Your gestures are much more powerful (structure and bones) and dynamic (motion). I think you have cracked it with this last batch. These are good enough representations of the abstract motion of the figure to use for the building the structure/shapes. I take two things from Steve Huston to explain gesture and make it simple enough for me to remember.
(i may have written this somewhere already but I'm too lazy to go find it)
Gesture must accomplish two things:
1. The gesture line must act as the fundamental design line.
2. The gesture line must act as the connecting line, something to which the structure can attach.
Gesture=the long axis curve of any structure. Always err on the side of the more dynamic. If the gesture is curved, make it more curved. While you draw it stiffens up anyway.
Steve Huston
That last italicized part is the artistic liberty that lots of students have a hard time breaking into with their mind set when learning online without a teacher next to you.
Deciding that design (shape expression) with figure drawing is better than perfect photo realism when constructing the figure. And in fact, more useful to your construction.
You are making a caricature of motion, expressing the shape of the figure beyond realism proportions. I always wondered why Proko, Jeff Watts, and Ron Lemen were always not drawing exactly what they saw in front of them. Because if you start out stiff, it ends even more stiff.
There is a video of proko drawing seals somewhere, and a new video of Patrick Jones figure drawing on Proko's channel that helps with this subject that I really liked. And another Proko-Arms and Legs from any angle that explains things very clearly with process and theory.
You may have already seen them but maybe someone else might read this someday.
I think the work you are putting in is pretty dope. You are showing progress.
