Figure Drawing 22
© 2018 Sawyer_Sweet
Done as part of a 30 minute class. You can see the starting poses/figures in the background, this is the 10 minute pose at the end.
My current goal is: Reduce stiffness and make my drawings feel more dynamic, energetic, fluid
---
Program: Clip Studio Paint
Hardware: Surface Pro 4/Upgraded Surface Pen w/ 2H nib
---
Never posted anything for critique anywhere before, so have at it. If you want to know more about me/see more of my work, please see below.
Find Me Across the Web:
Instagram
Twitter
Youtube
Redbubble
If you enjoy what I do, please consider supporting me via any of the following links:
Patreon (Monthly recurring payments)
Ko-fi (One time donation/tips)
Store
Mx. Abi
I like that you have listed the goals you have in mind, this is really helpful. So often people say "how do I make it better" but do not know what "better" is.
To get looser, my first suggestion is use fewer lines. Your proportions are good, and you are clearly looking at your model and drawing what you see.
What I also see is a small gradation in proportions especially in the leg and foot that is on the viewers left of the most finished image. This often comes, I find, when the figure is drawn more as individual parts. Each part of the body is mostly finished before the next one is done. And as we study those parts of the body our mind makes them larger.
This can be avoided by laying out good marking lines or dots to map out the outer points of your figure. How tall, how wide, where are the major joints and landmarks of the body? And then make a single confident line.
Part of the stiffness is all of the visual noise as you make so many strokes to create what will ultimately become a single line.
Then when you have a cleaner gesture drawing, exagerate the pose a little.
To get looser, my first suggestion is use fewer lines. Your proportions are good, and you are clearly looking at your model and drawing what you see.
What I also see is a small gradation in proportions especially in the leg and foot that is on the viewers left of the most finished image. This often comes, I find, when the figure is drawn more as individual parts. Each part of the body is mostly finished before the next one is done. And as we study those parts of the body our mind makes them larger.
This can be avoided by laying out good marking lines or dots to map out the outer points of your figure. How tall, how wide, where are the major joints and landmarks of the body? And then make a single confident line.
Part of the stiffness is all of the visual noise as you make so many strokes to create what will ultimately become a single line.
Then when you have a cleaner gesture drawing, exagerate the pose a little.
Polyvios Animations
Hello, Sawyer_Sweet, and welcome to Line of Action, I'm Polyvios, I'm doing fine, and how are you doing tonight? Greater job on your flow and grace of your static but dynamic standing pose above. Greater works indeed. However, this pose's fluidity still needs a littler bit more work on strengthening. Why don't you please do 32 minutes of 2 minute poses all standing around in a background?
The reason why you could and should do this is because, your perspective in your poses will become easier to master by starting out with the fluid stick figures, followed by layout of the perspective in a scenic background scene. In addition to the critique, you can and will make your dynamic poses lesser than stiffer but more appealing, rhythmic and fun, without feeling or looking too wonkier.
For more information and details, please look into the following 3 titles and more:
The Little Book of Talent, Successful Drawing, and Jason Cheeseman-Meyer's Vanishing Point.
The titles have bunches of useful general infomation on drawing figure constructions, perspective, and practice tips and tricks.
Hope these have helped more.
The reason why you could and should do this is because, your perspective in your poses will become easier to master by starting out with the fluid stick figures, followed by layout of the perspective in a scenic background scene. In addition to the critique, you can and will make your dynamic poses lesser than stiffer but more appealing, rhythmic and fun, without feeling or looking too wonkier.
For more information and details, please look into the following 3 titles and more:
The Little Book of Talent, Successful Drawing, and Jason Cheeseman-Meyer's Vanishing Point.
The titles have bunches of useful general infomation on drawing figure constructions, perspective, and practice tips and tricks.
Hope these have helped more.
&feature=youtu.be