Hey, @vesuvio! I appreciate your patience in getting my late reply - things have been a bit hectic for me lately, and only now I’m getting back to Proko, hopefully for a more steady run. :) I think these gesture sketches look really good! The first one is probably my favorite in terms of smooth flow and exaggeration: I love the intensity of that S-curve on the spine and how it seems to flow down toward the leg. One thing you might wanna be aware of though is that the sketch misses the foreshortening of the pose. The way I see it, this is not a big deal for this context - you’re starting off, and foreshortening is a whole other level of complexity for your visual perception, so, for now, nothing to be corrected yet, just something to keep in mind and begin noticing gradually in future sketches. I wonder what lead you to draw with white lines on a black background! No problem with that, just curious because dark lines on light canvases is what we see most commonly. The sketches on other pages also show a nice sense of smooth flow, especially pages 5 and 6! I see you wrote a question on your second page: “How do I show the whole weight ends up here?” Since that’s the only foot touching the ground, the viewer will intuitively understand that the body weight should be placed entirely there when they “read” your drawing - to make sure that sense of weight is believable, there are a few things you can try: give the foot and leg stronger line definition; use straighter lines, sharper angles and bolder strokes on the foot to visually describe muscular tension and support there; make sure the foot is placed coherently with the figure’s center of gravity so it looks balanced. Further lessons on the Figure course should help you with this idea of balance, but the other two are things you can try to start implementing right now. I’m attaching a draw-over of my own to illustrate how I’d solve it, hope it helps. Let me know if you have any questions about it. About the Reilly method: Tim Gula gives a pleasing watching-worthy demo of how he applies it in the video posted below by @Crystal Blue (she/her), and it actually gets pretty close to what Stan explains in gesture lessons. There are some other resources out there about the Reilly method, such as this course by Mark Westermoe at New Masters Academy: https://www.nma.art/v3/course-catalog/courses/114916?lesson=30468 And my personal favorite: @Court Jones’s lesson from his caricature course: The Abstraction – Reilly Method for Caricature Drawing (although, of course, this one is focused just on the head). Sadly, though, there don’t seem to be too many other materials with clear complete explanations on how the Reilly method works, or at least not to my knowledge. Most of the stuff we find about Reilly’s ways seems to have been passed on by his students and his students’ students, not by himself, so the information is not so neatly organized. The good news is that the overall logic behind the method is simply this: use flowing, rythmic lines to make the elements of a structure connect as a whole. In a figure, that can mean looking for long action lines from head to foot, visualizing continuity between the parts on different sides and trying to convey a feeling of “connectedness” across the whole body. Having this main idea of connecting rhythms in mind and using other concepts and techniques from the gesture lessons, with some practice, we should be able to sketch without necessarily getting attached to any schemes or pre-made formulas - although, of course, we can always refer to previously thought out methods such as Reilly’s, Loomis’s or any other as a way to stand on the shoulders of these giants there came before us. Additionally, you might also like to get some familiarity with other sketching masters, such as @Glenn Vilppu, @Mike Mattesi and Michael Hampton. Bonus comments: sure, definitely go ahead and use other poses, not just the ones from Line of Action! And, as a suggestion, you might like to use a collage, design or photo editing app to assemble various drawings into one single image - that way, you can post as many drawings as you want despite the website’s image attachment limit. In a computer, you could use good old Photoshop or any other software that allows you to import many images into one same file; and, on your phone, you could try Layout, PicCollage, Canva or any other similar app (there are tons of them!). Hope you’ll find this feedback helpful. Let me know in case any other doubts pop up. Best regards!

Glad I could help, @vesuvio! I’ll make more detailed comments on the other post above. Overall, nice work, keep going!

@vesuvio Gestures look good! As Stan talks about in gesture video, individual limbs themselves are asymmetrical so he suggests how to approach gesture of the leg in steps, and so with specific example of leg, that may be helpful to try out his example approach., Also, Something to experiment with when drawing limbs is choosing to emphasize a straight line on one side / segment of limb to oppose with curviness of other side of limb. J Scott Campbell once said if you want dynamic figures its all about contrasting curves and straights. I think Norman Rockwell said if you see something approximately straight in nature/ body, emphasizes it as even straighter to give contrast to all the curves elsewhere. I hope that helps.