A bit more, oh man! This part of drawing from memory is really complicated, sometimes I feel stuck , but it has helped me a bit, is to take the body part that i want to draw and compare it with a simple shape and from there start to build the rest, it is crazy because it is what we are taught at the beginning but the more you immerse yourself in complicated stuff, the more simplification you need.
@Fedodika hahahahahah I try to smoke a bit of everything , I do not know how quick I go but I'll try to accelerate more. Thanks man!!!
your forms are really coming a long, watch the scratchy lines!
If youre going to invent a pose, memory drawing really can help that process. Doing that activates the part of the brain that has to simplify to create forms, so as far as reference and imagination work, its a win all around :)
Keep pushing your value we all have this problem when we start playing with grey we don't push dark enough it because of eraser normally but you don't have to be scared in digital realm value are pretty easy to adjust if you know how to play with the program.Don't limit yourself to light gray and mid grey your form will look flat.
I like a lot of the life in these poses, and ill warn you because i used to do this with bridgeman. Draw it sure, its easy to copy, but then you have to make sure you internalize it, so draw from memory and check for the differences, thats how you learn faster. I would just endlessly copy bridgeman and it didnt help much, same with hogarthe, it was just moving my hand, not gaining the valuable knowledge.
Your edges need a lot of work, try to go back to just values and greyscale, spend more time on a piece and try every trick you can think of to really nail those edges. Think of it like a bargue copy, and i reccomend doing in traditional medium if possible. Doing lots of quick paintings, personally i dont think it helps much if you dont have a ton of experience. Drawings are different but paintings are all about accurate lay ins and the painting part is just edges. So pencil or charcoal whatever is just another way of defining edges.
Do it from a well lit picture or master work preferably something with a simple value arrangement. like as close to 3 values as possible. juliette astrides has some great still life stuff in the ballpark of what im talkin about
again, train your eye to see like how a master sees, because no offence, i dont think you are seeing the beauty of the objects your painting and how to arrange them intelligently. Hell even make a folder of still lives and take notes on their value patterns and composition arrangements in thumbnails. Daniel Keyes has some great shit, jeff watts, david leffel tons of great still life artists. Also get astrides book on classical atelier lessons, it has lots of helpful stuff
@Abnormal: I really like your figure studies. They are dynamic and loose, and I think sketching loosely when you are doing gestures and quick figure studies is yields looser drawings. I think a lot of people have a problem with stiffness i their poses when drawing the figure. I think Fedodika mentioned already about your line work. I think your lines should feel looser and more free flowing and less sketchy, although I still like the sketchiness of the drawings.
I like your still life studies as well, but I think the perspective and composition needs some work. I noticed that several of the studies are really close up. I think you should "pull the camera" back a bit as it will make for a more pleasing composition.
You are clearly working hard here and I admire that. I would love to have your discipline, but after a long, tiring day at work, and at least a 90 minute commute round trip, but all the other responsibilities I have to tend to in a day, I have little time for studying. But I don't let that stop me. I just wish I could be a prolific with my studies as you. Are your figure studies based off of a particular artist like Bridgman? As long as you are not just copying drawings out of a book, and you are analyzing what you have drawn afterward, I think the studies are worthwhile. Personally, I never understood why some artists feel the need to copy entire books of Loomis or Hampton or Bridgman. I suppose if you are analyzing the studies it might have some value. I think it is better to maybe copy a few of the drawings and then, using reference, do studies of your own in the same style. Anyway, that's just my opinion of course.
Nice stuff. I think you should continue with what you are doing and try to clean up your work a bit, consider the composition of your still lives, and study some perspective, but you are already doing a good job here.
heeeeeeeeeeeeeeeeeeeyyyyy I'm still alive ¬¬, in December of last year I practiced almost nothing.
woaaaah the pressure for this year will be even worse, my family is all over me, in the end the only thing they want to see is if I earn money with this.
The main goal of this year is to increase the quality of everything.
And add more color to my life
@Fedodika
O.O man, thanks for taking the time to write all this, I really appreciate it.
Everything you say is true, I need to work more in all those aspects.
This year I will do everything possible to level up.
Bridgman, Horgath and all those artists in my case really helped me a lot, it was for me like changing my mind and learning to really see things but it is true that there is a point where you have to stop using these books for a while and try to apply all that in real life.
regards
@Shinkasuru
That's right, I need to concentrate and invest more time in improving my line work and the human figure.
those still lifes were complicated for my hahahaha I painted them very late at night about 1 am and really was very sleepy and as a result, bad composition, wrong perspective and i really did not capture the true essence of what I was painting.
Oh man, managing time is a very complex issue, but draw everything you can, it does not matter if it's one minute a day.
Bridgman illuminated my path with respect to anatomy, his examples comparing body shapes with columns and that kind of thing were very useful.
Of course I'm going to do more composition studies , there's a lot to learn,about perspective I think that's what I've studied the most, I think I have an obsession with that of course I have to do much more.
thanks a lot for comment man ^^.
@ Joe
thanks man, now that you mention it, it's time to start dressing my creations
'The best way to have a good ideas is to have a lot of ideas ' Linus Paulingth
Its just the rest of the body isnt involved, its subordinate when it doesnt need to be. Idk if youre doing stuff from memory, but do it, and check because every time i do i see how much more pushed the gesture is than i remembered. Gesture is extremely important, the most important thing at the beginning of any picture, so focus on that alot.
