Drawing 100

I started drawing by hand in a group challenge back in May 2022. Outside of mandatory art classes in school, I had no other experience.

Now with the rise of AI, and more and more images being machine-generated. I tried it. Even used it for a few experimental projects.

But ultimately, I felt locked out of my own creative process. The AI images didn't feel right.

That's why I started to draw by hand. To carve out my own artistic style, just like I've done with writing.

After several starts and stops, I recommitted to this drawing challenge in April 2025.

I'm using Proko's excellent "Drawing Basics" course to learn. I also have a few Japanese art books I picked up when I was living in Okinawa.

If you've always wanted to draw, Proko's course is an awesome starting point. Use the button below to browse their courses!

I became an affiliate for Proko because I believe in their courses. So if you buy through this button, I might get some compensation.

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Day 52 - "Project - Master Studies" - Kim Jung Gi - Day 2

Day 51 - "Project - Master Studies" - Kim Jung Gi - Day 1

Practicing Kim Jung Gi perspective method

ChatGPT helping me understand Kim Jung Gi's horizon method

I’ve overlaid a red line where the horizon / eye level would sit, so you can see how all the figures and objects could be compared to it.

Kim Jung Gi uses that line as a measuring stick:

Heads that hit the horizon line are “your height” in the scene.
Shorter people’s heads fall below it, taller people’s heads go above it — but their bodies still follow the same perspective logic.

Yeah, Kim Jung Gi’s obsession with eye level (also called the horizon line) is one of the biggest keys to how he could “see” entire scenes in his head before putting down a single stroke. Let’s break it down so it’s less abstract.

Why Eye Level is Everything for Him

It’s the camera height
- Eye level = where the viewer’s eyes are in the scene.
- Everything above this line tilts down toward you; everything below it tilts up toward you.
- Without it, perspective feels floaty because you don’t know where you’re “standing.”
It’s the anchor for all perspective lines
- Vanishing points live on the horizon line.
- He could place hundreds of objects in correct perspective by constantly referring back to that line.
It controls mood and drama
- Low eye level → looking up at characters (epic/heroic feel)
- High eye level → looking down (small/vulnerable feel)

How He Builds a Scene From It

When you watch him in that video:

He lightly sets the horizon line first (almost invisible).
He imagines the “stage” in 3D space — like placing a transparent grid in his mind.
He drops in anchor objects — things that define scale (like a person, car, or table).
Everything else grows outward from those anchors using the horizon as a check:
- Lines for rooftops, streets, or table edges all converge toward the vanishing point(s) on the horizon.
He layers detail last — because once perspective is locked, you can add anything without breaking spatial logic.

How You Can Practice This

From your photo, I can see you’re lightly blocking in shapes, which is good — but here’s how to make the “eye level thinking” stick:

Always start with a horizon line
Even if you’re not drawing buildings, imagine where your viewer’s eyes are.
Add one simple box
Put it so one edge aligns with your vanishing point on the horizon. This is your “anchor.”
Build out
Add other objects by relating them to that anchor — either sharing the same vanishing points or using a second set for angled objects.
Check angles against the horizon
- Lines above it tilt down toward the vanishing point.
- Lines below it tilt up.
Draw “through” forms
Lightly ghost the far edges of boxes or figures as if they’re transparent — Kim Jung Gi did this mentally all the time.

Day 50 - "Critique - Organizing Line Weight - 100% COMPLETE!"

Day 50 - "Combining Line Weight" - 100% COMPLETE!

Day 49 - "Critique - Organizing Line Weight - 32% complete"

Day 48 - "Demo - Depth and Form Line Weight - 100% COMPLETE!"

Keith’s Clips — Sketch

Day #48: Charcoal study focusing on proportion & minimal tone.

Behind the sketch: Did half of this one with my right (dominant) hand and the other half with my left.

The line lay‑in was rough and wasn't looking very promising, but careful charcoal edges pulled the form together in the end.

First try with a charcoal pencil while exploring new grip styles.

—Keith