I just started this course a few days ago and tried some 2 minute gesture sketches. I would appreciate any feedback or criticism on my work so far.

Here are my submissions. Looking forward to your critique.

Hey D Sirus, awesome work you got here! I really enjoy the pose of the titan. So much so I decided to sketch it out while on a phone call this afternoon. I'm sure I made plenty of mistakes but it was a fun exercise! I like the gesture of yours a lot more, especially the pinch in the stomach where he bends. As for critiques, you've done a great job with the gesture, perspective and anatomy. There are just a few small things that stood out to me. For Hanami, I think that the forearm could be a little longer. I tried placing some 3D Models/action figures in a similar perspective and it seems that at that angle the hand usually ends up somewhere around the knee. For the Armoured Titan, the main thing I noticed was position of his left (On the right of the picture) triceps. Your insertions and origins all look pretty good, but you need to keep in mind how they muscles stretch and squeeze during movements. With a bent elbow like that the triceps should be stretched so that it's peak from this angle is almost at the center of the upper arm. I included some examples of Bodybuilder Frank Zane, it's not the perfect angle but should give a good idea of how the shape of the triceps changes. For his right arm, at that angle I think there should be more of the triceps/bicep brachialis popping out the lateral side, and maybe a little less on the medial side. The insertion of the bicep may need to move medially slightly, but I'd see how it looks after adjusted the triceps/bicep brachialis. As a last note on the muscle movement, both biceps seem a little soft/noodle-ly. Since they are partly contracted it's a great opportunity give them some structure with some straights, especially around where the tendons would be. I love a lot of your shapes for the muscles, especially the deltoids. If you added a few more areas of tension/structure it would give you a real nice balance. Other areas this could be applied are to the box of the wrists, and the knees. I can tell that you were thinking about the forms of the knees, but I would recommend emphasizing the boxy forms perhaps a little more than you would realistically see. Particularly on the lateral side of the knee coming towards us, the lateral epicondyle, knee cap and lateral condyle all provide opportunity for emphasizing that structure and boxiness. My last comment on the leg, is to be careful not to lose the gesture on the outside of the quad. There should be a nice straight from the IT band near the knee, and then a gentle curve from the Vastus Lateralis. I've included an example of some knees and roughly highlighted the areas that I'm talking about. I can't comment too much on this, but it seems that his right hand is bent a little too far toward us. I know the hand, or at least my hand, can't move near as far towards the radialis as it can towards the ulna. I want to end with some praise, because I really do think you did a fantastic job. I really like the shading and core shadows on Armoured Titan, and the perspective of Hanami is super solid. I can b e a bit wordy at a times, but I hope that my thoughts prove helpful. Don't take them as gospel, but rather consider them, analyze and come to your own conclusions. I'm excited to see what you do next! I imagine Todo would be a fun one for anatomy.

My subbitions for odd bot challenge. First time proko challenge and first time drawing robots. Idk how they turned out in turns of oddness but had a lot of fun drawing them. Good luck to everyone

Hi Guys, Another attempt at Robo Bean assignments (with reference photos) attached. Any feedback appreciated!

Hi Mr. Bucci, just wanted to say thank you for being a part of proko. I hope that it is fun and good for you personally. I am 29, and have been drawing for close to 2 years now. I’m enjoying it more and more every day. And I am so much slower than I thought and hoped that I would be. I do not have a question for you, rather, I ave a few questions that i would love to ask, every time I draw. I do not know which one I would want or need to ask more. You are my favorite painter to learn from thus far. So, seeing all your responses to questions on here has been really neat for me. I have found questions asked that I did not know I would have asked myself. And you give meaningful, well fleshed-out responses. I have taken enough screenshots to spend any number of weeks practicing each response and suggestion. Anyhow, as you sit at your computer reading these questions, I just wanted to take a moment to send out a big THANK YOU! No need to respond to this post, I’m sure reading this much has taken enough time, I just wanted to express my gratitude and excitement. Please keep at it, there are a lot of people that are finding joy and inspiration from your work and attitude.

Hi your a big inspiration to my art and I just wanted to ask why is my skin so crap like I try really hard to paint digitally and get skin right by it just doesn’t seem to work and I really take huge inspiration from the Instagram painter @gio_utti and you Ofcourse and I don’t know what I can do with my paintings for them to not look so flat

Found @Marco Bucci because Stan did a quick video with him for Christmas. Started with a rendition of a Christmas song. Automatically liked him. I however had no interest in painting. After that video I thought it was something that perhaps I could do. Maybe I wasn't interested in painting because I was intimidated by it. Now, now I want to paint. I have gone through his 10-minutes to better painting. I won't ramble, but I am getting this course for fathers day. I am stoked. If you read this comment Mr. Bucci, thank you for being passionate and fun. Am I am glad that you make an outstanding effort to teach in a way that communicates what you want to say very well. I'm not sure if I am learning well, but when I watch your videos I really FEEL like I understand well. I was beside myself to discover you were going to be on proko offering a course. All in all, thank you.

Thank you for your time. I enjoyed the video and take it to heart. I hope to see more video's from you in the future. I really enjoy your work.

