Nice, you've definitely have good flow and curvature throughout. I think it would be interesting if you started incorporating more variety with CSI lines, so in this case, more straights. Having a variety with curves vs straights can even help you bring in energy by having the two in contrast with each other. Usually where there's a straight, there's a curve on the opposite side, so keep an eye out for areas of counterbalance to further exaggerate.

Hi there. here are a few pointers that I could shoot, hopefully they help. 1. Shape design & Appeal. Proko explains it well in his video here: https://www.youtube.com/watch?v=ID8r0OhiYe0 1. You want to avoid asymmetry like the plague in every shape that you draw. It makes it stiff. So no snowmen. 2. You want to offset the apex of a curve against the other side's apex / pinch so that there is a flow going through the entire form. For example: 1st row first figure from the left, a tapered shape is used to describe the left leg (our left). It can be made more gestural by making it more asymmetrical via adding curves on one side vs straights on the other. Third figure from the left first row left leg also has a similar area of improvement. Bottom right figure's torso can use more asymmetry. First row 2nd figure from the right has good asymmetry in the overall figure. Symmetry is broken up by the butt, the torso has a pinch and stretch, and the legs have rhythm to them because you've drawn the curve of the quads flowing into the hook of the calves (look at the respective apexes of the curves -- they flow into each other) 2. Exaggerating the gesture You want to exaggerate the pinching and stretching as much as possible so get a good read. You want to make sure that there is flow going through the entire figure and that the lines of your figure indicate so clearly. The force series explains this very well : https://www.youtube.com/watch?v=JtaBjtAGsk0 I recommend reading the books and the Youtube tutorials by Mike. 3. Wedging Try to wedge your forms together, so that you see the line overlap the line from another body part. The result is having internal lines within the contour of the figure that indicates form, instead of just a 2d contour silhouette. James describes wedging well in this video. https://www.youtube.com/watch?v=FupeKX4NQsQ First figure top left can use improvements in the arms. Wedge it more into the torso. 4. Drawing through the forms and the figure Don't be afraid of drawing your gesture lines through the figure. It's okay to have your lines overshoot where it's supposed to end if that means you maintain the gesture, flow, rhythm, and power of your line. Mike Mattesi does this a lot in his gesture drawings. Stopping your lines and not following through will cause rhythm and flow to stop abruptly, which causes interruptions in the flow of the eye, making things look stiff. 5. Become aware of landmarks and exaggerate their position and tilt to better describe gesture. It's best described here: https://youtu.be/-TqKd2XB844?si=_AJaLAvix8VeXSM6 For gesture drawings, it is good to look at good examples of people who draw good gestures. I recommend Josh Black https://youtu.be/eiNbRRIyX1g?si=8UzLT8Y50PzBokc2

ooh youre gonna love the rhythms lesson coming up next in the basics course :)

Hi @Ren, really nice work! I don't know if there's much I can critique, but I'll try ;) It would be interesting to hear what your goals are. If animation, then I'm sure there are things to consider that could help with the story of the pose. - The rhythm is really nice in these drawings, but the structure and proportions are falling behind. You want your drawings to have proportion, balance and rhythm, all working together. Try this: Do some more where you start with drawing the structure, rather than rhythm lines. So the lines you put down establishes things like the lenght and width of the body parts. But as you do, your main focus is gesture. You try to feel the pose, just like you would when drawing rhtymical lines, but you express that gesture, by the placement of the structure. If you put the shoulder line and the asis-to-asis line, in opposing angles, you will have an implied c-curve rhythm in the torso. And depending on how they relate to eachother vertically, you can shift the weight. I'm not necessarily suggesting optical accuracy; it's about getting the proportions right. You may tilt and foreshorten things to tell the story more clearly, but you try to make sure that the proportions feel right in space. Be especially aware of corresponding parts, such as right upper leg and left upper leg. The idea with my suggestion, is to help with improving the structure and proportion in your drawings. Keep in mind that this is something I'm working on myself, so take my advice with a grain of salt. You might find another way to improve the proportion and structure of your drawings. A drawing process that might help: -Start with the shape of the head -Find the pit of the neck -drop a vertical line that gives you the lenght of the body and something to refer to when establishing the weight -Place the foot that takes the most weight (the one closest to the vertical line) -Draw a line for the angle of the hip and a line for the supporting leg. -Draw the shoulder line Now the main structure and weight has been established, and within that the rhythm. I hope this helps :)

