Nice!

@Patrick Bosworth here are some more Robo-Beans after your critique, I still have trouble with proportions and identifying the upper box and lower box placement on body sometimes. Checking my work digitally helps with improving though :) thanks

Nice work! Three dimensional, clean and clear👍 - I would pay more attention to proportion/structure. Your drawings have the flow, now try to nail the structure. Structure and rhythm are not contradictions. Rather, the rhythm exists within the structure. It's a matter of placing the structure in a way that has rhythm, and isn't stiff. Some errors I notice: You tend to make the gap between the ribcage and hip to wide. Sometimes the proportions of the individual boxes could be adjusted. In the middle one in the top row, the boxes look to flat. In the drawing to the right in the top row, the top box looks to thick. It will probably be helpful to keep the proportion diagrams in mind (see downloads Human Proportions – Average Figure ). As an intuitive check, you could ask "If this was a real person, would they look weird or broken?". Most important of all, start being curious about proportion and structure. Start asking things like, "at what angle is this line? How does the angle of this other line relate to it? What's the distance between them?", "how much taller is this box in relationship to this one?", "how wide is the space between the boxes", "how far back can the torso tilt?" - Personally I prefer to keep the ribcage and hip solid, and let the twist happen in the flexible areas, such as the waist. Gives the drawing a nice balance between solid and flexible, joints versus solid masses. I know that Stan twists the boxes in his demonstrations, so think of this more as a suggestion that you could play with. Maybe there are times when flexible boxes work better. I hope this helps :) Keep up the good work!

Don't know if this would help you, but when I'm struggling with something that has a really prominent side plane and a smaller/trickier front plane (like one that's twisted or foreshortened), it helps me to just mentally imagine that the biggest, easiest plane is the front, and draw as if it were facing towards me. At least for me, getting stuck on a smaller, harder-to-see plane being "the front" can be a mental block that really trips up my sense of proportion. Hope that helps somehow!

Nice job doing so many robo-beans! Clean exercises, but keep an eye on your proportions and perspective though, some of the boxes get a little loose here and there. One thing that may help is going back over these with some tracing paper on top, or using photoshop to check your perspective. Stan recommends using an intuitive approach to perspective while drawing, but it can really help to go back once you're done and check your work as if you were using proper perspective so you can start to see where your eye for it is. Lightly drawing through each cube to show the opposite side of the box is also super helpful in visualizing it properly, you've done it in a few of your robo-beans and I think those are the most successful of your exercises. Keep it up!

Each try with the male pose seems to get closer and closer--you captured a really nice rhythm and twist by the last one, and got the correct perspective for the boxes as we're looking from underneath all box planes. It could be pushed a bit more to match the original pose: if you look at the edge of the front side of his ribcage, it protrudes forward beyond the pelvis, creating an S curve connection that would be nice to emphasize for gesture. For the female pose, when placing the direction/perspective of the boxes, it can help to think about which plane we are viewing primarily. Concerning the torso, her pose seems to show more of her shoulders than the chest/ribcage area--so the corresponding top plane would be showing more directly to the viewer when we think of a box. Hope this helps!

Hey pasqualed, you have the right idea, I'd just push it a little farther. I've attached my anatomical version as well as my robo-bean version. Both are useful for construction and gesture. Hope I've helped!

It looks like you just need to keep going, the more you do the better you will get! The heavy outlines are not always necessary, but look better when varied - sometimes heavy other times light or even not there. It depends on what style you are wanting to develop - animation style or fine art, etc.

Sorry wrong place. Discard my comments

I will see what I can do, but from what I am seeing you are doing good. I will do my best to explain it.

I did some more and had a bit of a struggle with Aaron number 110 can’t really find out if I should twist the box or do it kind of like this? Do somebody know think it’s a bit hard when the torso is twisting