Round two of my ultimate portrait art competition is pure chaos in the best way: four artists, 45 minutes, and everybody has to draw a fellow competitor with their non-dominant hand. To make it even nastier (and more interesting), each person is locked into a different medium—pencil, ballpoint pen, vine charcoal, or an ink brush pen—so the “wrong hand” problem stacks with a tool-control problem. What I love about this round is watching strategy beat panic. One artist leans into shaky, rough-and-tumble brush marks and calls it “happy accidents.” Another accepts that the left hand can’t be controlled and goes for messy, squiggly marks that hopefully read better from a distance. Vine charcoal turns into a mental-and-shoulder-pain endurance test, so the move becomes simplifying the approach and giving yourself less to think about. I’m on pencil, and I thought erasing would be my big advantage—but I barely even touch the eraser. The real win is using the side of the pencil to block in value instead of chasing clean lines, plus the freedom of knowing mistakes aren’t permanent. Limitations are a thing of beauty, and this one forces you to loosen up fast.