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Anoob,



If that is too long, why not try this- or morph my former suggestion to fit this arrangement?



Find a notebook with one page for every day of the year.

Mark the day, month and drawing time goal, then draw one figure per page every day.

Mark each book with a note titled 'Drawing Year.....' (Some artists make a rule like this is my 5-minute book-draw one figure for five minutes only. They have multiple books, each with a different time stamp. Some do the same image, with the same time goal- every day for the year.) {These are just suggestions to get you started if you like this idea.}

Select a date and time on your phone 2-4 times a year. Set a reminder and take 15 minutes to flip through the book and, later, old books to see your progress.



I always start with the middle of my books, then the beginning few before looking at my most current draws. If you have a drawing buddy, even better. Swap and share the progress the other sees. It's always a confidence booster.

All the best,



JCML Fine Art

Ferocious_Momo

The point of the stick figures is to show points of the body that move. Take some time and look at primitive art, like cave paintings. Or study Japanese woodblock prints and watercolours.

If you can do the same thing as a full figure done in three lines as a photorealistic drawing you are onto something special. Lines can have real sense of emotional expression.



Exeserise-

Draw 1-4 lines per figure.

Put on some music that gets you into a specific emotional head space. Use different emotions each time you practice.

Put all your emotion into each body movement you make while you draw those few lines to make the figure. (Some artists find singing and standing helpful in this exercise) Let it bleed out onto the page. If that means skipping a drawing so you do it well, that's okay.

15-second drawings- do them for as long as you can keep in that emotion. Preferably 30 minutes to an hour. (This is emotionally taxing, so if you can't do it that long, don't sweat it, the more you do it, the better you'll be able to tap into your emotional, creative state.

Then do a five-minute drawing using the same principles, but use shape instead of line. (Warning you will feel like this is an eternity of time. Be careful not to draw for the sake of it. Be selective with your shapes and their line quality (thickness-to-thinness ratio representing light. It is tempting, and you probably will ask yourself, "What else can I do, there is so much time." Try not to fall into the trap of filling the page for the sake of the time and a fuller flushed-out figure.).



Do this every day for 8 months. You will be astonished at what you can make happen. The basics may be boring, but they make or break images. Don't skip out.



What will this do?

This will help you decide the emotional story of your figure more quickly. This means you will understand how to exaggerate the figure into more dynamic poses. Plus, your art will feel more compelling. Master this, and the rest becomes spectacular.



I have restarted doing this myself, and I am kicking myself for not doing it more often. See my current work, 'Lift to Rise progress 2,' as an example of lines making the figure feel more like it's breathing-Thats my new goal- Make my art look like it is breathing. And this exercise is helping that happen.



All the best,



JCML Fine Art

Anoob,



Try automatic drawing, draw what is in your head and let it flop onto the page.

Or

Go Cubist for a while. Some of the shapes are used to make different parts of the body. Morphing the bottom of a figure into the upper chest and neck- so it looks like both can be very informative and challenging. It sparks creative thinking and works on your storytelling skills. You don't have to be detailed in your cubist drawing, just work on morphing of shapes.



Why do this? Both these exercises will help you see your art rhythm and create more lifelike dynamic figures in the small parts that make the figure look like it is about to move.



Do each for around 45 minutes before you start your regular drawing routine. If you draw daily for a few hours, you'll see a definite improvement over the next 3-6 weeks.



All of the best,



JCML Fine Art

cherry_dog,



Less on a page is best. It looks like you are working digitally. That is cool. Just zoom in so there is nothing else on the page, Just empty space. This will help you concentrate more on your figures. Also, don't do the "make it fit" if you go off the page, that is fine. Let it happen. These things will stop your figures from becoming squished.



Keep showing your work, its great for the ticking of your skin and a real recharge when you don't feel like drawing but know you need to work on "blank" so you can make your hobby happen. Great start.



All the best,



JCML Fine Art

Syd-O.



Consider trying the 'Slow Gesture' exercise as one of your warmups before you draw your intended image.

In this exercise, you use the photos and put the clock on for 5 minutes for each gesture. You take a lot of time to read the model as to where the motion is coming from and what muscles they are using.

