Hi, I'm looking for some advice and excercises to improve my construction drawing and ability to turn those drawings(form) in space. I can draw from reference, live or from pictures, but I struggle with construction drawing sometimes. Mannequinization specifically. It's hard for me to simplify. Even harder is drawing the mannequin from a different angle without having the reference of it in front of me. How can I improve this and what are some good excercises? Thank you all so much!

Any advice on how I could better capture the energy in the reference image? The first time I drew it (sketchy one) I didn’t think I got it quite right so I redrew it (polished one) but looking back I think the first one looks better. also not related to gesture but I had some trouble on the hairstyle and facial expression on the polished second one

Hello everyone! As i continue drawing and learning more about it, I am starting to realize that my observational skills need some more mileage. I have taken enough internal inventory to see that when drawing I am spending much more time drawing and way too little time observing than what I should be. I was hoping for some suggestions on excersizes or best practices to develop this skill? Things I am planning to do is introduce a weekly blind contour drawing and still life drawing session to my drawing schedule( nothing to intense, 30 mins to hr and 1-2 hrs respectively) On the subject of still life, anyone know of a good website or resource to online for still references? Thank you

Hey guys, I started learning to shade and this is my first attempt. Any feedback is highly appreciated.

Hello. Any one willing to provide feedback would be greatly appreciated. The first sketch is a screenshot of Marshal I captured from the podcast. The second is from a photo of Skip James. Both were drawn with a Derwent Graphic 6B and a kneaded eraser to bring out some of the highlights.

Hey everyone ! Here are my latest attempts at Mannequinization of the body ! I come to you, once again, to ask for advice ! Where do you think i can improve ? I know a have a tendency to over-complicate things (The first picture (Yoni29) is a proof of that, i got a little carried away with muscles) but i tried to get back to simple shapes afterwhile (Pic 6) I still struggle with the space between the ribcage and the pelvis (I think i spread them too far from each other (Pic 7)) And overall, I struggle with the angle of the pelvis on some of the poses. Anyway, do you guys have any advice on those problems, or do you see anything else that needs fixing ? Thank you all ! ( Again sorry for the pics quality, i'll try to scan them next time ! )

Hi! Long time no see! Here's a bunch of figure drawing studies I did. Mainly focused on 1 minute and 2 minute gesture studies but also on 5 minute structure studies and I also tried some gesture with foreshortening. I experimented a bit and tried out a fineliner instead of a pencil with some of these. Some gestures have too many pointy angles in them and are a bit stiff I think but I'm trying my best in making them as flowy and simple as possible. Any tips and feedback will be very appreciated! Thank you!

Title pretty much says it all.

I’m still working on heads. This one is better than before, but still has significant issues (obviously). I’m not posting the reference this time (from Pinterest) because I’m not focused on likeness yet, but any thoughts on what to work on first? thanks!!

That's “The Queen ( … and the king)”. Dip pen, manga nibs, manga ink and red pastel pencil Carbothello on A2 size Bristol board. My aim here is to get to a monumental composition yet suggesting dynamism and motion.

Feel free to critique. :)

Gestures of speed skaters from last nigh--about one minute each.

Several folks have recently posted questions that skirt around the subject of, or have asked directly about the use of tracing in illustration, painting, and when learning to draw. It reminded me of something that I'd read a few years ago that had been posted on the Muddy Colors website. Greg Manchess, a wonderful painter and illustrator (go on, look him up) wrote these following thoughts on the subject of tracing as a tool. It's fascinating reading and I'm sure he wouldn't mind my reposting it here for all our benefits: "When I was hired for my first studio job, I refused to use any kind of projection, any kind of tracing whatsoever. Then as I watched the hours tick away while my other better, faster colleagues were covering far richer ground, I decided to use it. But I promised myself to learn from it. I would master it and use it to inform my skills. "I found it a fascinating teacher. 1. Memorize "First off, I used tracing to learn anatomy. By tracing, I could actually feel how an arm foreshortened. I could see what length the line was that was needed to foreshorten it. I could understand how eyes, noses, hands looked at difficult angles. "I used it to train my drawing skills and improve them. No, it didn’t happen right away. Like anything else, it took time. Yet I sped up, my drawings improved, and I began to keep up with the guys around me who chuckled to themselves at my naïveté. "In life drawing classes we work from the model, sitting before us. But what happens when they’re not there? What most art schools fail to tell you is that you’re supposed to be memorizing. Memorize anatomy? What kind of alchemy is this? Most instructors think you learn anatomy by simply drawing the model. Uh huh. 2. Draw, don’t trace. "When I draw, I remember that using the point of the pencil is boring if all the line weight is the same. Same for tracing. I use the side of the lead, roll it, angle it, vary it for shadow lines, hair, folds, trees, etc. I get different line weight by varying the pressure on the pencil. Ultimately, you’re doing a drawing. SO DRAW. 3. Edit detail.  "Forget about tracing every little subtle light shift, or shadow, every tree branch or eyelash. Forget about drawing every strand of hair. Draw for shape, draw for tone. Generalize the reference for the most part. It’s a guide. 4. It’s a guide. "When you trace under something like an Artograph, drive yourself to get good enough to draw with it. It’s not about tracing the image exactly. It’s about using the image as a guide to correct proportions and delineate shadows, depth, line, and contrast. Give it your own technique, otherwise your work looks lifeless, pedestrian, lame. It’ll look like you traced it. Exaggerate. Use fluid lines. Any ol’ goof can follow lines. Draw with it. 5. Use your own photography. "Shoot what you need. Best that way. The internet is full of pictures you need for reference, but I use them only as reference to draw from. I still need to make the sketch my own. Whenever you can, buy the reference you need. Better for everyone that way. 6. Distortion Happens.  "No photograph records life exactly. Photos adjust the image from three dimensions to two. It’s already distorted. But you have to know when it’s telling you a lie about reality. Do not believe that photographs are real or telling you about reality. They do not. You must learn to recognize when they do and don’t and be able to compensate. Besides, it’s a GUIDE. 7. Perfect the composition.  "First, I design the composition with thumbnails. Then I use reference to draw separate elements of a complex composition on separate slips of tracing paper. I move the sheets around until the composition is refined, perfected. It’s a composition guide. Artists have been using this since the Dawn of Illustration. Today, you’ll likely do this by cutting and pasting the reference together on the computer. It’s the same thing. 8. Use it sparingly.  "As I trained with tracing, I used it less and less. It instantly improved my drawing skills, especially drawing from my head. It improved my memorization skills, but I had to focus on it. The next time you draw from life, you’ll understand what you learned from tracing. The next time you trace, you’ll understand more from your life drawing. Back and forth, back and forth. --What? Did you think there was a straight line to skill? C’mon. 9. Nothing is cheating.  "If I hear another artist talk about being a purist and only drawing from the model, I’m gonna burst. That’s just part of the training. Honestly, get over it. Now, today. If your grandma's hurt because you trace photos, tell her to get over it, too. I do whatever it takes to get the idea to the canvas because it all changes from there. If Leonardo could’ve used today’s technology, you bet your sweet maxilla he would’ve. Sorry, but there’s no “cheating” in the art field. Anybody who says you're cheating, you have my permission to, umm, enlighten them. At this point in mankind’s search for Art, all is fair game. " Let’s see where you, where we all, can go from here."

