10-minute sketch

That's a very, totally marvelous job on your half-nude, Martnar87. This is a very great use of wrinkles and drapery with your human proportions of that half-nude.

Well, if I would be able to constructively criticise your sketch above, I see some of the well-defined and observed female human proportions right there, and it seems some of the relationships (angles) are just the teensiest bit of itchy and scratchy in the lines. Would you kindly be more bolder, and more than confident in your contour smoothness, while at the same time, retain their natural gestures, with a 10 minute study?

The basis for this suggestion to help improve your clothed figure drawing is as a result, after having done a slower and stiffest study, you'd been able to be a lot more faster and confident with a quick shorthand approach to drawing out the forces and forms.

For more information, be sure to check out this link for inspiration and influence right here: The Famous Artists Course 1960

Good luck with your newfound passion, focus, and keep up the perfect work.

Some time ago I went from a graphite artist to also leaning into pen and ink. And it can be a little terrifying to commit so completely to each line. And I think some of your hesitation shows in your lines.

One of the ways I have personally addressed this is to do 3 very fast gestural lines before I go for my final attempt. And true pure gesture. A motion line and a few lines ro work out the shapes. This helps get the mental map in place.

The next thing I do is dots to map out my proportions. On a long study I use a proportional divider. The rest of the time I use my pen or pencil and hold it out to compare proportions. When working with ink it lay down very light dots to get my proportions mapped out.

On a full figure a dot for the top and bottom of the figure, a couple of dots for the most extended part. With this post I would mark the breast and the rear as well as the elbow.

Then major points like the top and bottom of thr torso and joints. You can look at your proportions and move them quickly and adjust. Then you start connecting the dots. Literally!

With time I do more of this in my head. But this is after hundreds of sketches where I map it all out. And I still rely on them.

I hope this helps!

I like the shape of the torso, the overall posture, and the outline of the shadow plane.

The crosshatching, especially on hips and legs, seems a bit too far apart, making it ambiguous, whether it indicates shadow or a textured surface. Above her arm its intent is clearer.

You seemed to have struggled quite a bit with her forward hand. I don't know what she exactly did with her fingers on the reference, but you would have probably done the image a favor by simplifying the hand to a rhombus.

Fingers are endlessly annoying, especially when spread out or even worse, interlocked, and you are already under time pressure, or are drawing in very small scale, like in the image. You need to develop a toolset to simplify them. Doing quicksketches of hands, that go far too fast to pick up all those fidgety details may help, especially if you concentrate on picking out just a few dominant lines to indicate the gesture. Don't draw quick, draw strong and deliberate lines, even take a breath and squint a bit before starting to draw, to discover the overall form. 4 or 5 lines per hand is max, as the goal is to discover useful shortcuts to use in your bigger drawings.