When doing this exercise, some artists will stand up and repeat the stance the model is in and how the model got into that stance multiple times before they sit down to draw the figure. They will focus inwardly on each muscle it took in their body to get into that position.

If you have a model, have them repeat getting into that stance as slowly as possible, stay in the pose for a few seconds, and then repeat until another pose is chosen.

The main idea of this exercise is to understand the kinetic energy flowing through the body while in that position. The other is weight. Most weight comes from the line. Changing your pencil pressure and/or your pencil pigment levels from H-B helps a lot.



Lastly, do not have so many figures on the page. It's tempting because it feels frugal to save paper. I mean, after all, it's just a gesture. Right? Wrong! The moment you have more than one figure on the page you are composing. If you want to bring up your gesture game, don't compose, it's a distraction you don't need because it will get in the way of your goals. One gesture per page. you can always use the paper later for grocery lists, clean-up and other studio needs. Give yourself the space to learn.



I hope this helps.



All the best,

JCML Fine Art

Sydney,



Study bone structure. If you understand how the bones move and the mussels, pull those bones. Then the topical layer of the form is much easier to understand because you know what is happening mechanically inside the figure.

Try focusing on simple shapes and stick figures. This will help you see more clearly how to make your work look more dynamic because. The gesture is only as living as the stick figure you place within the work. And that's why the bones are so compelling; they are the sticks inside the sack, which is the body.

Remember, everyone likes to do the details; it's the frosting on the cake. But that frosting can look saggy and lifeless if the structure is not given the station it deserves.

If you would like a few book recommendations, Let me know, and I can pass a few your way.



All the best,



JCML Fine Art

Hana,



Well, if you think of a funny story, don't hesitate to place it here later. Part of that goal is, so we all feel a bit more connected to each other. Humer has a way of doing that other mediums can't seem to achieve. Or, if you like, draw it out. I always love a good comic. The newspaper funnies page is on my list of things I miss most about the US.

Why not create a detective character who gets into mischief at your school?

If you would like a friendly learner's resource for your phone, why not add the Posit app? It is like this website but fits nicely on your phone, and you can take it on the go.

Suppose you want to get better work both with brushes-mass drawing and with pens-line drawing one right after the other and then work with both. It will help you see the weight in a 2d space faster.



All the best,



JCML Fine Art

Intente leer el libro "Arte" de Clive Bell o "Principios del arte" de Collingwood. Creo que puede disfrutar de sus inclinaciones filosóficas y puede inspirar su trabajo para intentar la pose nuevamente. Algunas cosas simplemente son mejores después del tercer, cuarto o quinto intento.



JCML Fine Art

Senshi,



No pude averiguar si este libro está traducido al español, pero si puede encontrarlo, intente leer "La ciencia y la práctica del dibujo" de Harold Speed.

En su libro, dice que uno debe hacer más de una cosa a la vez. Espasivamente dibujo y pintura, a lo que llama dibujo en masa. Dice que te ayuda a comprender la calidad de las líneas y el volumen de las formas. He encontrado este principio muy útil. Así que ahora, todos los días dibujo líneas durante dos o tres horas y dibujo en masa durante aproximadamente una hora a 30 minutos todos los días.

He visto una gran mejora en mi trabajo.
Además, la mayoría de las veces tengo de 3 a 5 proyectos al mismo tiempo en diferentes medios. Encuentro que aprendo mejor y mi arte es más rico porque tomo lecciones de cada área y las aplico a otro proyecto que no está relacionado. Es realmente encantador ver los vínculos entre las artes.
Pero realmente, no hagas lo que otros te dicen que hagas, haz el tipo de cosas que te inspiren a seguir adelante.

Espero que esto te ayude. Oye, si quieres. Toma los ejercicios y tradúcelos del inglés al español. Dales una oportunidad. Pueden ser justo lo que necesitas para verte en tu camino hacia nuevos viajes de pigmentos.

Todo lo Mejor,



JCML Fine Art

Senshi,



El estudio de las manos es una aventura maravillosa. son algunas de las partes más complejas del cuerpo.

