/ic/ - Artwork/Critique

>>7464423
>it feels overwhelming having to think about proportions, movement, perspective, angles, boney landmarks and keeping everything on the page all at the same time.
and it should be, it's not meant to be approached in that manner. tackle things one topic at a time until they're more or less intuitive, then you don't have to juggle multiple topics at once in your conscious mind because they're relayed to your intuition. spend a few days focusing on just one field, don't go crazy and spend months on just drawing boxes in perspective like some schizos here but have a focused goal in mind when you practice

gesture can be seen as the most important part as a successful gesture sets the foundation for a successful figure at the end, it's a butterfly effect since everything builds on what you decided on at the start with the gesture stage

>pic related
i like michael hampton's methodology where he's very formulaic and logical about gesture. this isn't exactly how he does it but here's how i go about it:

1. start with the head
2. get the sections of the spine (cervical, thoracic, lumbar and sacral)
3. develop the masses of the ribcage and pelvis
4. draw the limbs

notice the red dotted line, that's the line of balance, keep the masses balanced around that line and pose the limbs in a way that if you balanced them like that in real life it wouldn't topple over. likewise for poses where you want to convey something that's going to happen, you make the masses and limbs imbalanced so that it looks like the figure's about to fall or move in some position

the proportions are off in the gestures and in my opinion that's fine, you can work to refine from there. like i said in my opinion gestures arent meant to be pretty, i dont think that's the goal with gestures