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I like where you are going with your line work in here. As I write this I can see your other work on the side, and this most recent work above.
The other work shows where you are mastering proportion and shading. And this is the place to start. You must have a mastery of the basics and the rules of proportion and shape before you can know what rules you can break.

In the sketches that I am critiqueing I am starting to see a new style starting to merge, playing with line work, and an exploration of art that is uniquely you. And I like it, and hope you continue to push in that direction.

What I find useful in the shorter gesture drawings is to push the proportions, the poses, and the lines further. exagerate some of the lines, bend the body further than what you see. This does a few things. When you make a deliberate choice to bend the body further you are training your mind to SEE what is there and you make more concious choices about what you are laying down.

One of the hardest things for an artist to overcome is drawing what we think we see, and not what we actually see. We see a hand, and we put down lines that are what our mind understands to be a HAND. Our brains are efficient machines that are always looking for a shortcut. So when you see a shape, a posture, a gesture and you choose to take it further you are breaking the automatic lines your brain wants to short cut with.

This also helps when you want to be more accurate, you again are making a choice and it shows. This will help your image look less stilted and forced.

I also find it helpful to lean into the fast. The first time I ever went through the 30 second gesture drawings I was SWEATING and when I did it with portraits and animals the first few times I thought it was going to destroy me. I kept at it, and I found that it helped me imensly because it trained me to look at an image and break it down to the few lines that are necessary to get the overall image idea down.

And that is extremely useful for when you want to take your time and do a longer more detailed image.

So if I want to do a full, in depth figure study I first grab some newsprint and do 3 or 4 gestures to work out the basic shape and how accurate or stylized I want to go. Then I go to my working paper and very lightly lay down the gesture as a sort of mapping line. When I use graphite I lay down a light pencil layer, setting out the under image with loose shapes. When I use pen (I push myself to live dangerously and go straight on with pen and don't use graphite first) I use small dots to map out points I want to hit for proportions.

then I fill in some basic lines, I connect arms, map out the head, and get the torso right. I take a moment to verify my proportions and pose are what I want and then I dig into the detail. so Slow is okay, take your itme. You don't have to be fast.

The short fast practice is to help you learn how to map out your image on the paper in a swift loose gesture so you can dig into with fine details.

and I sum all of this up with, I like your line work. I see where you are going. I see the progress in your sketchbook. Keep it up!!!

Great job on your quicker figure drawings, Hayunb. Very liveliest gestures and lines of action.

My issue with them is that some of those poses are that, I'm not getting enough of the most, remotely liveliest lines of action, rhythm, and balance. Would you like to loosen up, and most importantly, lighten up your lines and feelings, with 60 minutes of 30 second quicker poses of the figures? (all flipped horizontally or vertically, or none of 'em) The reasons are because, it could help you out on perceiving your lines and coutours on the right side of the brain, and finally, to reduce the stiffness of your contours, and to make them the most cartooniest, quickest, and the most gestural ever.

Good luck to you, and I hope you've found these completely useful.

Thak you very much I find this helpful