Looking forward to the critiques :) I am hoping you get to some of the ones I did. I have assignment 13 left to do.

Great job on this one! Your construction is solid, and you're getting there with simplifying your lines and shapes. In terms of a critique, I'd say to loosen up a bit more. and think of larger shapes. For example, for the study in the top left you can simplify the back of that pose into a singular C curve. Right now it being broken down into two distinct pieces breaks a bit of the energy of the pose and makes it more difficult to construct. Great job though!

Proportions, and gesture are great on these. Focus a bit more on cleaning these up. I can tell you're really taking everything I'm teaching in this lesson to heart. The next step is trying to master each step individually and having them all work together. Right now they're all a bit on the messy side. Hatching lines are very dark and aren't all necessarily following the underlying form / gesture. Use fewer lines to communicate the same or more information. For example, on the second to last page of studies the one in the top right uses a singular C curve to communicate that whole torso. More of that Other than that, great job. Keep it up

Great job, the two thing's I'd say are watch where parts of the body connect. That middle pose knee is looking like it's getting a bit too narrow, and not connected as a singular piece. The second is to be more confident with your lines. You're getting the hang of it, and doing everything right. But it looks like there are bits that you might be a little unsure about. At least for a lot of the stuff I do, it's not about drawing something right, it's about trying to make a decisive decision. Drawing from your head is all about using a previous decision to inform the next one. If you have a bunch of shapes that aren't confident the whole thing starts to fall apart. If you analyze my drawings, they're full of "mistakes" I just have developed a bunch of strategies to get myself out of sticky situations. Parts of the body that are either vague, or unfinished. Looking at your submissions to other courses, I don't really have any big notes about these. Keep it the great work.

I love your texture here one the standing woman. brings so much life .

To me, these sketches look truly amazing!

Keep it up! I think the best thing for you are reps. Practice placing simple shapes in the gesture and line control.

These are solid studies. The #1 thing I'd say to focus on at this stage is simplification. I've mentioned this a few times before, but there are a lot of opportunities in your shape to say something in 1 line when you're using 10 or more to say the same thing. You're adding detail way too soon before establishing your primitive shapes. The proportions are great, and you're understanding the shading. In the draw over, I've tried simplifying down both sides of her torso down into simple C curves and including the box of the pelvis. At this stage of the drawing, you should really never be thinking of contour or trying to "finish" the drawing. It's all gesture, and then using bits of anatomy and occlusion shadows to imply depth and structure. For example, if you establish the box of the pelvis a little bit more you can start to more accurately place the groin and the legs. In your drawing, they're totally disjointed and kill the flow of the study. The leg shouldn't really ever go below that box, but on yours the right leg feel detached.

Hi there, Tommy, I think you are making wonderful progress with your artwork! There’s a lot of positive developments on display in these drawings. In particular, I noticed that the proportions are believable, the expressions are clear and communicate the emotions of the characters well, and the figures stand in perspective in a way that I struggled with when I first began drawing figures! As for the soul of the drawing, feel free to loosen up and let the energy of your hand’s movement carry through into your work! I can see the beginnings of this fluidity in the poses of your characters, the kneeling woman in particular, and I have found that this freedom of movement is something that develops over months and years of practice, much like how one writes a signature. Adding form and perspective can stiffen the figures, so it’s a constant balancing act incorporating the structure provided by form and perspective and the fluidity of gesture or soul drawing. I can see that you’re working hard to put together all of the components of an effective drawing, from form to anatomy to proportion, not to mention perspective, facial expression, and likeness. This hard work is paying off! It’s possible the pressure to make a “good” drawing may be affecting you. That expectation can be stultifying, and it might prevent your hand from moving as easily and confidently across the page, inhibiting the expression of the drawing’s soul. It’s something to keep in mind as you continue your art. To wrap up, I really like that you studied both front and back views of your characters, and I love the imagination at play in the characters, especially that tiger’s head on the shoulder of your last character. I’m excited to see what you invent next. Keep up the fantastic work, artist!

Great job, and great effort! I'm going to say something similar to what I've been saying for others. Simplify your shapes, and don't focus so much on contour. These are short studies, and don't need nearly as much anatomical information as what you're including. I'd suggest taking a few of these poses, and seeing if you can communicate the same amount of information with 5 or fewer lines. Do a bunch and don't stop!

I love these!