Forum posts by Polyvios Animations

Greater job on your most boldest and confident lines, emhopam. Way to go, and please keep up the greatest works, but these all seem a bit too stiffest on the line of action side. How would you please go for 6 minutes of 29 second figures and other stuff, using only our custom timer, and using the vertical flip? (360/29≈12 pose sketches flipped vertically)

The logic behind this constructive critique is because you can, shall, and will be able to draw the most exaggerated lines of action and rhythm in your poses and gestures and expressions, all while having lots of fun gesture drawing. If your goal is to make the most exaggerated lines of action, then bring it on. For most all details, look into the 2 PDFs on Archive.org on the Drawn to Life series by the late Walt Stanchfield (Disney Modern)

Good luck to you and your current and future goals.

Welcome aboard, Eyates, I'm Polyvios, and how are you doing today? Nice job on keeping your gesture in terms of constructing your poses, forces, forms and shapes, but they all seem not to look too organic to me yet. How would you like to please loosen up your forces, forms and shapes with 6 minutes of 2 minute figure drawings?

The reason why you could and should do this littler request is because to make your anatomies and contructions less stiffer, less boring, and lesser than blander, and to actually make them more spontaenous, more dynamic, and even more organic in your caricature drawings and designs.

For even more info, kindly look into these 2 videos above and more on YouTube and online and books.

My hat's off to you, and I hope you've found these completely and totally nicer, useful, encouraging, and more informative!

I'd love that, too, especially I'd been getting those from Adorkastock.

Good evening, emhopam, and welcome aboard, I'm Polyvios Animations, and how are you? Nice job on your very first attempts on your posing, acting, and dancing poses, because of how much vitality and energy you can and will get away with your scribbly, hairy, and spontaneous lines. Please keep those up, but your line quality all looks like or seems like too cowardly and timid and uncertain in terms of their execution. How would you care to go for 5 minutes of 30 second poses, if you haven't already?

So, the real roadmap behind this constructive critque, is because you can, you shall, and in the future, you will have been the most boldest, braver, and much decisive with your line mileage and quality in your lines of action and rhythm.

So, when it comes to do more practicing of lines of action, kindly look into the PDF of the Vilppu Drawing Manual here. This has tons of inspiration and influences here, along with the quicker 10-second sketch to be the most intuitive in your lines of rhythm and tempo of the sketches.

Good luck.

• Polyvios Animations edited this post on June 26, 2023 5:36pm. Reason: to make it more nicer.

Well, Meijiis, I've looked at your 30 minute sesh drawings, and I think that your plasticity of your loosest lines are on the right track, but I really and completely feel that there's not totally enough flexibility and plasticity to your lines of action and rhythm yet. Why don't you please speed up your sketch rhythms by experimenting with 35 mins of 29 second sketches, all from our custom timer here? (35x60=2100/29≈about 72 sketches)

The actual reason behind this thing is because you can and will be able to observe and sketch with the most organic flow and plasticity of the graphic forces, or forms or shapes. Hope this has informed and inspired you the most best.

Welcome aboard, Funkle420, I'm Polyvios Animations, and how are you doing today? Say, I think that your hand gestures are definitely and positively on the right track, but I feel that your animals and backgrounds could use a good loosening up. How would you like to go for 32 minutes of 2min gestural quick sketches of animals (1 minute looking, 1 minute sketching), followed by 6 minutes of 29 second bg thumbnails of some animation BGs you find on your DVDs/Blu-Rays/Internet? (15 seconds seeing, 14 seconds sketching, from memory)

The explanation behind this approach to sketching is because, while you look at the models at half the time, then you can quickly feel them as you sketch out the last half. But not to mention that your concept and inspirational illustrations will become somewhat less stiff and more than dynamic, energetic, and fluider. For more info, please look into some scene and landscape sketching tutes right there on YouTube and any perspective drawing books in your local book shops or online stores. Let's hope it's been completely and positive influential and informative to your studies. Thank you.

Good evening, Meijiisconfused, and welcome aboard, I'm Polyvios Animations, and how are you please? Say, nice job on what you've worked on and moreso, how you started to progress on your figural gesture drawing of the figures in terms of anatomical believability, but these poses all seem a bit far too stilted and rigid to me yet, how would you care to try out our proprietary online drawing tutorial tonight?

The argument is as a result, you can and will be able to focus more on how to get the strong possible mark-making on not just figure studies, but anything and everything. For most details, please look into some gesture drawings from Tonika Pantoja on YouTube and anywhere. Thank you, and hope they've supported and helped.

Yeah, I think that's a greater idea!