Hey everyone, I’ve compiled a stack of fun drawings and studies and wanted to post them, I think ill keep updating this new thread. I’d appreciate any crits or thoughts, since there are likely many things I miss that an outside opinion would be helpful in addressing! I’m looking to build skills for storyboarding so my next focus is going to be on an NMA course: Bill Perkins visual storytelling, I’ve started it and it’s totally awesome, really want to get serious at staying with it. I’ve been trying to implement more shadows and tones since that’s something I need to work on and tend to avoid, so thoughts on that would be great! I’ve just been trying to keep it simple with the lasso fill tool with 2 or 3 values, focusing on the shapes.  For the figure drawings my focus has mostly been on defining and simplifying anatomy, trying to implement more tone and shadows, and of course trying to get as solid of a gesture and construction as I can. I’d appreciate any thoughts thanks.

Hey, so... a couple of days ago I posted a question asking what masters should I study to improve line with a pencil and using the over-hand grip... "but nobody came"(see what I did there?). So I had to do some research on my own and I'm here to report my findings to you my fellow aspiring artists :) So New masters academy's channel on Youtube has these great demo sessions with artists such as Glen vilppu, Steve Huston, etc. They do quick sketches from 1 to 5 minutes, and drawing along with them can be pretty insightful. there's also a playlist on the channel with Joshua's (NMA founder) demos(speeded up). So if you wanna improve your line quality with a pencil copy those guys. Good luck. FWOOSH *disappears in thin air*

So this started as a lion sketch but i went with the feeling. This is kinda my first imaginary piece, not a lot of references use. I dont like it, but im still happy that i did it. Its still work in progress but i feel its mostly rendering now. Things im unhappy with: Turned in to line drawing style. Didnt plan it much, not a lot of construction on so lacks depth and form. Contrasts are all over the place. Things i am happy with: I kept at it even tough i wanted to burn it. Used some imagination, tried to make it realistic. Started shading ok, and tried to draw what looks good not what would be realistic.

Are there any expert constructive head critics who are able to break down some of my head structure mistakes? I have a tough time making my heads not look like round baby heads - I've read through Loomis and the first parts of the head course and for some reason I keep constructing heads that seem to be too round. And also constructing the "ear to bottom of chin vs ear/cheek/front chin" areas. Either my head keeps coming up looking "flat" or the chin to neck area looks abnormal. Thanks!

I would really appreciate some help or advice on this one. I can tell that something is clearly not working, but I really can't tell if it's my values / modelling , if it's construction, pencil handling or something else. I am a bit stumped, honestly. Thanks in advance :))

Hey everyone, so I am tired of studying in a vacuum. If someone could please critique the crap out of these - that would be awesome (pleasepleaseplease). 2 min poses. Gesture/figure studies. Side note **Do you ever find you're just going through the motions as opposed to feeling alive and interested in what you are drawing? This post is an attempt to keep the "awake and intentional" study part of my brain sharp.?**

Hey, I have a quick question regarding choice of materials.I doing studies masters' quick sketches(like steve huston and glen vilppu) to improve my line quality and pencil handling, and noticed that the results and the feeling i have with a hb pencil, an 3b pencil, and prismacolor are a little different, so i wonder whats your thoughts on this. thanks in advance