I really like these! Your drawings have a nice sense e of draftsmanship to them .The construction of the boxes/torso/pelvis are well done and I like how they feel organic, like they really can move around.

Nice page! Double check the thirds of the face. Right now they're not quite reading even in the drawings. Then compare the width to height ratio of the head. One thing I've found helpful the figuring out which point the jaw changes angles to connect down at the chin , is to envision a strait line connecting from the left to right side of it and paying attention to where that lines up with the other features such as the lips, chin, etc.

You have a really nice fluidity to the lines! One thing to help with getting the volume of the form to read more is to connect from side to side. I've found the Reilly method to be really helpful when getting the gesture established.

Nicely done! Similar to what Happy Beam said, try to push the light dark pattern to be more clear. To help with this make both the reference and your painting black and white so you're only focusing on the value. Then once you've got the values correct you can paint over in color. Your anatomy is looking good!

These look really nice! the rest of the figure construction is reading well too! I really like what you did with the trace over with the Skelly app! I'll have to do that myself!

These are looking good Dan! When dealing with a crouched pose or one that has compression, or some crazy perspective, really look for how the forms and lines are overlapping each other. Right now the torsos are feeling a bit too stretched for the crouched poses. To help more with getting that compression in the torso, think about the torso as a bean shape. There are some Proko video's where Stan discusses this bean shape and how to use it with anatomy.

Brush sizes will vary depending on the brand. One brush brand's #10 might be another's #14. Generally when buying brushes, I'll do, a #2, #4, #6, etc.. The medium does matter and look at the overall texture of the brush. If it's a soft, sable brush, its one you probably wouldn't want to scrub in a stain in the beginning stages of the painting (this would be better suited with a bristle brush, or one that isn't so absorbent and soft). The brushes that are my favorite have all been a variety price wise. You can start off with a small variety of filberts and flats, and see which ones you like! Ultimately its going to be up to your personal preference.

Hey Blue! First off your drawing is off to a good start. To help with the values, squint at the reference to simplify everything to just the two values, light and dark. As you add more value, detail, and progress in the drawing squint less and less. In your drawing right now I think the biggest things value wise are going to be getting the dark of the background and her hair established more, so it frames the face. Then group together the shadows on the face and subtle push some more dark darks in the eyes. I included a little draw over of your drawing.

The gestures are off to a great start. To help push them even more, make sure that you get the body's center line established. Try to use long lines and don't worry if they extend past the form (personally I like the looseness of this look and gives the drawing a real "gestural" feel). One thing I've really found helpful for my gesture drawings is to connect from side to side and really try to get a rhythm to the form.

The draftsmanship and construction are really clean and nice! Try pushing some softer edges, especially along the bicep there. Then try to get a few, subtle straights in the design a bit to help balance out the curved lines you have and give more variety.

Try using comparative measurement as you draw. For example, start by getting your head size established. Then compare in your reference the size of the head/skull, to the pelvis, and ribcage. Use that as a guide to help you draw, so on and so forth. Often the ribcage is about 1.5-1.75x head size.Check out the Skelly app where you can bend and contort the skeleton to help practice getting the overlap of the pelvis, head, ribcage, and how they relate to each other.

Thats great practice!

Your studies are looking really nice! From your drawings it seems like you've got a really good feel for the obliques. One thing to keep in mind, is the distance between the pelvis and the ribcage. Pay attention to how the sides compress, and how the muscle itself bunches up. A lot of the drawings show this nicely already. The 6th drawing is the one I notice this most where length feels too long

I like the gesture and the fluidity of the lines you have. Try to push more of an overlap/perspective to the hip to show how its coming towards us, and overlaps the ribcage in perspective. To help with poses like that, I've always found that using angles, and plumb lines to be really helpful.

I like the line variety you have right now. The first one is reading well! The breasts in both of them don't feel like they're resting naturally. It's kinda a weird analogy but it's helpful to simplify the overall shape and think of them as sandbags when you're trying construct them. The shadow pattern on the second drawing isn't quite reading on the abdomen. Try to get the construction and the anatomy to read bit more clear. Then reestablish the shadow pattern to help describe how the light is hitting the form.