Hey Hi! I agree with you, there are certainly, always, areas of improvement. The good thing is that you got the goal of the exercise. I especially love the faster ones because you restrained from drawing the details and it gives a stronger sense of motion. I suggest you to slowly increase the drawing time but to stay in the 60-90 seconds range for a while

Hi @Marco Sordi, nice studies! There are many nice rhythms and in the design I can tell that you've been into Patrick Jones's course. - If the art you want to make involves telling stories with figures acting, you might want to study drawings by animators. There are many nice things about you're figure drawings, but they could be strengthened in terms of balance/weight, structure and attitude/storytelling. Maybe I'm noticing this because it's something that I'm working on myself. I was recommended a book called Drawn to Life (Walt Stanchfield, edited by Don Hahn), and I'm really enjoying the books. I've only read 40 pages or so, of the first volume, but I feel like I'm learning a lot from reading the text and from analyzing and copying the drawings by old animators in it. Just the very first pages, that introduces the principles of great animation drawing, really helped, giving me something high to shoot for. - Related to the above, you might want to try an exercise, that I'm working on at the moment: Study a figure, and break it down into simple forms. Then pose that mannequin into a story, trying to keep the pieces consistent in proportion. Also study drawings of an animation character, and break it down into simple forms. Now pose that mannequin in poses, telling a story. Maybe try to pose the animation character like the figure reference, and vice versa. I didn't think of practicing this at first, since I've done the mannequinization exercise in the figure drawing course, but trying to keep the proportions consistent is difficult and I still struggle. As a final note, keep in mind that I'm working on the things I've given you tips about myself, so take the things I say with a grain of salt :) Cheers!

Hi! I love the fluidity and twisting of your gestures, you can really see the motion. I do think it could benefit from more straight lines to indicate the squash of the volume, not just the stretch. So wherever there's force/weight pushing against something, that could be a great opportunity to enunciate it, adding more believability to the form and space of the object.

Nice loose work. Maybe vary the thickness of your line a bit more, particularly in areas suggesting weight, pressure, or strain.

They look great! Where do you get your references from?

Hi @Samuel Sanjaya, nice studies! I'll do my best to help you further: - I wrote this reply a few days ago https://www.proko.com/s/XqsK and I think it applies to you as well. So check it out😎👍. What I think you need to focus on now for your figure drawing is gesture. Gesture, gesture, gesture. Draw lines that represent the flow that you want to run through and between the forms of the figure. You could think of the lines as a stream of water flowing through the body. The next step will then be to dress the flow with forms. But for now, focus on the gesture. Glenn Vilppu is a great role model for this way of drawing Drawing Demo by Glenn Vilppu. You might want to try doing some flow studies on some of Heinrich Kley's drawings. His drawings have a lot of gesture. I've attached a study I did, for your inspiration. When doing mine I found that every form, even the smallest ones, had a flow. And all these flows are connected like a river, leading your eye through the drawing. I started with the flows for the major forms, then broke it down to smaller and smaller flows, trying my best to connect them all with a back and forth like rythm. I hope this helps :) Let me know if you have any questions!

I'm just starting out myself, however I think they look pretty good. In several poses I think you could exaggerate much more, even though the figure you are drawing is very static. I think people tend to under exaggerate rather than over exaggerate. Hope this helps.

Hi @Dwight, nice studies! You've put down a lot of work! Overall I feel like these look pretty strong. They are carried by strong gesture and clear form. - How often do you copy artwork that you admire? I think including that into your practicing will help you improve faster. You'll learn a lot of things that you probably wouldn't have discovered on your own. (I also think this is the answer to finding out how to draw faces on a smaller scale) - As mentioned, the gesture and dimensionality look pretty strong, but the design of the forms of the figure are a bit wonky. The proportions are inconsistent, and sometimes parts are missing or attaching at the wrong spot, making the figures feel a bit broken. This is something I'm working on improving myself, which might be why I noticed it. In your next set of drawings, build the figures out of clear pieces. They don't have to be mechanical and boxy, they can be round and organic. It's your choise. The important thing is that you think of the body as built out of clear pieces, to make yourself conscious of the design of the figure. With clear pieces you can compare proportions. When you've drawn the upper leg on one side, draw the other upper leg, and make sure both upper legs are mirrored versions of each other; attaching the same way and having the same size. Having clear pieces can also help you avoid missing anything important, such as the waist piece for example. I hope this helps :)