Mensajes en el foro por Polyvios Animations

Good evening, Amarin Reyny, and welcome back, and greatest job on your comic book realism- and your chibi-style sketches, but it's OK to be taking a break from drawing for two years because of your medical condition, which I wouldn't get into too much. Great work on your first attempts in two years. Please keep moving forward in hour drawing myelin sheaths.

Yet still, I'm not getting enough of that funniest grotesquerie in your gesturally graphic lines or shapes. How would you kindly free up your observation and caricature with 5 minutes of 30 second poses and faces and expressions? The reason is because, it's a skill that you could and would and should develop for several years or so, if you can. And furthermore, your drawings and cartoons will become less stiffer and the most dynamic, vital and full of energy. And if your wanna know some more, be sure to look into the Betty Edwards books, like Drawing on the Right Side of the Brain, and Drawing on the Artist Within. Look into the text and illustrations and do some 1 minute warm-up doodles in gesture form and blind contour form, too. Not to mention the section on the upside down drawing exercise, which emphasizes emphatically the concept, which some people find a bit dated, on the L-Mode and R-Mode. More on another commment.



Good night, and good luck and great health on you and your march of progress.

Looking forward to those, too.

Good morning, Brho, and welcome back to Line of Action, and I'm Polyvios and how are you doing tonight? Greater, greater, and even more greater job on how organic your spaces and forms are. Those are very greater!

However, these poses that I've seen so far aren't getting enough of that expressive exaggeration on those lines of action on all of your nudes. How would you please loosen up your lines of action and rhythm with 1 hour of 1 minute attitudes, using the horizontal flip?

Explanation: as a result, your marks and poses will be the most expressive and emotional in your storytelling context. The way the artist sees things is that he/she/they can cartoon reality, not extremely copy it. Good luck to your learning curve and your march of progress.

Good evening, WEREWOKE, and welcome to Line of Action. How are you doing tonight? I think that you're doing a far greater job on mostly your mark-making, but your anatomy is spot-on, yet of course, your silhouettes. Keep going at all of those things!

But however, those baby fat areas in the torso, where the bones and muscles lie, I'm not completely getting enough of that squash-and-stretch look and feel to them, in what you can and how you can exaggerate in that contrapposto pose. How would you like to free up your hands, elbows, and shoulders with 15 minutes of 5 minutes of poses and attitudes? (all flipped vertical) If you do this drawing exercise, you'll take away two things: First of all, is that you can see the organic shapes, lines, spaces, or forms using your right side of the brain. And second, you can make your mark-making and silhouettes a lot less rigid and a lot most dynamic, appealing, and lively in your knowledge of drawing gestures and anatomy.(Even if you'd just scribble them all out)

Please kindly take all these things with a really smallest grain of salt, and let's hope they've helped and benefited you.

Good afternoon, Ahugh, and welcome aboard, and how are you doing today? So, if you're saying that you can learn how to draw people, then you're on the right track. And to answer your question, I'd suggest, that in order to draw realistic people more fluidly and lively, then I'd recommend you do, like, 5 minutes of 30 second quick poses, so that you couldn't get too bogged down on the more complicated forms and details.

The reason is that in gesture drawing, it's not only great, but totally important to focus your attention on drawing the spirit of the attitudes; heck, even your realistic drawings would and should benefit from this thing. For most details, look into some Frank Frazetta art, some Gil Elvgren pinups, some Jack Kirby comic sketches, and some 2 PDFs of the Walt Stanchfields. BUT WAIT, THERE'S MORE! As an added bonus, I'd like to have you try out the online drawing tutorial here on our site.

Kindly take these with a really smaller grain of salt, and hope they've been helpful.

Nicest job on getting your lightest touch in your mark-making, but they look a bit too faintest to me, personally. How would you like to work more loosely with your non-dominant hand with 30 minutes of 2 minute quick poses, using your ballpoint pens? The reason is totally because, your lines will be the boldest, clearest, strongest and loosest in your posing and attitudes.

Good luck to you, and good night to you.