En mis estudios me he preocupado por la figura completa, y con frecuencia descuido las manos. Pero en mis dibujos finales, me he centrado en los retratos. Estoy aprendiendo mucho sobre cómo los huesos alrededor del ojo realmente hacen que la cara funcione de la misma manera que lo hace en cualquier figura. Encuentro retratos a veces los más intensos y más interesantes que todos mis otros actuales
aventuras de dibujo en masa.

¿Cuál es tu historia divertida para el grupo?

¡Espero oír de usted pronto!

Todo lo Mejor,

JCML Fine Art

Loverlordorva,



That is cool. I think if you want to understand colour better the best advice I can give you is to study how colour has value. Once you get that the rest is colour matching and learning how the layers underneath each other will affect the overall image.



An easy way to do this is to draw using two complementary colours. You know, like, green and red. Draw a few studies with the two colours. Then every so often take a picture of them with your phone and look at it under a black and white filter on your phone. This will teach you how to see the value, in the same way, a graphite pencil does.

I hope this helps!



All the best,



JCML Fine Art

Sammers,

I have not seen the first, but I am on my second time going through Hales book. I always learn something I miss with not just his but other instructional books too. Probably because I have done more practice, and so, therefore, understand more what it is they are talking about.

I will totally look at Bert Dodson's Keys to Drawing for my collection.

Thanks for sharing!



All the best,



JCML Fine Art

Julian_00

Do you got an art buddy or someone who likes giving orders? If so, Try this: Play Darker Ligher





Have an open sketch book and start with your lightest pencil. Then escalate up the pencil scale.

Or

If you want a challenge, pick an artist B-H pencil at random and play the game. This random is sometimes part of the game, depending on your friends.



If you have an art buddy- You will take turns, But the game goes the one who can keep up with the commands best wins. Can't keep up? Your turn, and you receive a tally mark.

If you have a bossy buddy, if you keep up with their commands they get a tally mark, and if you can't keep up, you get a tally mark



First-person to get Five tallies loses.



The game is simple someone will start at a shading level and once you both agree to start, the caller will say Lighter, Darker, or Switch. A switch is to exchange for the next pencil. Lighter and darker is self-explanatory.



This game is full of fun, kinda tiring, but it will help you a lot with pressure control.



If you give it a go. Let us know how it went. I would love to see your results.



All the best,



JCML Fine Art



Oh! PS... IF you can, convert your laptop to work like your phone. You know, using the back end with the HTTML and use the apps this way. Why? you will have a bigger screen and it will be easier to look at these images. Or if you have it use a HDMI converter on your phone that translates the image onto a large screen. I do both, but the second is really cool cause I can get it onto the big tv and that helps a lot when I don't have a model to ask weird questions, and who allow me to poke at them a bit so that I understand how mussels work.

I mean, If someone will sit in front of you and watch tv and follow your instructions like lift your arm, or twist to the right. Then I think this sometimes is even better.

Got a book recommendation that has helped you become a better artist? Share with us. We all love learning to be better. So let's share and step up to the next level in our art journeys.

Julian,



My main critique is you go too dark too quickly. When that happens, you try to correct your mistakes. But it can be hard to find the line that communicates what you are learning. Both for the viewer and you, the artist-Thus, critiquing mussels is slightly more difficult because you are tackling two skills at once—one draftsmanship, and two, how mussels convert into shapes a flat surface.



Suggestions

Try the pencil method instead of the pressure method.

Redraw. Redraw. Redraw. Redraw the same pose often. Not sure you have a correct line? Redraw. Biffed the outer edge of a muscle? Redraw. The beauty of a new surface is that it can help you see better what you are trying to communicate. It is hard to learn any skill like shape translates flesh unless you are redrawing the same form too many times.



Why? You won't go so dark so quickly, and it will increase your drafting skills and communicate how you feel shapes should translate flesh on the page.



I also recommend that you look at anatomy books or use the apps Pose it or action anatomy. Take time to only stare at them. Don't draw. Just started and stair. I know that sounds counterintuitive, but it helps because you will be able to look at a model and intuitively understand what mussels are under the skin and how they move. After starting for, say, 30 minutes, try drawing what you saw from memory for 5 minutes. You will be surprised by how much you will forget.



I hope this helps you start to begin your backbone to excellent images!



All the best



JCML Fine Art