three-minute poses, 19. may

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This topic contains 5 replies, has 3 voices, and was last updated by Polyvios Animations 1 month ago.

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    Hey! Feel free to be detailed and focused in your critique. Proportions, anatomy and pose fluidity is what I especially want to improve upon.

    Many thanks

    • General Winter edited this post on May 19, 2024 8:09am. Reason: photo did not show
    • General Winter edited this post on May 19, 2024 8:10am. Reason: image is finally showing :D
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    OK, you are working with charcoal on a rough underground, starting from light searching lines and coalescing towards deeper values. I have seen it done before, it's just a very different style than my usual technique, which focuses more on a geometric construction from clean and decisive lines as basis (at least in idealized theory).

    I generally can't say much about fluidity, because I don't get the concept. To me it is such a strange word, that everyone loves to throw around, but it seems no one really agrees what it is supposed to mean, and no two people use it the same way. Something about drawing speed and rhythm, but then it is also supposed to somehow be a line quality, or lead to a line quality, but it also has something to do with exaggeration of the underlying construction, except no actual construction is generally used, and the concept of the piece works from observing value first, and lines last, and it isn't about good old fashioned stuff like just mere line weight or dynamic, and controlling your lines is suddenly a bad no-no, ...? Just don't ask me, you can't good answers from me.

    To me what you do mostly looks like the early stages of what other people, who primarily work value centric with charcoal, do. So, I guess you are doing it right? Probably the test would be to do longer form drawings, until you either end up with a finished work, or run into discernible problems, that you then can start to analyze.

    I am not certain, whether this style of drawing even uses timed drawing and short sketches for training. I found this Tony Swab guy on youtube, and I think he generally works in a similar way to what you are going for, but don't ask me to explain it. And I remember him ranting in one of his videos against repetitive exercise, and that sketching doesn't work, because you work differently when you get used to always finish your works (IIRC?).

    I'll link one of his videos, randomly picked; if he clicks with you, you might check out his other stuff, and the youtube algorithm almighty might lead you to more artists embracing that approach to art.


    Thanks a lot for your detailed reply, Aunt Herbert!

    I actually do take note of the spine, and then, in these three-minute exercises, block in the most important values.

    This is just one way I sometimes do practice. I use the rough papers as it need not have much detail, and as they are good for masses of quick sketches.

    For actual works, I usually use ink or acryl and I make them a lot more planned.

    Working toward a finished drawing is a completely different thing indeed. I think you need both kinds of practice! As for fluidity, what I meant is that it doesn't look like a pile of wood carved into a human being :D in other words, lines and proportions that make it look that way. sometimes exaggerated curves can look cool/more fluid!

    My old art teacher actually discouraged me from doing too many long poses, as it may end up not giving you enough 'brain material' at a phase when you're not that confident in your skills.

    However, I feel like for me, over engineering short sketches ends up awfully. It's a completely different thing with a longer study.

    I will definitely post some longer ones!

    Best regards


    One specific detail... I think ribs are a bit treacherous. They have such a beautiful parallel structure, so everyone is tempted to overdo them, and then the model looks like it is close to dying from starvation. Especially they shouldn't break the curvature outline of the ribcage, but even the general value should be double checked to not overdue them. I try to form a habit to only very lightly indicate them in the early stages, and only start to work on them, once the overall values of the figure are strongly defined.


    Hello and good morning, General Winter, and welcome to Line of Action. I'm Polyvios Animations, and how are you doing? Greatest job on your boldest but most powerful curves against straights and gestures and line confidence. I think your lines are getting to be the smoothest, slickest, and have the nicest appeal to them. I still feel that these lines are not too confident enough yet. How would like to please draw mostly from your arms with you use your wrists for the smallest details, all for 5 2-minute poses?

    The reason why you can and will and shall go with doing this suggestion is because your line confidence and consistency can and will become the most bravest and boldest and risk-taking yet. So for most details, kindly refer to the Walt Stanchfield books on Kindle or on eBay. Good luck to you and your process.

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