Hi @Abigail G., nice drawings! I'll do my best to help you further :) - It would help me to know what your art goal is. What type of work do you want to create? Do you have any examples of artists who does that type of work? - With drawing you communicate ideas. In your next attempt of the shorter poses try to make sure that the idea of the gesture (the action) is completed. In many of your drawings (image 4 for example), you have started to add details before the gesture has been communicated, making the drawings hard to decipher. -To me it has been very helpful to keep this line in mind: "Do one thing at a time". So I might start my figure drawing by focusing on the gesture. When I feel like I've said what I intended to say (the action; what the structure is doing), I might do another pass where I focus on the shapes that the figure is built of, and how they would look in the gesture I've decided on. When I've communicated the structure of the figure, I might start to think about clothing for example, and how the wrinkles in the clothing could lead the eye. The exact process wasn't the point here, but the idea of doing one thing at a time, since that creates clarity in your mind and in turn in your drawing. - I've been taught that a figure drawing needs proportion, balance and rhythm. Proportion (the structure), balance (the sense of weight) and rhythm (a flow that leads your eye through the drawing. Often one side of a part will squash and the other will stretch; all the parts of the body squashing and stretching together creates a rhythm). You need all three. I try to work on improving in all three areas and on making all three present in my drawings. You might want to try doing that too. I hope this helps :) Keep up the good work!

These are all the references I could find.

These are lovely, thanks for sharing. I really like the page with the two figures kneeling with the canes. If you want to get real loose try some 30 second - 1 minute poses to keep it fresh!

I think you're on the right track. Nice flowing lines here.

I think you have great drawings here. If you're feeling awkward and rusty, it could be a symptom of just not practicing enough so I recommend you make a daily practice of it! You could try doing even shorter poses, like 10 seconds, to challenge yourself to quickly find the gesture of a pose. Good luck with your practice :)

Very nice, Huy! A few of us in this class and other classes are posting in a daily thread if you want some company in making this a habit. https://www.proko.com/community/topics/daily-drawing-with-timer-challenge#k8Z.bMm We also do some live calls where we draw together. DM me if your interested in those for the times.

Hi @yoyoy12, nice drawings! - Your drawings have nice rhythm! Now try to include some more structure. You want you drawings to have rhythm, but also structure. See if you can get both in your drawings. If you already have lines in a leg for example, that lead the rhythm, use the other lines to show the structure. Straight lines often communicate structure. I hope this helps :)

How often do you draw?

there's no way around it, figure drawing is one of the hardest types of drawing there is. I think you honestly have a lot of great stuff here! Great job doing a lot of these. I enjoy your line work. To your point of the drawings feeling lackluster, there is a point where Stan and Marshall talk about rhythm. Rhythm is an aspect of figure drawing that takes time to learn, but it is the connection point between two seemingly disconnected things. This can be a hidden connection such as anatomy (under the skin), a curve that is behind an arm or an obstruction. We must always be thinking about the form as a composition. Where can we see these connections and rhythms? If you don't know anatomy, just try to find beautiful lines within the body positioning. maybe the chin tilts towards the left thigh, draw a swooping C curve that connets the two and see what the result is! If you do know anatomy, use it to inform where certain points have a relationship! Gesture is the action of the pose, the weight, and feeling of a pose. It often looks best with confident mark-making and emotion rather than analytical and measured marks. Take a look at Force: dynamic life drawing by Michael Mattesi. Exaggerating the pose is helpful, even the most stiff poses typically have a lean or tilt somewhere, if you can see it, push it further to exemplify it on the page! The last thing I'll say about gesture is that it can't be accomplished with the stick figure style drawings that you are bending around. The linework MUST connect exterior with interior parts of the body and can not only stick to the center line or the contour. it is a careful combination of both! Keep it up!