Try not to worry so much about style right now. Worrying about style is going to kill your gains. Just really really lock in on 3d forms, poses, anatomy and foreshorting. Style is more of the end goal rather the beginning. I can’t stress enough the importance of really not worry of style right now. But, keep the artist you inspire to be like in the back of your mind, as a motivation for what you want the end result to be. Now as what to work on, I would say 3d forms.

Hi @vonun, cool drawings! - The rhythm is nice 😎👍In the next ones I would focus on improving the structure and proportion. Think of the shapes that the figure is made up from and note how they relate to eachother. Start growing curious about proportion and ask things like "which one is longest, the upper arm or the upper leg?" "What's the angle between these points?" etc. I think you would appreciate watching this video How Animators Use Basic Shapes with Aaron Blaise. Try to use his approach for your figure drawings. - I noticed that you've posted some assignments for the Drawing Basics course as well. I would encourage you to keep taking it. It gives you a broad foundation and complements the figure drawing course well. But if you have to choose one or the other, I would say focus your efforts on the Drawing Basics course. - What are your art goals? Knowing that might help me guide you better :) I hope this helps :) Keep up the good work!

Hi @hermitsketcher, nice drawings! Good rhythms! - What are your art goals? What type of work do you want to create? Feel free to share examples, by artists that you admire. Knowing your goals might help me guide you better, since if you want to do animation for example, there is a certain focus on gesture, whereas if you want to do Florence Academy type drawing for example, you might have optical accuracy as your main focus. - To improve your gesture drawings, I would try to be more clear about where the weight is. Before you start to draw, ask what part is carrying most of the weight. Feel the pose, imagine striking it yourself. You might even want to get up and try the pose yourself to actually feel it (assuming that the pose is safe to strike XD). Capturing the gesture is a lot about feeling the pose yourself. I attached a slide with some tips on weight. In short: weight causes things to bend. How much it bends depends on how heavy the weight is and how strong the thing is. - The proportions could be improved on. Thinking of the body as built out of clear pieces, with certain proportions could help. You've drawn from the same model here, so the proportions of the pieces won't change from pose to pose. In the bottom right drawing you've made the torso much longer, suggesting that you were now drawing from a model with different proportions. It goes a long way to note, that the halfway point of the body is at, about, the crotch. Considering the bilateral symmetry of the body is also important. The corresponding parts, such as the upper arms, have the same size, only mirrored. Getting this right is important, and something I struggle with. In short, start to be curious about proportion! Don't stress over it. It could get in the way of your focus on gesture. But start to be curious about it and ask yourself questions like "which one is thickest, the upper leg or the upper arm?" "Where does the leg attach to the hip?" "What's the angle between these points?" "How long is an arm in relationship to the torso?" "How many heads down from the chin is the belly button?" etc. I hope this helps :) Keep up the good work!

Additional images

These are fantastic

Good gestures, especially for the quick time limit! You have some really cool examples of simplification for flow. I think something that can help push it further is keeping an eye out for static or dead shapes, like Mike Mattesi covers in the Drawing Basics course: https://www.proko.com/s/P3bk to push the dynamic, live quality as much as possible. I noted some specific cases below, I hope it helps :)

You have nice flow and energy throughout these :) I'd just say to watch for areas of tangents (where two lines meet), like the knees in the third figure. When tangents are unintentionally placed, it can feel awkward or draw more attention than necessary. So often times, these are an opportunity to further push or clarify your silhouette, like by moving the knee further to one side or the other. Also, I think there's a tendency towards smaller heads, so it can help to use nearby landmarks for measurement references, like the shoulders + sternum, but for a more detailed look at proportions, this video from later in the course is great: https://www.proko.com/s/9sB5

Two weeks later, here's where I'm at (30 second, 1 minute, and 2 minute poses). I tend to feel like my sketches are regressing, but hopefully they aren't! I can "see through" the contours to the spirit of a gesture pretty well by now, but I have a very hard time getting myself to modify poses under pressure the way that Stan and other skilled artists do in their demos.

Hey, @JAMES G, these look really good! Nice flow, clear read, enough simplification. You’re definitely on track with gesture, great job! I have a suggestion, but I don’t know if it’s necessarily “something you should do to improve” - I think it’s more like just a subjective point of view that I’d like to share and that maybe you could find useful in some way. Personally, when I want to focus on gesture, I usually don’t think too much about form or construction, I try to think mostly of an abstract idea of movement and flow. Sometimes, I'll use cross-controus moderately if they help clarify the pose, but, mainly, I tend to let go of the idea that the body parts are solid and, instead, I envision as if they were made of “pure energy” - I find this helps me push the idea of gesture, motion and force to its maximum. I’m attaching a couple of gesture sketches I’ve done in the past to help illustrate what I mean. In your gesture drawings, I can see you’re using plenty of cross-contours and even occasional boxes and cylinders, which leads me to believe that you’re considering form, too, as you work on the gestures. And I think that’s not a problem at all - in fact, many artists tend to blend gesture and construction together when sketching. Your sketches still look concise and fluid, so, as long as thinking of form doesn’t hurt thinking of the gesture, it’s fine. But, just in case, perhaps you might find it useful to know that it’s also okay to “ignore” a bit more of the construction aspect of the drawing when you want to focus mainly on gesture. As I mentioned before, I think this is not something you “should do to improve”, it’s just a possibility I notice. Hope this helps!

What references did you use? or was it from imagination?

could i have some feedback :)

Overall, it's a good start--you have overall good proportions for the figure, a good representation of depth, and clear actions, so nice work :) I think your troubles may stem from focusing on capturing perfect detail or following the outline of the figure one section at a time. There seems to be lines that try to capture every muscle and bump of a leg or arm all in one go, which is a very difficult task to achieve with accuracy. Try to keep to CSI lines, so each line is intentional and simplified into a plain curve or a straight. This will help you capture the bigger picture of the gesture before adding any detail. Also, don't be afraid to draw through the figure, as you don't have to keep to the outline. Having construction lines, rhythms, and sketchy lines is totally okay and part of the process--think of the Drawing Basics assignment for "Sketching from Observation" (the one with the hand, the robot girl, and the penguin). Gesture acts in the same way as those initial lay-ins, it serves to help us build the foundation before the final product. Hope this helps and let me know if you have any further questions. You got this! :)