I drew several different expressions. Compared to the previous study, I added more side-view angles and subtle muscle variations. The wrinkles created by muscle contraction and relaxation add another layer of emotional tension to the expressions. It also reminded me of Our Little Sister, which I watched yesterday. In many scenes, the subtle changes in Haruka Ayase’s expressions convey emotions that were never spoken out loud.

An exercise for understanding the frame of the body, along with the joints and movement. Critique is welcomed.

To challenge myself I tried quick sketching with a pen. Critique is welcomed.

This time I drew a friend from Central Asia, wearing an outfit that looks somewhat similar to traditional Kazakh clothing. I did a little research afterward and found the details really interesting. The embroidery on the hat and cuffs, the ram’s horn patterns, and the feather accents all give the outfit a very distinctive look.

This is a great exercise for testing one's ability to recall anatomical information in order to produce a believable figure. No references allowed! Just a pencil and a picture in your head. I've never been able to do it that well, but these recent drawings kind of surprised me. Sure, they're not perfect, and I admit the back pose has less than clear thinking, but overall I think this is a sign of all my recent hard work paying off. As they say... back to the drawing board! Give it a try. See how much you really know. You might just surprise yourself.

Here’s a half-body portrait study. The goal this time was pretty simple to really build the muscle volumes into the figure. Compared with my previous life drawings, I have a clearer understanding now of where the muscles begin and end, and how their forms wrap around the body. Drawing a physique like this really makes it obvious that muscles aren’t just a few lines on the surface. They’re volumes layered over and wrapped around the underlying structure.

Revisiting how I draw hands. Compared with my previous studies, I added a few more simplified construction models this time. I’m trying to organize the structure in a way that is easier to understand and can actually be applied when drawing.

I recently completed this charcoal drawing. I would love some feedback/tips and advice. Feel free to critique this as hard as possible. I wanna get good.

Hello everyone in this i copied michael hampton drawing of a feamle figure to get to know how he draws female figure and i need feedback on it please!!!!!

Hello cna anyone give feedback on this figure drawing!!!!!

Someone recently asked me about my process for creating the white drawings on black paper that are in my Watts/Bridgman album, and it inspired me to create another one! So, naturally, this is a study from the Watts on Bridgman course/book, and I must say, I love doing these so much. And this one came out great... I must have eaten my Wheaties before starting this! It feels so much more like painting than drawing, probably because you have to consider the shape design so deeply before laying in tone. Or... what's the opposite of tone? Light? Laying in light? Can one do that? Hmm... And Yoni is just the perfect model to study anatomy from. Guy is so shredded it's wild. This drawing mostly highlights the way the pectorals and front deltoid stretch and interact with each other during scapular retraction and humerus extension (there's also a bit of lateral rotation), but also shows well the flaring of the ribcage and elasticity of the abdominals when the chest is thrust forward. Also, you can easily note to which ribs the serratus originates, being exposed from under the latissimus by the same retraction motion of the shoulder blade. For anyone who finds this style of drawing inspiring and/or is interested in learning how to do it, I highly recommend picking up the "Watts on Bridgman" course or ebook(s) or both. And of course, get the Complete Bridgman book while you're at it, because that's really where you're going to be learning the names of the muscles and whatnot. Jeff doesn't really go into the technical side of the anatomy. He just shows you how to draw it! Which is great, but we like to sound like we know what we're doing, don't we?

Hi everyone! This is a macro-realism study isolating the anatomy of the human eye using graphite and a blending stump on paper. I focused on emphasizing the glossy texture of the wet cornea through sharp, preserved white paper highlights. I am looking for feedback on my structural gradients—specifically, whether the delicate folds of the eyelid and the fine eyelash lines carry the correct anatomical depth and volume without looking over-rendered.

Hi everyone! This is an anatomy and texture study of the human eye focusing on complex ocular dimensions and radial color blending within the iris. I used oil pencils on paper, leveraging their rich blending properties to layer light, multi-tone gradients.I am looking for feedback on my structural depth—specifically, whether the delicate folds of the eyelid carry the correct anatomical volume under this lighting, and how well my thousands of overlapping pencil strokes mimic the intricate fibrous patterns of the iris without looking over-rendered.

hi! I’m actually really new to this site in general, but I feel safe enough to try and share something. ive been diving more into perfecting faces since I love character expressions, and just wanted to know if I should add something to the practice I haven’t yet (OBS: I did start to do some boxes but I don’t have the pic here TT)

This is the next part of my other topic in the fundamentals category. I just felt i should be posting in the anatomy category instead. So it will just be a 'sketchbook' where i regularly post sketches of the human figure. Mainly from imagination. My focus for the time being is the anatomy. Light and shadow will have to wait. happy drawing. Peace.

Just a couple of quick little studies done from Bridgman. I just love his drawings showing the ribcage for some reason... This one showing the connection point of the external oblique to the iliac crest and the lat from the small of the back to the upper arm. I'm finding these profile drawings to be very helpful in conceptualizing the relationship between the ribs, spine, and pelvis, as well. It's been a particular sticking point for me, especially recognizing the angles, and where the bending actually occurs in a figure. Also, I'm remembering why I love charcoal on (smooth) newsprint so much. It's just such a nice drawing surface. To anyone who hasn't tried it, it's cheap and effective for lots of practice, but not cheap feeling. Was a total game changer for me when I first tried it.

Can u guys help me I need critical analysis of my work😭

Here are a few portrait studies from life. It was interesting to see how different the same model could feel depending on the pose, clothing, and mood. After a few sessions, I started to feel that life drawing isn’t only about drawing the model in front of you. Sometimes, depending on what the picture needs, you have to add, simplify, or adjust shapes and strokes. Deciding when to follow what I see and when to make changes for the picture is still quite challenging for me.

Finally got to break out the big newsprint pad and do a charcoal study. Home sweet home, and gone so long! This is out of the Watts on Bridgman book. My study of Jeff's drawing is on the right, and my interpretation of the photo reference is on the left. Feels good to get something more large and finished done after going a bit crazy with gesture. I'm on a roll, folks! And I got to say, the book and course are awesome. I already had a good knowledge of anatomy, but the way Jeff draws and waxes philosophical has allowed me to synthesize my own art and understanding way better. And of course, the Bridgman book is invaluable for referencing shape designs of anatomy. Thanks for looking!

Please give me feedback!!!!!!! The goal was to add anatomy after doing mannequinisation as my figure drawing sucks even after I do mannequinisation