Hi @Josh mcgrath, really nice studies! Good job with perspective and simplifying the forms. - You might want to move the bones in the joints into different positions, as Marshall does in example 3, to get an even better feel for how the joint functions. When doing this you might find it beneficial to simplify the bones even more. Hope this helps :)

Hi @Josh mcgrath, great job! The mannequins feel 3D and are very gestural! I also think they are enjoyable to look at on an abstract level; the lines have a nice calligraphic quality that I find beautiful! I'll try to be really picky and see if there is anything to correct: - In #2 & 6 I found a crosscontour that I might have changed (see paintover) Hope this helps :)

Hey these look pretty good if I had to critic Your work I would say you should make the lines that wrap around the form of the body differ in how curved there are for example if its closer to the viewer it will be flater if uts further away it will be more curved You also didn't draw the forms that represents the shoulder muscle on the goat dispite what the photo suggests the limbs are actually on the side of the body I'd recommend looking that the anatomy of the animals without fur/feathers etc to better see these forms

Hi @Josh mcgrath, Try it and see if you like it :) I haven't studied the loomis mannequin myself, but I've heard that Andrew Loomis was a great teacher. Though, I wouldn't worry too much about finding the perfect mannequin. In my experience, mass conceptions vary depending on the problem at hand. For example, when drawing from imagination, I find it easier to use a pure boxes mannequin, where the joints are left out. Try and see what strenghts Loomis's mannequin has. If there is anything specific you're struggling with, maybe I or someone else in the community could help with suggestions on mass conceptions. For example, I found mass concepting the shoulder, when the arm is elevated, to be tricky. I found that it was better to leave out the joint in the mannequin phase, then go straight to anatomy (shoulder girdle and deltoids). "I've gone through the figure drawing coruse many times to improve my skills" Just a thought: I've seen you working hard on the figure drawing course and you're doing a great job! Your gesture and structure is great! I would recommend taking a break from structure and gesture studies and discover a different territory of picture making. I think many of the questions you have will solve themself as you gain a wider perspective, at least that's how it was for me. For example, my concern about how to place the box of the robo bean correctly got solved once I came to the Obliques lesson in the anatomy course, where Stan tells you that the robo bean hip box is based on the angle of the external oblique and not the illiac crest. Other fundamentals will also give you more tools to create pictures with. I focused only on structure, gesture and anatomy the first few years, but almost paid no attention to other fundamentals, such as shading and composition. It was not a waste of time, I learned a lot, but without knowledge of shading (values in particular) I couldn't do much beyond line and wire frame drawings. If had learned other basics I could have gotten a lot more out of my knowledge and skill. Just learning the very basics of shading opened up a whole new world of possibilities for me. Other fundamentals also put anatomy and figure drawing into a context. You'll realize what is valuable and what you don't really need. Since you're standing on a solid foundation in gesture and structure, I think venturing into other fundamentals would be very rewarding and enjoyable for you. I would start with Dorian Iten's The Shading Course – Fundamentals of Realism, Light & Shadow (you can also find it on his website if a monthly membership suits you better https://www.theshadingcourse.com) For composition I really liked svslearn's Creative Composition course https://courses.svslearn.com/courses/creative-composition. I would combine it with listening to this Draftsmen episode How to Learn Composition - Draftsmen S2E15 For improving your gesture, structure and figure drawing I would recommend moving into the Anatomy of the Human Body course. Let me know if this helped :)

I know I'm not Jesper but I think you're ready for the next lesson.

Hi @Josh mcgrath, nice studies! You're ready to move on! I found the landmarks to be really tricky (especially the 5 bumps on the knee). I wanted to be really accurate, but I chose to not dive deep into this assignment since placing things exactly would be easier once I learned anatomy. Once you learn the anatomy of the pelvis and scapulas, placing them accurately will become easier. (Btw, I don't think you've placed the scapulas too low; rather, they seem too high up and small to me, if you compare them to the landmark chart in the lesson notes) "I'd also like to know when drawing more developed drawings should I also draw the landmarks or should I just visualise and observe them to find the angles?" I'm currently going through Joseph Todorovitch's course "From Paper to Canvas" on New Master's Academy, and I like the way he uses landmarks in it. The process he presents for drawing the figure from observation is something like: - Place the head and draw an envelope for the rest of the body - Place the other body parts - Take a second pass, starting with the head again, to add construction and find the landmarks. You should try to get the landmarks accurately placed, since you'll use them as reference points as you develop the drawing further So I guess the answer to your question is that indicating the landmarks in your drawings is a good idea, but I honestly hadn't given much thought to it before taking Joesph's class. Hope this helps :)

Hey I have to say these beans look quite solid and clean. I would suggest you push the bean a bit more to really capture the moment example make the tilt go further. Another thing I'd add is a bit more of an overlap for example with you bean on the bottom right corner of the first page I feel if you added a fold to show how compressed the bean is it's really help with the pose.

These beans are great! I found it hard to understand the overlaps too. But once I got to the robo bean I started to understand them. If you imagine 4 strings going from the ribcage box to the corresponding corners on the pelvis box, then give the robo bean a twist, you'll notice that the strings overlap in a certain way. Before I had gotten to the robo bean I just stuck to the rule that the overlaps should follow the gesture of the centerline. Let me know if this answered your question :)