2018 - 09 - 20 (2)

Hello Skullchicken, first of all your construction of the human form is great and like that you added some grey values in. Don't be afraid to alter the pose a bit from the actual reference photo. I think with this image if her hands were maybe turned out a little more and if the shoulders were sloped down a little bit it would help with the stiffness. Also I think her head needs to be tilted back more and then have one of her legs slightly in front of the other. I do like your heavy line work, but if you start with a thinner line weight it might help you work out any corrections that need to be done in the pose. You could then apply thicker lines to the areas you want. I hope that helps. : )

I think this study turned out quite well! The proportions seem pretty good for the most part, and I recognize the structures beneath the figure.

One thing to keep an eye out for is that the pelvis and the ribcage are two separate things, and not recognizing them as such will make it harder to understand how the torso bends. The reason we're so flexible is because the area between the pelvis and ribcage behaves a bit like a joint, and so it's often represented as one in gesture drawings. (You'll also notice the little drawing mannequins have this as well.)

For your next studies, I recommend keeping that in mind. It can help take some stiffness out of the torso.

Good morning, Skullchicken, and once again, greatest job on your flow and fluidity of your bones and muscles, but this one is way too stilted to me yet. Would you like to please exaggerate the expressivity with 12 minutes of 2 minute poses?

The reason why you could do this is as a result, your static poses will become least just stilted, you know, but the most dynamic, exaggerated, and expressive in your poses and relationships.

For most info, look into The Little Book of Talent by Daniel Coyle, for these following tips.


Good luck from me.