Mensajes en el foro por Polyvios Animations

Hello, Drawingbrocolli, and welcome to Line of Action! I'm Polyvios Animations, and how are you doing tonight? Say, great job on your movements, silhouettes, relationships, constructed forms, and of course the wholes. Way to go on your magnificent works, but I'm concerned on your sincere lack of fluidity of the (anime) animator's line yet. How would you like to please try out 10 minutes of 2 minute poses, all from your non-dominant hand?

The reason why you could and should draw out really fast is because of two or more things:

First of all, to get less involved on the details, but more into the broader gestures and poses of the ideas and energies. Second of all, to make your drawings the least stiffer but more fluidest. For most info, please look into a copy of the Vilppu Drawing Manual PDF right Here???

Good luck to you, and thank you.

Hello and welcome, Axelxan, to Line of Action, I'm Polyvios Animations, and how are you doing? Say, magnificent job on your movement over forms of your figure poses, but they still need even more motion and exaggeration. Would you like to go for 10 minutes of 30 second attitudes, using only your non-dominant hand? (20 drawings)

The whole argument behind this feedback is because you can and will be able to differentiate yourself between looseness and care in your graphic edges. For more info, please look into Drawing on the Right Side of the Brain, and Drawing on the Artist Within, by Betty Edwards, though she's more of an art teacher than an artist, in my opinion, but her work does make us think, really. Thank you, but let's hope my advice makes true sense.

Hello, Kane and welcome to our site, but these poses you've drawn out for us are completely but totally hands on in terms of the line quality, but the lines of action have too insufficient exaggeration and satire yet. Why don't you please sketch them out the most livelier with our interactive drawing tutorial here somewhere?

The reason is as a result, you learn how to draw not just for the sake of art, but also for the thinking, not to mention the fact you could and should be more involved in the broadest gestures then the smallest details and forms.

Good luck to you and your progress.

Good morning, Afro, and welcome back, but I'm so in love and enjoying your range of forces and forms of your figure poses and face attitides, from imagination and reference. What I really love about them is how much you've totally retained the forces while you're slowing constructing out the volumes and forms, therefore, you're completely having fun with yourself and trust in the drawing process, so more power to you. Yet, I'm still not getting enough of the bolder power and appeal in your drawings yet. Kindly loosen up your lines of action of your poses with our proprietary online drawing tutorial in our website, while you can and will loosen up but liven up your lines of rhythm in your faces with 10 minutes of 30 second sketches, but with looking at the refs 15 seconds each, then quickly ruffing them out in the last 15 seconds each.

The reason is because of the two truer arguements: 1) To make your visual memories more sharper but varied, as you can benefit you memory drawings.

2) To make you faces and poses the least rigidest, but the most emotional, vital, but energetic. For most details, kindly look into a PDF of the Walt Stanchfield books on Volumes 1 And 2.

So, my hat's off to you and your amazing march of progress, while I hope these have all made sense.

Well, Sap.un, you're line quality is phenominal, absolutely phenominal! Phenominal when it comes to loose poses and attitudes.

So if I could give you some pointers, it could be for example is that the broad gestures don't seem too exaggerated enough to me yet.Why don't you kindly exaggerate your attitudes with 11x29 second poses?

As a result, of two reasons:

1) To use your caricatures and exaggerations to your really full ability.

2) To make your loose lines of action and rhythm less stilted, but the most dynamic, felt, but energetic.

For most details, look into Volume 2 of the Walt Stanchfield book here, along with a copy of the Daniel Coyle book on Talent rrrright here.

Good luck to you, but let's hope they've all helped you out even better.

Hello and welcome aboard, Reddish, and good morning. Say, you're doing a powerful job on exaggerating and caricaturing the gestures of the poses of your figures, from Proko, which I haven't gotten onto yet, but these poses all seem a bit too rigider in terms of the curves against straights. Will you kindly free up but lighten up your lines with our interactive drawing tutorial rrrright here?

The reason why you could and should do this tutorial is as a result, you could draw not just for art's sake, but for the thought systems from within. For most details, kinldy look into Drawing from the Artist Within and DRSB from Betty Edwards right there on Amazon.com.

My hat's off to you, so let's hope these make perfect sense.

Good evening, and welcome aboard, and I'm Polyvios Animations, but how are you doing?

Say, you're doing a mighty fine job on all of your subjects from figures to faces. I love how much agony, pain, passion, power, and animation you've gotten into your curves. Keep up the great works. But these curves still need much more exaggeration and emotion yet. How would you like to please try out our interactive drawing tutorial right HEEERE??

As a result, your curved lines of action and rhythm will be quicky drawn less stiffer and more vital and energetic, but spontaneous. For most details and tips, please look into the recent livestream from Mike Mattessi on YouTube.

https://youtu.be/iMiZxMF7iLE

This is actually from 8 months ago, so please take what you will from that.

Hope this has helped you out on your current goal more. My hat's off to you.

Good morning, AfroExtensions, and welcome back again. I'm Polyvios Animations and how are you doing this morning?

Nicest job on your range of expressions and movement on your faces and figures, but they don't seem to have the most specific goal for you in mind yet. Why don't you please try out our interactive drawing tutorial HERE?

As a result, by being the most concrete in your current goals, then you can and will be the least plateaued in your learning curves and progresses. For most details, please look into the Mike Mattessi Drawing Forces Kindles(which I already have free samples of). My hat's off to you.

