Forum posts by Polyvios Animations

I don't know about other ways to help you loosen yourself up, but if I was trying to help you out, I say that you could just focus on only your shoulders and elbows, both dominant and non-dominant, therefore you could and would also go for your non-dominant wrist for the loosest details. OK?

I hope you've found this most helpful.

Hi, I, thank you for your kindest response!

You know, quickest warmups are too contradictory for the totally finished sketches. Just like they say, quick warmups are not for slickest classics, but for rawest exercises.

If I was to give you the nicest suggestion to loosen yourself up, it would and could be to work mostly from your shoulders, while your wrists would be for the details. Do you understand?

Thank you.

You know something, Icouldn't, if you're still struggling with your current drawing skill set if you're a seasoned professional, then you're not alone, 'cause I have to decide for myself what I've got plenty to work on. That's OK to say so. That's why I'm only here to help you out. Greatest works on your lines of action and rhythm on your anatomical figure drawings. I totally, definitely, utterly, and absolutely think that you're making the greatest of progress, but that despite you spinning your figurative wheels, I can give you a break. I still feel that some of these henscrathed lines, combined with the slowest ability in figure drawing and any drawing,are too much slipshoddy and shabbiest . I still believe that you could and would loosen up and therefore liven up your sketches most gradually but effectively. Try out our interactive drawing tutorial, just for you, me, and us here!!

The reason why you could and would go for this tiniest, smallest, and littlest constructive criticism is because, by starting up with warmup drawings, you then can slowly and progressively improve fairly quickiest. Later in the end, you can and shall and must spend most time with modeling up your constructions.

Practice doesn't make perfect. Practice makes progress, and myelin, and progress and myelin make perfect. -Daniel Coyle

If you want your goal to be "make my figure muscle drawings totally gutsiest, then what's and who's holdin' ya back?

My hat's off to you and your eternal quests.

• Polyvios Animations edited this post on April 23, 2024 8:58pm. Reason: Clarification
• Polyvios Animations edited this post on April 23, 2024 9:00pm. Reason: Add person

Nice job on your really latest attempt at figure drawing, Idon'tknow, it looks totally believable. It also seems really and totally believable, too. I must completely admire how much force you've retained through some absolutely geometric forms. But, I'm not getting enough of your positively organic forms in your gesture poses, so how would you like to just go ahead with 4 hours 5 minutes of 5 minute poses? All done in pen and ink, and all done with really bold strokes? (49 pose sketches)

The logical explanation behind all of this is as a result, your gestural contours can and will become less than rigid and more expressive, emotional, and freewheeling if you really need to make great rawness in your quick sketches, so for more info, kindly look into this YouTube or two:

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And here's another one.

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These can and will help you let yourself go of your fears of making bad drawings. My hat's off to you and thank you.

What about:

Proko?

Posemaniacs?(though some is in Japanese.)

Thank you.

You know, Idon'tknow, I still think that your figure drawings and quick sketches keep on getting better with even more time. What I like specifically is your sense of confidence and self-confidence of your gestures, edges, silhouettes and negative shapes and negative spaces, and relationships and tones. Don't be too discouraged, but it's not the end of the world, it's what we can expect from someone like you continually improving with greater progress and myelins and muscle memories.

If I had to kindly pick out a nitpick or two, it would be just this. I love your gestures, but I'm still not getting enough of your intuitions in your bigger lines and shapes and organic lines and shapes yet. Would you kindly loosen yourself up more gradually with yet another 30 minute class mode of figure studies?

By going for our 30 minute class mode again, then you can and will make your poses and tones less stiffer, and less rigider, but more dynamic, gutsier, bolder, and more powerful in terms of the tones and values.

If you can see more of the tones that way, then you can and will make them less scribbler, and more crisper and clearer in terms of not just the values of the values, but more into the shapes of them.

Good luck to you and your muscle memory.

On looking at your greatest stuffs, Idon't, my first impression is that your flow is getting along the greatest in terms of silhouettes, negative spaces, and forms. But my second and final impression, your figures' gestures still need the most work in terms of the gestures, straights, curves, and s-curves. What about just speeding up and completely loosening up your non-dominant shoulder with your next 30 minute figure drawing class mode?

The premise is, inevitably it could and would lead to some of the shakiest, wiggliest, and lumpiest gestures(which is most totally natural), therefore, they can and will be constantly improved upon with the most time and care in the world. Yet, for even most details, tips, and tricks on streamlining your figure and gesture drawings, would you like to look at this one video 👇??

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Let's hope they can and will work out for you the very best.😉😉😉

Hey there, Moriya. How are you doing tonight? You know, greater jobs on addressing your own problem that you really want and need to solve for yourself, but with a little help from me and all of us. We all understand that when attempting to draw the fuller figure, you're more easily tempted to draw the stuff out detail by detail, which is what we art, cartooning, and animation students need to keep it constantly in check. So, may I please just suggest and recommend you just go for the broader lines, shapes, and spaces (silhouettes and negatives), prior to your measuring out your relationships (or proportions and angles)?

Yet, the idea of this littler suggestion is because, by roughly mapping out the gesture drawing of the figure, it can and will be quite a more completely useful blueprint for your pose's proportions and angles as you can and will give your gestures even more structure and stability.

Therefore, if you're still completely and totally noncommital, please check out that video above, and another of of these below:

Let's hope they've been completely and absotively-posilutely helpful.

Good morning, Kim, it's me again, just sleeping and how are you?

Say, what we really like to see from our website is more than difficult and awkward poses and attitudes most conducive to pose warmups. Oh, and what about poses based on pilates, physical therapy, occupational therapy, and of course, orthotics attitudes? Because, I've come from pilates, P.T., and more.

