Hi @Kassjan Smyczek, nice painting! Yes I agree that the second attempt is an improvement! I've been taught that a figure drawing needs proportion, balance and rhythm. It needs all three. Part of the improvement in the second attempt, was made by improving the proportion; by raising the navel, the relationship of legs and torso got more realistic. I did a paintover were I went through your drawing and pointed out how you can improve it by improving the aspects proportion, balance and rhythm. It might be beneficial to work on the drawing in steps, to make sure that you get proportion, balance and rhythm. I did a paintover showing that in this reply https://www.proko.com/s/2WFA I hope this helps :) Let me know if you have any questions!

Hi @Ezra, nice studies! The hand could feel more clearly connected to the lower arm by having them interact more. I did a paintover with some tips! I hope this helps :)

Cool!

Nice!

Hi @Ricen, Nice drawings! I'll do my best to help you further :) - I think the drawing you've numbered as three is the most successful. The structure and proportions feel solid; You got the symmetry of the body (both arms the same length and mirroring shapes; same with legs), and the parts of the body are clear and logical (head, neck, chest, waist, hips, upper leg, lower leg, feet, shoulders, upper arms, lower arms, hands). There is also a rhythm that leads the eye through the drawing. - I've been taught that a figure drawing needs proportion, balance and rhythm. It needs all three. In your next attempts try to get all three. You might have to work in steps, building on top of eachother: • one where you capture the gesture (what the structure is doing). You try to show clearly what the subject is doing and you capture the weight and balance. • one where you draw the structure of the figure; getting the parts and their proportions right • one where you shape the parts to be even more characteristic and to create a flow, a rhythm, that leads the eye through the figure. You think about how the shapes squash and stretch (on a bent leg for example, the back of the leg will squash and the front will stretch) The steps are just a suggestion. You could use different steps. The thing I think would improve your drawings the most is to improve on proportion. I would highly encourage you to study Paul Richer's canon (Human Proportions – Average Figure). You could add another layer on top of the drawings you've already done and adjust them to match the canon, to help ingrain it in your mind. I hope this helps :) Keep up the good work!

Hi @Andreas Kra, nice studies! Some quick tips: - The ellipse that represents the circular end of the cylinder should be perpendicular to the lenght of the cylinder (see attached image). - You might want to make the light part of the shade slightly darker, so that the tones aren't misinterpreted as receiving direct light. You could think of an object with clear directional light on it as having two value ranges; one range for the values that belong to the surfaces receiving direct light, and one range for the values that belong to the surfaces in shadow. A clear seperation, results in a clearly communicated idea. I hope this helps :) Let me know if you have any questions!

Yeah, nice! People sketching is so much fun! You managed to capture a lot of character with the poses and the different clothing and features, characteristic to each individual. - You might want to try doing some sketches that leave out the details of clothing and facial features for example, and instead focus on getting as much attitude into the body language as possible, with simple means. The drawing in the bottom left for example, has a nice clear pose, that capture the femininity that the clothing suggests. I get the feeling that she's looking at something, or communicating with someone, in front of her. But maybe we could extract even more character with the body language? WHAT is she doing and HOW is she doing it? If she's talking to someone, could we make that more clear? How could we make the main point more clear? We could also think about the details: She's holding her bag in her left hand; how would her unique shapes pose when doing that? How does this specific individual hold a bag? She's wearing high heels; how does that affect where she puts the weight? How will the clothing affect her movement? I hope this helps :)

Hi @j4e8a16n, nice study! - When you drew the hand, what was your process like? I think knowing that will help me with giving feedback. 😎👍

Hi @Abigail G., nice drawings! I'll do my best to help you further :) - It would help me to know what your art goal is. What type of work do you want to create? Do you have any examples of artists who does that type of work? - With drawing you communicate ideas. In your next attempt of the shorter poses try to make sure that the idea of the gesture (the action) is completed. In many of your drawings (image 4 for example), you have started to add details before the gesture has been communicated, making the drawings hard to decipher. -To me it has been very helpful to keep this line in mind: "Do one thing at a time". So I might start my figure drawing by focusing on the gesture. When I feel like I've said what I intended to say (the action; what the structure is doing), I might do another pass where I focus on the shapes that the figure is built of, and how they would look in the gesture I've decided on. When I've communicated the structure of the figure, I might start to think about clothing for example, and how the wrinkles in the clothing could lead the eye. The exact process wasn't the point here, but the idea of doing one thing at a time, since that creates clarity in your mind and in turn in your drawing. - I've been taught that a figure drawing needs proportion, balance and rhythm. Proportion (the structure), balance (the sense of weight) and rhythm (a flow that leads your eye through the drawing. Often one side of a part will squash and the other will stretch; all the parts of the body squashing and stretching together creates a rhythm). You need all three. I try to work on improving in all three areas and on making all three present in my drawings. You might want to try doing that too. I hope this helps :) Keep up the good work!

Hi @robot0906, nice studies! Nice rhythm and flow! - What's your art goal? Animation, illustration, landscape painting, or something else? What type of work do you want to create? If you have any artists in mind who does the type of work that you want to do, please share! - It might help to describe the gesture (what the figure is doing) with verbs. In drawing 8 for example he's "taking a step" and "punching". Try to make your drawing really sing that. Put focus on the bending of the leg and how weight is put on it, and the forward thrust of the arm. Clearly defining what gesture you're chasing after is going to help a lot I think. As an artist you're often trying to communicate things, in this case the gesture (what the figure is doing). - For more realistic figures it might help to pay more attention to proportion and structure. Think of the figure as a simple model build with pieces of clay. The pieces have specific forms and proportions. Take one of the poses you've drawn. Draw it again, but this time, draw the figure as if it was a simple clay model. Look at the forms of the figure and imagine them as pieces of clay. Try to be simple but specific with the shape of the pieces. Make the pieces match Richer's proportional canon Human Proportions – Average Figure. I hope this helps :) Let me know if you have any questions!