Good evening, Jolty, and once again, a farther than greater job on your quick warm-ups of the animals and other drawings. I especially love all of your improvements you've made to all of your animals, but they were all too many to take my pick from.

However, in some of these animals, including some of these equines and more, some of them seem a bit farther than too itchiest, hairiest, and scratchiest in most of them, and more critters. How would you like to please loosen your critters but liven them all up the most of them with 8 more minutes of 28 second scribbles of animal warm-ups? And that's not all, please keep on reading most of the others form the Forces Animals book.

As a result, if you can do this suggestion/request, then your species of all the animals seen under the sun, will and can all be the least ridigest and stilted, but the most dynamic, spontaneous, and liveliest. Practice makes progress, as they can all say. Good luck to you and your marches of improvement.

Thanks for the invite, Vilma!

Polyvios Animations.

P.S. I still have plenty of Discord groups wrapped up under my belt.😌😌😌

Hello, Learning Artist, and welcome to Line of Action, I'm Polyvios Animations, and how are you?

Say, Learning, you must be definitely on the right track on understanding the basic head construction of your head portraits. Great job, I say, so please keep up, but the head forces all look and seem a bit too somewhat rigid to me. How would you like to lighten up your lines therefore be even far more decisive in your graphic lines with 28 minutes of 2 minute head warmups?

Because, if you warm up your lighter lines and lightest shapes, then your understanding and control will be developed into being the least stiffest and the most dynamic, energetic, and furthermore, liveliest in communicating your expressiveness. For most info, look into a copy of Andrew Loomis' Drawing The Head and Hands. Good luck, and may you find these encouraging and helpful and informational.

Good evening, Jolty Beans, and welcome aboard, I'm Polyvios Animations, and how are you tonight? Say, most spectacular in your range of constant improvement and exploriation in your liveliest lines of action, balance, and rhythm in most all of your animals, very greatest range of confidence in your lines in terms of their inherent looseness. But still, these lines all don't seem too confident enough to me yet, for they seem far too hairier in their executions. How would you care to hold your Apple Pencil by the very end with 6 minutes of 29 second quick sketches?

The understanding for this constructive bit of critiquing is because you can, shall, and will be getting into drawing more to how you see and the subject moves, and not to how you know. See?

But that's not all, if you just consolidate your time limits incrementally by one second, then you can and shall get more into the zone of your line controls.

For most information, please look into the PDF of the Vilppu Drawing Manual. Good luck, and let's hope they've helped, informed and encouraged you the best.

Well, Sorasol,good morning,but these are all more flipping great. I think you must really know what you're doing in terms of the compositions of the body gestures and constructions, along with the gestures of the hands and feet. Please do keep up the great but powerful works.

I can see lots and lots of improvement in your lines of action and how looser they can all be, yet I can totally feel that they all seem not too lighter and livelier and looser enough to me yet. How would you please care for holding your pencils by the very ends with your very first online interactive drawing tutorial?

As you can see the ground behind the explanation, if you do this interactive drawing tutorial, then you can and shall, and will be able to get more in tap with the loosest, boldest, and most free-est and powerful with your lines of action and rhythm in your figures, animals, and, well, anything. And, it still is very useful to your studies.

Hope they've been totally and absolutely beneficlal, and happy sketching weekend.

Hello, Timshel, welcome to Line of Action, I'm Polyvios, and how are you doing today? Say, nice job on how well but expressively you've drawn, moved, and articulated your figure, face, hands, and feet. Please keep up the great work. Therefore, the gestures of your mark-making of your facial expression, hands, and feet all seem a bit too stilted to me, how would you please like to loosen up your figures, faces, expressions, hands, and feet thru our interactive drawing tutorial?

The reason being this a constructive comment is because it can and will be able to help you draw what you see, instead of what you think you see or what you know. But that's not all, it can and shall help you develop and refine your senses of cartooning and caricature by boiling things down to their raw possible essence. And if want for details, please look into this video below.

Thank you, and let's hope they've been encouraging to you.

Greater job on your range of action and acting of your loosest gesture drawings, Tropical Bird, therefore, your poses aren't too looser enough yet. Would you care to go for 6 minutes of 29 second loosest poses, in blind contour exercise? (360s/29s≈12 scribbles in blind contours) The reason why you could and shoud go ahead with this latest drawing exercise is because, as I think Betty Edwards puts it, by drawing without looking at your paper, you can and will be able to draw what movements you actually see, instead of what movements you vaguely know. For most details about gesture drawing and contour drawing, pick up a copy of the Nicolaides book, The Natural Way to Draw, despite its absence on the recommended books list here on this website, though you can look for it in other websites' recommended titles lists. Hope these have helped.