Good job, keep it up, practice makes the master.)

Nice work! It's good to take the time to analyze the proportions. Now comes the difficult part of applying it in your figurative work XD. You'll constantly be working on proportions :) It's one thing to have memorized them, and another to get them right in your drawings. You might forget them every now and then, so you'll be refering back to the proportion chart. - I've heard that when the old masters talked about proportion, they didn't only talk about proportions, but also about symmetry. Proportion AND symmetry. This could be something to be aware of when you draw. It's difficult to get right, and I have a lot of practicing to do there, but if you look carefully at your drawings, you'll notice that the arms aren't perfect mirror images of themselves. The skeleton isn't symmetrical. To help with getting the symmetry right, it helps to draw a vertical line, cutting through the center of the skeleton; a symmetry line. By comparing the distances to the centerline you can assure symmetry. This vertical line will also help keep allignments in check, and with making sure that the figure is standing straight. In the drawing to the left of image one, the ribcage and pelvis don't line up, suggesting a crooked spine. This is getting picky, but focusing on accuracy has it's place. You might want to practice trying to draw a perfectly vertical line on a page. Do your best guess, compare with the edges of the paper, which you consider to be perfect verticals. Then measure the distance of the ends of line to the paper edge. If the measurements aren't the same, the line isn't vertical. Make adjustments. Also, place the ruler against the line to see if the line is straight. I've found it benficial to do the same with a horizontal line. Try to get these two to run through the center of the page (forming a plus +), and you'll get some extra practice in dividing things in halves (check if it's a true split by measuring with a ruler.) As you do this exercise, you'll find what your tendencies are. If I try to split a vertical distance in half, for example, I tend to make the lower part longer than the upper. This is probably the reason why I make the legs too long in my figure drawings. When doing figure drawings, one thing that could help with getting the symmetry is to draw the corresponding parts together. So for example, when you've drawn the right upper arm, you go to the left upper arm, trying to make sure they're the same length in space. I hope this helps :)

Hi @Vera nice studies! - When looking for the center of mass I find it to be a good Idea to awaken my imagination. The reason you struggle with finding it might be because you're only looking and not feeling. You could ask: "If I strike this pose myself, where does it feel like most of my mass/weight is?" You could also imagine lifting the figure, maybe thinking that it's a sculpture. How would the weight be distributed during the lift? When trying to a balanced figure, the simple question "would it fall over if I let it stand there?", could be enough to make you realize that you have to shift it this way or that way. Think of yourself as a child playing, trying to build a tower of bricks; you don't know any fancy physics or terms, you just follow your intuition doing your best to make it not fall over. The more times the child plays the game the more fine tuned its intuition gets. Your imagination and intuition can give you some extra clues, so use it! - In drawing two, the crosscontours on his right thigh is going the wrong way (assuming that the darker part of the crosscontour is closer too us). The cylinder should go away from us. Imagining touching the forms help me figure out their orientation. Hope this helps :)

Hey, @Vera, nice job overall! I see how you think the area inbetween may have gotten too big in some of the drawings. On a real human body, that space is really not very large, it’s just about the same width as the palm of a hand. When you’re drawing the robo-bean, as a “rule of thumb”, you can consider that the area inbetween the boxes is about 1/3 of the bottom box’s height - this is the approximate ratio of the anatomical distance between the ribs and the pelvis on a neutral standing pose (however, keep in mind that motion and perspective could change that ratio depending on the pose). As a visual cue to this, I’m attaching some notes based on Hale’s proportion diagram which Stan shows in the Human Proportions – Cranial Units lesson (no worries if you haven’t got to that lesson yet, just something to be aware of). About twists: I think you did a nice job on these ones. But twists can be a bit more challenging than other poses indeed. One helpful thing is to observe the model and notice the two parts of the torso as planes: is the front plane of the upper portion (ribcage) facing the same side as the front plane of the bottom portion (pelvis)? If they’re facing different directions, then there’s a twist. Some twists are pretty subtle, but training to observe the reference just in terms of “front, sides, back, top and bottom” usually helps us notice even the most subtle ones. Then, when drawing, make sure to draw the correspondent planes of the boxes accordingly to what you observed. I’m attaching a few drawings of my own for the sake of illustrating what I mean. Let me know in case you have any additional questions or comments. Good luck in your practices!