What do you say? OK??

Hello, Idon'tknow. How are you doing tonight? You know, I just want you to chill out 🙏, and the reason why is because, you wouldn't and couldn't be afraid of drawing some of the most complicated of the poses, despite their static feeling. You know, I've learned that one of the greatest ways to draw the static poses is that you can and will exaggerate the slightest assymetries in the poses, then you can tighten it up with the extremely vertical line for balance.To answer your question, kindly click here.

The reason why I've posted this link here is because , let's just get this out of the way, simply, drawovers, see? I don't think that you need to worry about the most complicated anatomies and wrinkles too much. All you really need to focus on is the longest and giant lines and shapes to capture the spirit of the pose, you see?? So, for even most details, please scope this video.

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Thanks for asking. Enjoy yourself.

Hello again, Idon'tknow. That's a very good question. Nicer job on your articulation of your current situation. I'm not much of a neuroscientist/neuroplasticist, but I can and will try to help you out.

How about for example, when you try to study and copy your reference, you don't need or want to take the reference too literally, so you gotta ask yourself: What can I get out of my reference? How do I get something out of it?? Is it inside and out???

The reason why you could go with this simplest approach is because, for example, say you gotta do a gesture drawing of a photo reference of a figure, and you've got 5 minutes of 30 second drawings. Your only one simplest reason is consequently, you don't have to get too much details in one sitting, unless you need to work on your master painting for one hour or more. So, for even most details, kindly pick up a Kindle and physical book of the Ivan Brunetti book, Cartooning, and this video on YouTube:

Let's hope they've been completely and totally beneficial.

Good morning, Sorasoi. You know, you're still doing great on your first attempts. I love the sense of fluidity, flow, and elasticity of gesture and balance of straight edges against curves. In addition, I'm still not even getting enough of that satirized organic sketching of lines and shapes yet. Would you like to kindly free up your non-dominant hand the most with 7 minutes of 30 second attitude sketches?

The argument behind this most favorable suggestion is because, it can and will help you kick out your left hemisphere, which is what I'm objectively calling it analytical, in favor of your right side, which is the gutsiest. But remember:

It's not about the destination, it's the journey.

Ralph W. Emerson.

Let's all hope they've helped you out all as well.

Hello again, Idon'tknow! I really feeling your frustration. First I want you to say that progress isn't that linear. After all, practice doesn't make perfect. Practice makes progress, and progress makes perfect, see? That said, I can and will do my best to give your the most helpful yet insightful critique on your current quick sketches.

When it comes to your gesture drawings and quick sketches, they all do the most strongest and most ambitious job on expressing the "humor, flow, and mood" of the sketched poses. I feel like you've got the loosest and most expressive feelings in your rough animation style sketches. But, I'm still getting too much of those itchiest and scratchiest poses, because of your fence-sitting in your outlines, or contours. Would like to please go ahead with just loosening your hands up with 7 minutes of 29 second pose sketches in gesture form, all done from your non-dominant hand?

The reason why is as a result, your intuition of lines can and will and must become the most fiercest, most fearsome, and therefore, ferocious in your ideas and execution.

It's not about the destination, it's about the journey.

Ralph Waldo Emerson

Let's hope they've all helped you out in the longest of runs. Do encourage yourself!

• Polyvios Animations edited this post on April 9, 2024 4:13am. Reason: Get rid of an empty box.

Hello, 1 Macchiato, and welcome aboard to Line of Action. I'm Polyvios, but you can call me Speedy. I'm doing finest, and how are you?

You know, when it comes to figure drawing and animals, I think I see most of the boldest and most powerful passion in the figures, and I feel that the gestures of these beasts are almost all coming through, but the horse's hind legs are too longest in contrast to the shortest front legs, therefore, I'm not ecstatic with the most exaggeration and expression in your line economics of your drawing fundamentals yet. I don't feel that I'm the greater in terms of horse anatomy, but how would you like to kindly just go with our interactive drawing tutorial?

The reasonable explanation behind this constructive bit is because, though it's for this site's newcomers, but filled with figures, any and every beginner to master to legend can and will help themselves to sharpen their greatest control and understanding as regularly as they need and want, from quickest lines of action to the most totally organic forms. So, if you're REALLY, REALLY, REALLY most into constant improvement and innovation, how about I recommend you Loomis' Fun With A Pencil and more from Loomis on Amazon and free PDFs.

Let's hope they've benefited you most greatly.

Hello and good afternoon, Nesquikoyomilk, and welcome. How are you doing today? You know, despite seeing your figure drawings rotated in the wrong orientation, I think you're doing a greater job on your constructions, lines of action, and of course, the vigor in your gestures. Keep up the great work.

However, if you really want some more constructive criticism, I think that these figures don't look too recognizable, but their line quality and flow of the poses seem too rigider to me yet. Therefore, please be more concrete on photographing your figure sketches, like for example, when your figures are in the landscape format, you photograph them as so, but when in portrait, you shoot in portrait, but while you're at it, please loosen yourself up with 5 minutes of 30 second poses with either elbow and shoulder.

The real argument behind these two suggestions is because, your figure sketches and any sketches can and will become more recognizable to the average art peer, but, your lines of action can and will and must become less rigider and less stilted, but more gutsier, bolder, and more energetic in terms of your expression and exaggerations. So, for more info and tricks, please pick up a free PDF of The Walt Stanchfield Series, Drawn to Life, on Archive.org.

Let's hope they've helped and supported you for the better.