Hi again, Cinders. Great that you also want to join in this! 
Carly, I have given those two first line studies a try in my sketchbook with a 2B pencil. Figured I'd start with a simple line/hand practice today as well, switching to a 4B in order to experience the difference. Won't post any of these here though, it's better that you can start this off the way you intended - don't want us to get distracted from that "First A to B, then B to C"-approach (that sounds great btw). I have, however, posted them in my sketchbook if anyone is curious of what they ended up like.
Don't want to jump ahead of anything, just wanted to tell you how inspired I was by those studies you posted and what you wrote. That anecdote with the professor and your focus on line/hand practice really made a strong impression on me. It's like karate kid almost: "Paint the fence...wax on/wax off"...making that motion become a natural part of yourself, an extension of yourself. Hmm...sounds silly trying to describe it in words, but I feel that I really understand what you mean, why you think that basic drilling is important.
As mentioned I've been playing drums for a long time. When I first started out I was trying really hard to play as FAST as possible, making it sound as ADVANCED and COOL as possible (of course it didn't). The more I've played, however, the more I've come to realize that often it sounds better to REDUCE the number of notes in a fill - adding space. These days I'm more concerned with trying to find a GROOVE than playing the most complicated pattern I can, learning more and more to actually LISTEN to what I - and the others in the band - play. A "less is more" approach, really taking a step back during a guitar or keyboard solo etc.. Trying to FEEL the music, finding and following the FLOW of it. The essence of it. Its heartbeat...
Looking at drawings by great artists I feel I can sense their ability to capture that same "essence" that I'm beginning to experience (occasionally at least) when playing drums. That confidence and ease that can only come from hundreds of hours of practice. Right now I feel almost like a beginner sitting down behind that kit not quite sure which foot or limb should go where when drawing. The only way to find out, to really be good at creating music with that kit is actually...playing. Hour after hour, alone and together with others, preferably with feedback and instruction along the way. That's the only way and I realize there's no difference when it comes to drawing and painting. Just do it - over and over again. Don't start with a samba, start with a 4/4, maybe just the snare...then add kick drum...then hi-hat...then try to play all three at the same time...keeping a beat...etc.
Hope some of that comparison to the process of learning to play an instrument makes sense, just wanted to share it, since I feel its strongly connected to Carlys view on the importance of basic line/hand practice. Well, enough of this talking now, got some lines to draw...
I feel I have a tendency to READ and WRITE about drawing instead of actually drawing. Will do my best to change that, focus on the challenges we'll be given here and do the hard work (not taking it too seriously and still with a happy smile on my face of course 
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Probably should mention that I'm not supposed to do things under a lot of stress and pressure at the moment - so if I will take some extra time with some of the challenges its just out of health reason, not because I don't care or appreciate all your efforts, Carly. Think this is awesome and I'm really grateful for you giving me and other beginners this opportunity. No, now I MUST stop talking an start drawing...
"Every child is an artist. The problem is how to remain an artist once he grows up." - Picasso
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