Hello Fellow Artists! I am Chekdot 😁. Besides being able to understand perspective, my immediate goal is to be able to draw vehicles in perspective. Additionally, I struggle a lot with making wheels in perspective. Examples below, some are from a movie, Redline (hope that's OK) which has extreme perspective and some from Evangelion artist Yoshiyuki Sadamoto.

Heres hoping I can draw a wheel in perspective soon. LETS GOOOO!!!!

A water colour painting.

Hey chekdot, These are pretty nice, especially the gesture, they have nice flow. In your first figure you are having some proportion issues, and you need to think about how gravity will effect the forms. The second figure is feeling odd because the left arm is saying we are looking down at the figure, but the figure is looking straight on. I did some quick sketches and some notes so you can see what I mean, I hope it helps :)

I attempted something similar but with a different pose. Applied, or tried to, what Patrick suggests throughout his drawing. Anatomy is still a learning point for me and having better control over the values as well.

My final submission. This started as a very different idea where a man was supposed to be fighting the snake, but I was unable to get a proper gesture for the man. so now this is just an angry snake. Also I am not good with environments, which I am still working on. So excuse the ugly backgrounds.

At this point I feel I can only scribble and not get anything to a finish.

My final submission. The GarDener 6500. A bot meant to help with routine gardening but had some flaws which couldn’t be fixed.

Hey @chekdot! I agree with @Steve Lenze’s suggestions regarding gesture and simple structure. I’d certainly consider using Steve’s generously provided drawing as a reference to make some adjustments in your character’s pose! In terms of story, one thing I personally like to do (rather than just randomly think of elements to add to the scene) is to imagine the backstory of the image, like a description of the situation or action that’s happening. In this case, for example, your character is a boxer and he’s punching, so here’s a few questions to consider in order to imagine that: what is he punching, is it his opponent? Or maybe a punching bag? If it’s an opponent, is he just practicing, or is he in the middle of a real fight? If it’s a fight, is it an important one, like the championship finals, or is it a more ordinary fight? Where does your character live in the world? How old is he? What motivated him to be a boxer? What does he intend to achieve in boxing, is it fame? Is it to become rich? Or is it to prove himself to the world? Or even to test his skills as an athlete? By answering these questions, you can more easily prompt ideas of how to set up your scene and what to include in your composition. Quick example: let’s say he’s about 24 years old and he’s actually an amateur boxer who never won any big championship because, when his wife got pregnant, he had to work to support his family; but he also never completely gave up on his dream of becoming a professional boxer, so he still practices daily with a punching bag in his house’s garage. Then, I’m thinking this scene could perhaps be the point of view of his young baby looking up at him one day as he practices (hence the exaggerated upward perspective): so the scene would show him punching an old home-made punching bag; he would be slightly absent-minded as he practices because he’s concentrated and also daydreaming about his alternative life as a professional boxer, so we could try to work his facial expression based on that; the environment would be his garage, so we would see maybe a modest car or a motorcycle on the back, maybe some shelves with miscellaneous stuff from his house (tools, piled up boxes…), maybe the garage gate would be a bit open and we’d see the street outside, perhaps some neighbors walking by; his outfit could be a simple “stay-home” pair or shorts and a worn t-shirt; and maybe this scene could be happening early in the morning, because practicing his boxing would be the first thing he does every day, so we could work out the light of the scene to suggest that. Of course, this example is just one of the many possible ideas - there are various other potential solutions I’m sure you could be able to think of in case you prefer to go a different way. But, as you see, just “framing” the illustration inside a storyline can already trigger a lot of ideas for elements to compose the scene with. Maybe try it out for yourself! If you’d like, let me know how it works for you. Hope this helps. Cheers!