Hello and good afternoon, Loon Ar, and welcome aboard, and I'm Paul, but how are you doing today?

Say, you're doing a mighty powerful fine job on your range of edges, gestures, and spaces, and angles of your poses. Keep up the great work, but I'm not getting enough of that strong personal style yet, so how would you like to draw really flowing straights against curves and shapes with our interactive drawing tutorial RIGHT here?

The reason why you could and should try that link is because your angles, proportions, and spaces will be the least stilted but more fluid but flowing. For most info, please look into some more tips and tricks from Daniel Coyle's The Little Book of Talent.

Good luck to you.

Hello, Дамир (Damir), and welcome to Line of Action, I'm Polyvios, and how are you?

Say, Damir, you're doing a mighty powerful fine job on your shapes and forms, and spaces, in your figure constructions. But they all seem too rigid to me yet, so how would you please loosen up those forces with our interactive drawing tutorial? So that you can mix solid shapes and forms with sparks of guts?

As a result of your progress on our interactive tutorial, then you lines of action and force will be sketched out less rigid and more distilled into the essence of the attitudes, all without the expense of the solid shapes. For most info, please look into some Drawing Forces livestreams on YouTube, and Volume 1 of the Walt Stanchfield PDF on Archive.org.



Good luck to you and your myelins!;)

Hello, Fai, and welcome aboard, how are you? Greatest job on how solidest but most organic you drew the forces, shapes, and forms of the human heads, but the tilt could be the most clearest yet, so how would you like to try out 5 minutes of 30 second faces, heads, and expressions here on this website, along with the livestream of Mike Mattessi on Drawing Forces on heads here?:[url=&pp=ygUkZHJhd2luZyBmb3JjZXMgaGVhZHMgYm9kaWVzIG1hdHRlc3Np]&pp=ygUkZHJhd2luZyBmb3JjZXMgaGVhZHMgYm9kaWVzIG1hdHRlc3Np[/url]

The real reason is because, you can and will make lines of action more softest but lightest in terms of your character design's internal thoughts and feeling. For most details, see more of the Mattessti Livestreams please.



Let's hope this here livestream helped and supported you the most!

Good evening, Lunchuan, and welcome back. Well, to comment your your more than recent pieces, I must do say, that your figural constructions and forces are all totally on the righter track, in terms of the bone and muscle anatomy, but in terms of the relationships, but in terms of edges and silhouettes, but yet, the gestalt, but the line efficiency and exaggeration but with boiling things down to the raw-er essence could use more work, so how would you love to try gesture drawing to warm yourself up the every bone and muscle in the human body?

But, these simpler poses could use a bit more dynamics in the poses, so why don't you please loosen them up as a warmup, but, you don't really need to worry about the more complex relationships so soon, so how would you like to be more softer in your lines to them along with the spaces and forces?

As a result of three things:

1) To make your bones and muscles more distilled than they actually are.

2) To make the more simpler poses more edgier but vital in any position and angle.

3) To be even more intuitive in terms of your body and head relationships.

And, if you're completely curious about body caricatures, kindly look into the Mike Mattessi forces Livestreams on YouTube, like this one: [url=&t=766s]&t=766s (but it's usually for Animes, hint, hint)[/url]



My hat's off to you, but let's hope they've benefited you even more.

I don't how to answer your question but I'll try to give you my answer, but here is one of the YouTube videos from Proko.



It may be the most basic, but I hope this has helped you out in your current goal.

Good evening Kekskuchen, and welcome aboard. How are you doing this afternoon?

Nicest job on your range of motions and gestures in your figures and forms, but these all seem too stiffest but stilted to me yet. Why don't you please try out your very first 30 minute class of figure drawings?

The arguement is because, your movement drawings will be drawn the least stiffest but most dynamic, action-packed, but liveliest.

My hat's off to you.

Hello there, Kheir, and welcome back this evening, but I think you're doing a mighty sweller but awesomer job on your range of brushstrokes in gestures of scenes and environments, but these strokes all seem too dryer to me, so why don't you please keep on wetting the paper on 2 sides, then more quickly roughing out the graphic lines and shapes of colors and tones, all from photos flipped vertically.

The reason is because, it can and will be able to develop but refine your watercolor painting technique in painting scenes and landscapes, but, the wetter the strokes, the looser the strokes. For most details, please look into studying one of the painting tutorials on how to paint wetter but looser.



https://youtu.be/VVuNZiYSqrA



My hat's off to you and good night.



Bonjour, Kheir, et bienvenue ce soir, mais je pense que vous faites un travail puissant mais plus impressionnant sur votre gamme de coups de pinceau dans les gestes de scènes et d'environnements, mais ces coups me semblent tous trop secs, alors pourquoi ne pas t vous continuez à mouiller le papier sur 2 faces, puis dégrossissez plus rapidement les lignes graphiques et les formes de couleurs et de tons, le tout à partir de photos retournées verticalement.

La raison en est qu'il peut et pourra développer mais affiner votre technique de peinture à l'aquarelle dans la peinture de scènes et de paysages, mais plus les traits sont humides, plus les traits sont lâches. Pour plus de détails, veuillez étudier l'un des tutoriels de peinture sur la façon de peindre plus humide mais plus lâche.



https://youtu.be/VVuNZiYSqrA



Je vous tire mon chapeau et bonne nuit.