, including foreshortening.

down the armA resting figure, seen along its own forearm. The elbow and the wrist are further apart than they look.60%down the legThe same problem standing on it. A shin pointed at you is half the shin you know.60%the arm, foreshortenedNow posed. One arm collapses toward you and the other stays full length — both get marked.54%the leg, foreshortenedA posed leg down its own axis. The knee is not halfway down what you can see.54%
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level 8 · Value, Light & Form

Read and render value; three-point lighting; why grey matters.

the value scaleFive steps from paper to your darkest dark, matched against the printed answer. The value slider is off.50%nine greysThe same ramp at nine steps, with nothing printed to copy. Seven of the nine are grey, and that is the point.44%the sphereOne form, one light. Core shadow, terminator, reflected light, cast shadow.68%flat planesA cube: each plane is one value. No blending — decide and commit.68%curved into flatCylinders and cones — a gradient that has to stop at an edge.65%complex formsRounded boxes and gems: many planes, one consistent light.62%form on the figureThe écorché chest. Anatomy is just several forms sharing one light.58%twenty-minute value studyA long timed sitting on mixed hard subjects.58%
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level 9 · Colour Theory & Harmony

Build palettes that work, and know why they work.

your first paletteFive swatches, one hue and its opposite. Nothing to draw — just the colours.54%neighboursFive hues inside a 60° arc that still read as five different colours.54%a triadThree hues evenly spaced round the wheel, plus two supports. Balance starts to matter.60%one hue, five valuesA monochromatic palette. The hue is free — the whole exercise is the value and saturation range.60%split-complementaryA base and two hues flanking its opposite. Which one is the base is your decision, not the count's.64%match by eyeFive printed colours, five empty boxes, and no eyedropper. Look, mix, look again.52%the close callThe same drill against harder targets — neighbouring hues and subtler value steps.62%
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level 10 · Colour Psychology, Temperature & Neutrals

Warm/cool control, the expressive weight of colour, and why grey carries a painting.

warm light, cool shadowSunlight is warm and the sky that fills its shadow is cool. One sphere, two temperatures.46%the other way roundNorth-window light is cool and the bounce that fills its shadow is warm. The same drill, mirrored.46%temperature on a turning formA cylinder has no edge to hide the transition behind. The shift has to happen in the gradient.48%a decision per planeFlat planes, so every one is a separate judgement about how far round the light it faces.52%temperature on fleshSkin is where warm/cool stops being a technique and starts being the subject. Cool light this time.56%mostly greySeven parts in ten stay neutral. One saturated note does all the talking.48%
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level 11 · Material Properties

Make metal read as metal, glass as glass, skin as skin.

clay, namedThe surface you have been rendering since Level 8, called by its name. Everything after this is a departure from it.52%brushed steelOne broad soft highlight, and everything else squeezed into the middle. Metal has almost no diffuse of its own.44%chromeA small hard highlight and darks that go nearly black. The same sphere as the last drill with the roughness taken out.50%glassLight goes through it, so the shadow side never arrives. Bright core, light darks, a lit edge.46%the soft terminatorSkin carries light a quarter-turn past where it should stop. That one fact is most of what makes flesh read as flesh.46%woolNo highlight anywhere, a falloff that takes forever, and a glow only along the edge that turns away.46%
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level 12 · Fabric Folds

The logic of folds — pipe, zigzag, spiral, half-lock, diaper, drop, inert.

pipe foldsCloth gathered along a rod. Parallel tubes, and the whole of the level's grammar in one picture.60%inert foldsCloth on the floor, held by nothing. The control: this is what fabric looks like with no tension in it.60%drop foldsCloth over a single point. Every fold radiates from one origin — a fold is a direction before it is a shape.60%diaper foldsTwo anchors and a sag between them. Tension running across a sheet instead of down it.58%zigzag foldsPipe folds with an obstacle in them. Where the tube breaks, it reverses — and that is the only difference.58%
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level 13 · Composition & the Principles of Art

Deliberate placement, visual flow, and storytelling through arrangement.

one focal pointState where the eye should go before you draw, then put it there. The node is ringed for you.60%all four nodesThe node moves every round. Composing to the lower-right is not the same skill as the upper-left.58%weight against the focusFocus on the left, weight on the right. A small strong thing balanced by a large quiet one.58%the golden nodesThe same exercise on the 0.382 grid. It sits inside the thirds' own tolerance, so it is not the same target.58%weight lowVertical balance, which almost nobody composes deliberately. Keep the focus up and the mass down.56%
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level 14 · Animal Anatomy

Draw animals across species, and understand the shared quadruped plan.

the shared planA wolf, five times. One spine, one rib cage, four columns — the arrangement every animal in this level is a variation on.60%same plan, three sizesFox, wolf, hyena — the same animal at three scales with the proportions redistributed. Ten rounds, rolled.56%the springA cat is a bow under tension. Draw the spine first and the limbs will already be where they belong.56%the flat footA bear walks on its heels, and that single difference changes the whole hind leg. The exception that shows you the rule.58%horn and headMass carried above the neck. The horns are drawn as one form with the skull, never as decoration on top of it.58%the wing is an armA goose has your shoulder, your elbow and your wrist, folded. Find the three joints and the wing stops being a shape you copy.60%
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level 15 · Prop Design

Design props that read clearly and serve a character or environment.

no lessons yet — this level is still being built.

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level 16 · Mech & Robot Design

Hard-surface design — believable mechanical forms with a coherent design language.

no lessons yet — this level is still being built.

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level 17 · Environment Design

Believable space, depth, and atmosphere. The capstone — it uses everything.

no lessons yet — this level is still being built.