Hello, if you'd like my advice, I'd try to make the torso/pelvis slimmer. I think the leg and torso lengths are okay, but if you're really worried, do more gesture. I've attached my gesture to mannequinization that may help with keeping the flow as you think in 3D. It also has the torso reduction that I started this comment with. The negative space between the arms and ribcage is the correct shape, I'd just trim the body even more down. Hope I help. - Dwight

I say this often, sorry if you’ve already heard it elsewhere, but write the date on each drawing and store them, it is really helpful for motivation when you can see proof of improvement

Marco, I enjoy very much everything you submit. You definitely have a keen eye.

Hey Samuel, it's me again. My advice for good proportion is to make a lot of comparisons across the body. After finding the gesture, try to find the angles between specific places on the reference, then compare them to what you have drawn. Eventually, you'll get intuitive proportion where you don't have to measure, but for now, I'd highly recommend taking your time and making sure all portions are the correct size. In terms of what things you should think about, here's what I do. For measuring (the lines that look like the letter "I" in my example), I measure things that I think are about the same size, to see if I guessed right. For the "plum lines" (the arrows in my example), I see where symmetric parts of the body compare to each other. For instance, the hands are far apart vertically, as well as the feet. I also use these for horizontal placement, such as the left edge of the head being over the left leg. Finally, the "negative space" (the shaded areas in my example). Wherever you see the background between the figure is a good place to study the shape. This is usually between the legs or between the arms and the body. Tell me if you want more detail. - Dwight

Hey D. You've made the arm and head too small on the middle drawing. My drawings tend to do the same thing. I'll either grow or shrink the figure as I go from head to foot. Try to see the envelope of the figure first, then draw the gesture within that envelope, taking care to note the mid points and key features. Then, once you have a good gesture, fill in the mannequin. Correct your drawing when you sense that your "volumes" have taken over the gesture.

Hi @pmak22, nice work! Yeah, moving on to the next lesson sounds like a good idea👍 - I would keep an extra eye on the proportion and symmetry of the body. As you move down the body, keep the avarage proportions (Human Proportions – Average Figure) in the back of your head. In the first 3 drawings, the upper body feels a bit stretched out. Also note the symmetry from side to side. In the 4th drawing, you've made the shoulders of almost equal distance from the centerline, whereas in the reference, his right (our left) is closer to it (graphically) because it's receeding back in space, due to the torso being rotated. - Some of the crosscontours give me the feeling that you could work a bit on your boxes and cylinders. - Before you start drawing, try to figure out what part of the body is closest to the viewer and which one is furthest. This is something I'm trying to work on myself, and it really makes a difference in the clarity of space in my drawings. In the 4th drawing his right hand appears to be behind his right knee, when it's in front of in the photo. In the 2nd pose, her left foot is closest too us. You got the placement of the shapes correct in the drawing, but I don't really feel the space. It feels a bit flat, like her whole body is on the same plane. Being aware of the space allows you to communicate it. - I think you would benefit a lot from mimicking Glenn Vilppu's approach to figure drawing. I like how he strats with a flow, then contains it with forms. He explains this at 21:00 in Drawing Demo by Glenn Vilppu. Hope this helps :) Keep up the good work!

Hi @Low Horvath, I love the number of different types of angles and attempts at the assignment. Something I am noticing is you are using a sort of horizontal line to define the tube/organic shapes when I think you could benefit from also using vertical lines. I'm not 100% sure that my vertical/horizontal description is helping, but I also attached an image of what I was meaning. Overall I think it would better define the shapes, I'd also recommend watching the critique video of this section which goes over the same advice.

These are great! Also Where did you get the reference photos at?

@Marco Sordi I like your approach of drawing items from reality a few times a week. I would however recommend you try to at least apply some of the concepts from this lesson. I mean this on two levels. 1. To define more of an actual person's anatomy and flesh out where muscles and major parts of the body are. This helps you build a good foundation for figure drawing. 2. That being said if you are not looking to draw realistic figures as a goal I think at least applying some of the foreshadowing or volume lines could do you good as well. This helps the viewer understand better the shapes they are looking at, what directions they are facing and helps with things like shading/rendering later. Attached is what I mean.

Hey pmak, I think you did pretty good on this assignment. I'd just watch out for losing gesture, especially in the shoulders. Notice how both of your mannequins are very straight and stable, and how the references aren't. I've drawn along with you, showing what I mean. Hope this helps. - Dwight

Hi there! I think you did a good job on the structural, mannequinization part :) The underlying simple forms you used to express the anatomy are readable and solid in most places. Only area that to me looks like you didnt really think about constructing it three-dimensionally is her left thigh. The overall form of the upper leg isnt clear anymore, instead you have two complex organic forms that arent easy to comprehend. Maybe try showing the anterior and lateral planes of the upper leg's box a little better with your cross contour lines. The plane change should be visible. Right now, it looks like youre using the s-curve between rec. femoris and add.s as plane change, which doesnt make sense (try imagining a shaded version of this form: it wouldnt look real). All other critique I have for this drawing is regarding line quality and proportion: Especially in the hips the individual forms are hard to read. I think you did construct them well enough, but because of all your cross-contour and x-ray lines having the same strength as the lines seperating the forms the latter are harder to find. You designed the lower legs and esp. the ankles to be unnaturally thin. If thats what youre going for, take heed that both lower legs have the same proportions. Her left lower leg feels a little thinner even than the right. Maybe that's just because the medial portion of that leg's gastrocnemius is too small/ ends too high. Her right leg is about 1 cu longer in your drawing than her left. For me at least it looks like that because I feel that her right toes are touching the ground which would mean that both legs have the same distance to the viewer. Of all of these points there werent really any major complaints, I think youve made a structurally and anatomically solid drawing. Maybe youll find it helpful to re-do this exercise sometimes while thinking of even simpler forms and then adding anatomy "on top". Thats always a good idea, anyway. Have fun drawing and until next time!