/ic/ - Artwork/Critique

>>4759160
Study both anatomy and gesture in tandem. You've got a few errors, but nothing you can't fix with practice. A few things I'm noticing.
>Breasts have weight. It can be difficult to perceive this weight if you don't know the perspective of the rib cage. As an easy way to remember, "breast fall down and out". They will be pulled by the weight of the fat very slightly below the same nipple height used for men, and will be pulled out slightly if the arms are raised due to how the breasts sit of the pectoralis. I find tear drops to be the easiest gesture shape for breasts, since they have both a direction and, hence, gestural quality to them. In short, BREASTS WILL NEVER TOUCH IN THE MIDDLE OF THEY AREN'T HELD UP BY A BRA OR SUPPORT.
>Study the shoulder girdle structure. The scapula and clavicles make a very strong shelf form that can be handled with perspective. Studying it will allow you to do a few things, including make convincing neck placements, do correct deltoid attachment, and have implicit knowledge of the full range of motion for the humerus.
>Your lack of fundumentals on the legs (with regard to the knees specifically) is giving your legs drawings a "stacked sausage" quality. The legs have dominant gestures that overpower the smaller muscle forms. These gestures generally follow an elongated "S" when seen from the side, and two stacked semicircles seen from the front (eg, the round side points outward for both the quads and calves, while the flat side are inward for both segments as well). Using these shapes to design your body parts while still considering perspective and form will give your designs a more consistent and "thoughtful" quality, even if you still have holes in your anatomy knowledge, which can only be filled with practice. Also, I find the knee joint to be one of the hardest joints to learn due to the patella being the only joint that functions as a DETATCHED levered hinge. Without it, bipedals would exert far more energy to stand up.