Congratulations to the winners! This ended up being one of my favorite challenges so far. We definitely need to do this prompt again once we launch to the public. Every submission was really good and choosing winners was difficult. Here they are: 1st - @Tarek Khazendar 2nd - @Steffen Anzivino 3rd - @fyll Community Choice - @Joe Watson Team Choice - @Mathieu Dufour Science Award - @Side Shave Laura Gingrich

Hi all, This was fun and challenging. I tried to imagine some Disney character skeletons, and this scene is what I ended up with. I have not done the anatomy class yet, so had to rely on the knowledge from figure drawing.

Since webtoons were what first made me consider going on the art journey, I decided to pay some homage to one of the monsters from Sweet Home, probably the most successful thriller webtoon that's been made. Knowing nothing and then deciding to draw the anatomy of this (uh, gentleman?) was an interesting challenge. Notes - the 9th rib which is usually floating I decided to connect with the 2 ribs of above it with cartilage to the bridge of the nose (which also acts as a regular sternum) to provide the necessary range of motion this gentlemen has been seemed doing (refer to pureref board). The 10th rib's cartilage that attaches to the chin was originally intended to be insertion point of the secondary platysma, but the challenge of fusing facial and torso muscles on top of a fused skeleton proved to be a little too beyond my reaches. I included my process and studies in a reply to this with the pureref board I used to construct all this. Used a LAMY Safari F, Copic Sketch C3, Prismacolor white and blue ballpoint on top of strathmore toned tan for this. Fun challenge, but DEFINITELY a challenge!

Alright, here is my submission. Appa from ‘Avatar: The Last Airbender’

Hello everybody. Here is my study of Olaf's skeleton. Just let me explain a couple of points. The first is that I tried to choose a type of joint that would explain Olaf's ability to disconnect the main parts of his body and reconnect them in different order to create different shapes. So I drew the joints (including the 4 vertebrae of the spine) with the top convex and the bottom concave. This also gives Olaf a wide range of motion. The second point concerns the rib cage, the bone structure of the shoulders and the respective joints. I wanted to create something alternative (I wanted the ribs to have an "alien" design) but still be similar to human structure. Thanks so much. It was a lot of fun.

I've been on a Miyazaki kick lately, so I started with great ambition to do a few creatures until I realized how CRAZY DIFFICULT comparative anatomy is, and I've gone down this rabbit hole of how to actually create a Catbus. I've been studying turtle anatomy for the carapace and Cheetah anatomy for the speedy limbs. I'd love to further explore the relationship Catbus form with bioluminescent rodents, but as time ticks, I wanted to get the community's feedback on other animals to incorporate, and how the heck are you guys constructing animal pelvises? GUYS I HAD NO IDEA how freaking weird our pelvis is to have adapted to carrying all our organs. All quadrupeds need is a socket joint for their femurs, but we went and became all bipedal. Only after trying to draw turtle and cat pelvises did I realize how freaking weird we are. Cheers to humanity, let me know if y'all see how I can improve the construction and rendering. Thank you! Laura

Hey team, first I just wanted to say this lesson is AWESOME, I've been struggling with hands for a while and finally buckled down for a week to really zero in on them. Day one is the awful blocky boi, and you can see such improvement after just a couple days of handiwork. Are they perfect? Nah, the perspective needs work on a few boxes, especially in those "four shortened" sticks. Also, how do you guys illustrate where the phalanges meet the metacarpals? The sliding boxes just aren't clicking for me. No pressure @Liandro , but since you've been the most insightful, warm, and helpful critic in the history of this beta site, I'd love your thoughts! PS: This was done DIGITAL-ly. Hahaha.

I'm here! I pivoted my studies to landscape painting for Oct - Dec, and I'm focusing on animal anatomy Jan - Mar, so I've been a bit in the background. Still, I drop back here for the occasional class (right now - hand bones.) I plan to pivot back to human anatomy Apr - Jun, so you'll see more of me then :)

I am stoked about this one. I haven’t tried bones before, and this is all bones so it is pushing me! Here is a rough draft that I have started on. Line work is shoddy, I will be going in to clean it up. Spent a lot of time just trying to create these objects. Found that bones are difficult to clarify without shading of some sort. Also spent time looking at various animal skeletons as a reference. Anyhow, any helpful hints or criticism would be sweet. I’m looking forward to seeing some crazy anatomy!

@Liandro seeing as I gave a proko two-point-oh critique, would you mind terribly giving me one on my first post? Im working in Procreate and still figuring out how to draw on this small screen as well as finding a good brush to use. I did darken some of the lines consequently. Please be blunt, I can’t fix something I cannot see as a mistake. I look forward to your harshest response. Lol, thanks in advance.

I, for the life of me cannot remember which podcast I heard this in, and I have listed to three of them a second time and give up on looking for this: does anyone remember a suggested book, I believe it was by Stan, that was said to give some insight on the process of figure drawing? Specifically stating that this book, apart from others, shows the authors PROCESS. I have trouble knowing what to do next, gesture vs structure. I know that Steve Huston likes to start with gesture and follows with structure, calling it G1S1G2S2. min not really looking for a sacred formula, I just want to get inside a good artist head to find out how they have disciplined themself to think, how to approach a drawing. sorry it’s so long, thanks.