Really good! - 3rd image, bottom right corner: Instead of drawing two lines for the left side of her torso, I would draw one of them on the right. That way the energy of the pose is being pushed from side to side. I've recently rediscovered my love for this after studying "Bridgman's Life Drawing" for a personal project. He has a chapter in there called RYTHM, and it looks like it's all about meeting a curve with an opposing curve, to push the energy through the pose. Mike Mattesi is big on this concept too, which is why I linked his video in the reply to your other post. Hope this helps :) Keep up the good work!

Ah... yes, now I see it. I think the middle one at the bottom is off - but time was up. Thank you for your reply!

I'm loving the flow of the poses. The only thing that really stands out to me is that the pose at the top right is slightly off balance

Hi @Bas de Vries, great job! I think you completed the exercise succesfully! - I attached a paintover with suggestions on where you could have connected even more (and in the bottom right is a general gesture note). How much you connect or divide is up to you, you don't HAVE to go overboard with it, but I wanted to make you aware of the possibilites. Hope this helps :) Keep up the good work!

Awesome! You really know gesture! Got nothing to critique!

The motion is conveyed really well.

I think it looks really nice how you where able to draw the story (what the person is doing) with just a few lines,

These really look great. I can feel the weight and movement very well. Don't have much to say.

If 30 seconds is too challenging, which is quite understandable, I would simply stop the video and take more time. Maybe even draw a pose more then once and compare the differences. Don't forget that a gesture drawing should communicate a pose to the viewer. And need to learn two things: 1 - to observe 2 - to draw to communicate what you saw Just take more time to observe. It is the start of your drawing. 1 - Analyze what you see and decide what you like about the pose. 2 - After that, when you decided what you like, see what makes that happen. Is it the angle of the shoulder? Is it the position of the hand? Is it because the arms direct the eye of the viewer? Is the leg making the impression the model is about to jump? Why is that? 3 - After you have a good idea of what you want to communicate to the viewer, what you want to document, first look at the blank paper and decide where you want to draw what. First make a plan in your head 4 - Now you are ready to draw and first make ghost lines before your pencil is about to touch the paper. I think this method will help you to step into the pose. For now forget about the 30 seconds. Make it 3 minutes or maybe even 30 minutes. Just take the time you need and enjoy the analytical part as if it was a meditation. Over time, the 30 minutes will become 3 min. And the 3 min become 30 seconds. Hope this helps. And keep up the good work!

30 seconds is very short, but within that timeframe, you are doing a great job. I counted the lines per pose, and you did around 10 lines per pose. This meand 3 seconds per line. And in those 3 seconds you have to make many decisions. The only way to improve here is in 2 ways i think. The first one is, to keep on practicing. Second things, is to analyze the drawings compared to the poses and see what you would have drawn if you had more time. From there, you can see the differences. And the learning is in those differences and trying to see things faster the next time because you will recognize things faster and therefore become more confident and create better lines as well! It is just like with boxing. First time you get a punch you get hit in the face. Then you start to practice to block that specific punch, till it gets automated in your system. At the end, you will see, respond and act in a split second. 30 sec poses are just like practicing boxing ;-)

Hello I would say you're focusing too much on contor view the legs for example as an S curve I would also suggest you check out Michael Mattesi on YouTube his style of gestures is different from proko but his videos really helped me see flow and rhythm overall you're doing great keep it up

Hi Jeffrey, you are putting a lot of effort into this, which is very inspiring to me! My main feedback for now is that your lines are looking a bit scratchy. This often happens a lot to me as well, when I am insecure about what I am drawing. A tip I once got is to look very closely at what you want to draw, then "ghost" the line a few times without touching the paper and when you feel secure enough, you touch the paper and draw the line. Just like an athlete throwing away a discus. It is very basic, but I did notice that approaching your lines like this does pay off in the near future. 1% progress per day leads to a big improvement after a week and gigantic one after a week. Keep up the good work! Looking forward to your next post!

@Brayden Luttrell Cool! Yes, you're definitely doing it. I really like how they aim at looseness and simplification. This little bit of "messiness" is totally okay at this point. Over practice, you'll see you'll start to slowly gain more confidence to lay down the lines more assertively, but, right now, I'd say don't mind about getting clean results, but instead let your hand run loose in order to capture the feel and energy of each pose. Also, maybe you can go for some exaggeration too. Keep going, do a bunch more of these! And feel free to post them here whenever you want. Let me know if you have any questions. Best regards!

Hi @Jesse Weisbeck, the gesture in these is REALLY nice, and the cleanliness and line quality seem to have improved too! Maybe you could try connecting things more. Instead of drawing and arm with two separate I -lines you could combine them into a C -curve. This makes the drawings easier to read and it might help with the stickman effect. But again, the gesture in these is awesome! I hope this was helpful :)

I like these, every line has a nice flow !

@Pablo Flores I like the simplicity and how you seem to be looking for the fluidity of the motions! One thing I see is that maybe you could try not bothering the shapes and silhouettes at all; maybe try seeing the body as just a bundle of abstract motion lines. No need for defined contours, just "pure energy". Along with that, see if you can keep the lines long and continuous whenever possible. A bit of exaggeration might also be welcome. Here's a couple of draw-overs to help illustrate the point. Hope this helps!