Good morning, Zenlaeth, and great work on your range of gestures, silhouettes, and relationships and forms of your faces and figures. Way to go and keep going and keep trying real hard. I appreciate your goal to dissociate yourself from the dreaded same-face-syndrome. I think that it can make your facial expressions more rigider and less human and less in sync with how your character thinks and feels in any given situation.

When it comes to a criticism or two, constructive at that, I feel that these faces and expressions don't seem sufficiently cartooniest and humanest enough to me. How would you kindly free up your dominant and non-dominant hands with 30 mins of 30 second blind gesture drawings of expressions and mugs? (120 scribbles done blindly)

Because if you can do this, then most of your faces and expressions will become the most exaggerated and spontaneous in your acting choices. For most all info, please look into this video down below, or two or more.

https://youtu.be/HpC4AXvroNQ

https://youtu.be/kdlANr4osVs

https://youtu.be/T9uBbHmbQsg

In addition, in real life, not all faces are exactly the same on either side, even though some faces are more or less the same and/or different than others, except, as a bonus, here's this link right here.

Kindly take these thingies with the smallest grain of salt of all, and good night. Go back to sleep.

Hello, Amarin Reyny, and welcome aboard. How are you doing tonight? To answer your question, in order to sketch out your facial emotions with a lot of observation and caricature, then you really need to capture the lines of action and acting of the expressions with lots of quicker gesture drawings, using your elbow. As a result, your ruff sketches will be the least stiffer and the most connected to your characters' internal thoughts and feelings related to your idea/gag. For furthest info, look up Understanding Comics by Scott McCloud, though I haven't owned a copy yet.

Kindly take this suggestion with a grain of salt, so hope this has been completely and absolutely supportive and encouraging.

You know, everybody, if I'm pressed to pick one, not one, but two, I'd say Glenn Vilppu and Walt Stanchfield/Don Hahn. The reason why is because of their totally unique approaches to gesture drawing and how very applicable their methods can be for animation and cartooning.



Here are the links:

Vilppu Drawing Manual

Drawn to Life 1

and Drawn to Life 2

These links can be clicked to these titles. Hope these have all been positively nicer and helpful

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

Greatest job on showing of your range of silhouettes, interior negatives, and action in drawings. Way to go, and kindly keep up your greatest jobs.

However, I'm not getting enough of your lightest lines where you would kiss the paper, or tablet, at your softest. How would you like to free up your longest and loosest lines with 31 minutes of 1 minute scribbles? (31 scribbles)

Please don't do this exercise because I suggested you or for any reason, do it because it can make your personality the least stiffest and the most spontaneous, liveliest, and intrinsically motivated in terms of your storytelling and acting sketches for art, cartooning, illustration, and animation.


For most inspiration, look into the Daniel Coyle book on talent, then get the Betty Edwards books on Drawing the Artist Within, and the Right Side of the Brain. Next, get Fun with a Pencil by Loomis. Kindly take these things with the really smallest grain of salt, and we all hope they could help you out by the longest shot.

Good evening, Evils, and welcome aboard. Congratulations on your very first topic posted. And as for your first-ever Imgur drawings, greatest and beautifully greatest job on your very first attempts at gesture drawing or sketching, in terms of drawing movements and silhouettes and spaces. Please do keep up the perfectly greatest works!

Yet, when it comes to the nitpicking, .......well, here goes nothing: First, those lines are the itchiest, hairiest, and scratchiest I've ever seen. Second of all, your broadest poses don't seem fearless enough to me. Would you like to be all fearless, fiercest, and all ruthless with your lines in movement with your dominant/non-dominant hands with 10 minutes of 1 minute sketches with either hand/elbow/shoulder?

And as for this, do you know Why? Because if your current goal is to get your drawings and thinkings to be the all-unrigidest, and the most spontaneous, liveliest, and alive, then bring it on! I feel that it's gonna be easy: it's thru squash-and-stretch. For furthest details, be sure to look into the Bridgman figure drawing book, Action! by Ben Caldwell, and 2 PDFs of the Walt Stanchfield books on Archive.org.

Good luck to you, and whatever you do, please do take these tips and tricks with the smallest grain of salt. Have a nicest evening.