Also anatomy, start learning the insertions, names of bones, and say once a week pick a limb, use books, proko, and such to refine that knowledge. im sure you know alot of them already, i just see your imagination stuff and im skeptical since there are just particular ways to draw legs and things you'd remember, knowing tha anatomy.
some studies of anatomy and analyzing the anime style.
@ Fedodika thank you man, all that is true, I think I need to exaggerate the poses even more, try to add more force, play a little more with the shapes.
it is time to make more precise and elaborate studies of anatomy, although for me it is really complicated to make a study that takes a long time and then try to apply it is as if I run out of energy.
again lots of fun stuff, i really think you should do your nice reference drawings then reacreate from memory and correct it because your imagination stuff is pretty weak in comparison i see lots of like 3/4 static poses, which is good i mean but its stiff and its good youre building forms, i think the memory drawing theing would benefit you because youre observation is on point
@Fedodika Since you wrote this more or less, I've been drawing gestures every morning. I hope that works and thus eliminate that stiffness in my drawings.
woahhhhh it has been a while without updating.
At some point I stopped drawing I think my limit was reached, so I took a break, readjusted many things in my head and started again.
One of the things was to read a lot of books, learn more about the business side.
proportions on some of these are pretty sweet, love the energy.
I can tell the imagination ones still lagging behind alot, try doing those nice reference poses from memory or draw from a different angle. Im not entirely sure if some are imagination, but i see some that look half as a good and im like yep that was from the noggin.
your heads are not bad sometimes, might do you some good to do some longer efforts on portraits, using simple values to learn the planes of the head more concretely. The asaro head is a great tool for that, and the reilly rythms, a personal favorite of mine.
Love the rawness of this stuff abnormal, i think if you did this volume like 3 more times youd be kicking butt and be a decent drafstman. Your stuff is starting to remind me of walent or vlad gheneli. Just a beast from so much sketching, keep on it, proud o you <3
Edit yea, looking back through it you need a hell of a lot more focus on facial planes and hands as those are things that fall very short of the nice groundwork you have for the figures. Your imagination stuff seems so overly simple and like youre not applying the wealth of stuff youre getting close to nailing from reference so just bear that in mind. Maybe some of the good stuff is from imagination, i cant entirely tell, but the stuff thats obviously imagination isn't anywhere near as good as the reference
I'm in awe before the more difficult poses and angles that you tackle. As others said, really try to make them from memory, not only as a shape but as a body structure that you can feel from toe to nose. Take the pose yourself and feel the dynamics and constraints internally. This helps - helps me, anyway.
@fedodika thanks man, woaahh mastering the proportions and modifying them as I want is really difficult, but little by little I start to see the light at the end of the tunnel .
That's right, my imagination drawings are still not as good as I see them in my mind I have to rethink my strategy.
@Leoki Thanks ehhh So far I´ve used the most mechanical way, just repeat several drawings, compare with the reference and so on.
that way of drawing that you mention I think is the ideal way, feel the movement, the proportions, etc. but at the beginning it is a bit exhausting and tremendously difficult to apply, with practice it has become something more fun.
a couple of thousand more drawings to see if I improve a little more.
'The best way to have a good ideas is to have a lot of ideas ' Linus Paulingth
A. Start a project or theme and like draw a few characters to fit that. use reference to put it all together, dont try to do it 100% from imagination.
B. Do a more sustained effort on a reference drawing.
When you add tone, it seems like youre using a brush that doesnt have any hard edges, so it looks really slurry and undefined. Also your values, theyre really like... harsh? it seems like you use a 10 dark value, like a 5 value and an all white value
Take this one, proportions are not bad at all. youre indicating even a few advanced things im seeing some adductors and sartorius, nice calf shape etc. but... the only edge on this that works are the shadow on the calves. everything else is sloppy and blurry
I think youre ready to move into refining these drawings with tone and edges. Zoom in on things, try to wrap your strokes around the form. pay attention to how things are either sharp or soft. Also try using the lasso tool with the airbrush in photo shop to render and make razor sharp edges. Try practicing to figurative artists you like, im sure you know some, and try to mimick their edges. you could google image "russian atelier figure drawing" for some examples of stuff to copy.
That, i think, is the next step for you, not Bsing the faces on these and working with tone and edge since your proportions are getting solid. Im not saying color, just tone. great work on these, keep it up!
I've tried multiple drawing software programs, and my favorite so far is SAI. It's really user friendly.
What I like about SAI is that you can literally trace a drawing by just dragging points. it Provide better support for my XP-Pen Star 06 Digital Painting Tablet features and most likely also more extensive and better brush features .
, but it has helped me a bit, is to take the body part that i want to draw and compare it with a simple shape and from there start to build the rest, it is crazy because it is what we are taught at the beginning but the more you immerse yourself in complicated stuff, the more simplification you need. 
, I do not know how quick I go but I'll try to accelerate more. 
Thanks man!!! 
thank you man, all that is true, I think I need to exaggerate the poses even more, try to add more force, play a little more with the shapes. 
