I was suggested by a responder to one of my posts that if I want to learn to draw from memory I should try the method of first tracing my reference before drawing it from memory. I did just that as well as annotated the corrections I needed.
When working from memory, your work looks unsure and sketchy and has fewer clean lines. I feel it would be to your benefit to continue with this exercise often until you feel more comfortable drawing this way.
Also, when you are exercising, it's tempting to rush due to the time clock. Mainly because it's a new task under a time constraint. Don't sweat the time, and keep on with the next pose. It's better to be slower with less of a drawing done within a time frame; while staying neat and uncontrol. Then to rush and worry about how much you got it correct.
Mainly-KEEP Going!! and Do this as your main draw session for a few months. It will be so good for your accuracy.
Nice job on your range of your motion and action of your pose drawings all from memory. I think your gestures and anatomy are spot on, but I feel that these lines of action, rhythms and gestures still need more exaggeration of your bone and muscle anatomies. How would you care to go ahead with 6 minutes of 29 second drawings of poses, bones, and muscles?
The reason is because, by studying the human anatomy and poses, then your drawings will be sketched more believably, but less stilted and more dynamic, energetic, and fluider. For more info on studying the human anatomy, Kindly look into the Frank Netter anatomy book (which I haven't studied enough yet), the Joseph Sheppard Human Anatomy book, and Anatomy for the Artist by Sarah Simblet, for the latter features not just bones and muscles, but also the application in the most famous finest arts of the figure drawings and paintings.
My hat's off to you, but please take these with the small grain of salt the size of a bread crumb.
I've continued to practice my line of action as well as using the guidance of the manual you've linked in a different post, tried to replicate the recommended artist's style of drawing with fluid outlines and harsh cross-hatching. not too certain if I pulled it off tho?
Good afternoon, Emi, but nicest job on your range of gestures, your forms, and your perspectives and proportions and angles of your human figures. I love them so much. I think you have boatloads of promise, but I feel that these poses need much more exaggeration and satirical expression. How would you love to go ahead with 7 minutes of 28 second poses, flipped horizontally, all just to completely warm yourself up? (350/28≈13 scribble warmups)
35-28=7 70/28=2 r 14 28 56 84
The reason why you could and would try out this constructive criticism is because you could and should be able to quickly draw your crosshatching less stiff but less stilted, but more dynamic, crazy and spontaneous. Not to mention to make your lines of action more crazy and intense in your storytelling pose drawings. For most info, look into Volume 1 of the Walt Stanchfield book PDF here!