Hello and good morning, Loiss, and sorry to wake you up, but nicest works on your range of motion, silhouettes and your perception of proportions and angles. Way to go, and keep carrying on your practice.

But.....I can tell you several things wrong about these figures linked there. First, the lines all seem too hairiest, itchiest, and scratchiest a sight. Second, the boldest silhouette could use a bit more expression, and finally, the angles don't seem to be more powerful enough. How would you like to be more fierce and even more ruthless with your sketches by doing 30 minutes of 2 minute pose sketches? (All flipped horizontally, followed by vertical)

Because if you can do this practice session of those attitude sketches, you can and shall be able to tap into the right side of your brain. Also, if you work with a faster time limit,(if it doesn't bother you) you should force yourself to think fastest on your feet and to draw and feel your most boldest, confident and powerful. But that's not all, to help you add more sparks of life into your understanding and control of the human gestures and anatomy, so that you could and should render imagined and memories poses.

But that's not all! For furthest details, on how to cope with even more tighter deadlines, here are some 5 following links:

Links 1,

2,

3,

4…………,…..

& 5.



These advice links are not just for art, cartooning, and animation, they are for just about anything.

And as for the art books, please be sure to look into the Frank Netter anatomy book, which you would find in the anatomy section, the Bridgman Figure Drawing compilation book, Drawing on the Artist Within by Betty Edwards, and the 2 PDFs of Walt Stanchfield's two books here,…. and here! So please take my suggestions with a really tinier, smaller grain of salt. Hope they can help you constantly improve and innovate with your drawing talent, work ethic, and understanding of movement, as much as they have others. Good night, and keep practicing in the morning..

Good morning, Maxx, and I must say, your quick poses are totally on the right track and love how much your french curves of the legs flow nicely onto the pelvis of the body. However, the rest of the bodies' flow and rhythm could use a little bit more speed efficiency of the action and power of the exaggeration. Would you kindly free up your shoulders underhanded with 2 hours of 1 minute poses? (120 drawn attitudes)

The reason why you could execute that suggestion is as a result, your anatomy and gestures will be the least stiffest and the most spontaneous, clearest and alive in the attitudes.

My hat's off to you and we will hope these help you out the best, have a nice morning.

Greatest works on your march of progress in your 3rd year, Laitochris, and way to go. What I like specifically is how much you've gotten better in your boldest lines of action and rhythm in your quickest sketches, and am I so in love with your Red Riding Hood character illustration. Nicest job on taking most of your time with solidifying of the forms, tones, colors and lines.

However, I'm still not totally getting enough of your strongest and cartooniest and simplest lines of rhythm and tempo, and the most powerful caricatures in your shapes and forces. Would you like to take yet another whack of doing the 1 hour 30 minutes of 30 second quickest poses of real life poses, anime, and manga characters? As a result, your forces will be the least rigidest and blandest, and the most boldest, gutsiest, and powerful in your cartoon illustrations. If you're totally curious about cartoon sketching, would you care to look into the Action Cartooning book by Ben Caldwell, the 2 Walt Stanchfield PDFs, the Vilppu Drawing Manual PDF, and last but not least, my Pinterest link here. These have tons of influences and inspirations I've collected, then go help yourself out on downloading them all.

Hope these things have been marvelously helpful and useful.

Good evening, Bitterfitz, and I agree with violet's comment/walls of text here. I highly recommend the books she suggested here, furthermore, go more into the gesture drawing with a timing app like Timer+ for your devices, but I like to have you try out this anatomy book like Anatomy for the Artist by Daniel Carter and Michael Courtney. It's got some very richly illustrated images of bones and muscles, and the instructive text is clear and easy to follow-through.

As you can see, this book has some highly but generaly useful tips and tricks on drawing figures and anatomies. Not to mention some step by step instructions, great if you need to take them metaphorically, if not literally, especially when you do quick sketches with them. Furthermore, when it comes to timing yourself, it gets you more involved into practicing not just drawings, but also paintings and anything else.

Hope these things and more have been the most supportive and useful in your current studies. Happy Practicing and good night.