Forum posts by Polyvios Animations

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    Good evening to you, GlitchyGoats, I'm Polyvios, how are you? I must really, really, really, really love how much of the simplistic construction of the head and body and the strongest lines of action and rhythm. Great range of expression and movement.

    I love your flow and organicness of those poses, but the forms aren't too solid enough to me and the figure's construction and negative spaces need some more finessing. Please free up your hand and solidify the forms and details with a 5 minute pose flipped horizontally? Your perceptions will be amped up a little bit more in your edges and shapes in the pose's construciton and silhouette. Not to mention the fact that your lines of action will work with your anatomy just a little bit more. For more details, be sure to look into the Bridgman compilation book, and the Action Cartooning book on our page. To speed up your learning curve, here's this here link on the original Preston Blair book from 1947.

    Good luck to you, and I hope these have helped you out so much.


    Well, thank you for response, but by bland, I mean less exaggerated, less human, and less specific than real people's noses. Everyone's noses look completely different in real life, and in really old caricatures and new caricatures. Here's the link to click on, to really, totally prove my case. Hope this absolutely helps you out.


    Good morning, Ji-Sung, how are you? First of all, greater job on your nose studies. Very harder work and dedication indeed, I see. And second of all, greater use of solid drawing and gesture sketching on your noses from all angles. Very, very, very greater job.

    However, here's my more interesting spin on this more than constructive suggestion: Most of the times, the noses seem or appear a little too even and blander in them. Especially in drawings 2,6,7,17,20, as well as, 21, and of course, 35. Would you kindly free up your shoulder with an online interactive drawing tutorial of faces and expressions, figures, too? The real reason why is because, as a result, you'd much more better familiarize yourself with the fundamentals quick sketching and gesture drawings in general. If you really need to get to know the fundamentals of caricature and exaggeration, then, just as Lorelei recommended,look into this link: Proko Caricatures.

    Good luck to you and your longer journey of drawing caricatures and gesture caricatures.


    Good morning, hello, Ji Sung. This is Polyvios, Polyvios Animations, how are you doing this morning? Great job on our stylization of your eye anatomy, particularly with your eye skeletal and muscle structures. I think that stylization is really great, if you know your fundamentals well. Your gestures look absolutely gorgeous so much. But if you keep on imitating other styles ahead of time, you run the risk of becoming a second-insert-artist-name-here.

    So, if I could really give you some really constructive criticism, though I may not be the greatest in giving you some solid advice, then I love how much solid drawing you're getting into the eyes, then your motions look or seem a little bit too stiff or rigid. Would you like to loosen up your elbow with 5 minutes of 30 second eye doodles? (10 eye drawings)

    The reason why you could and would go for this little suggestion is because, first of all, it can and will help you get in sync with your right side of the brain. Second of all to make your eyes less undertured and more exaggerated, caricatured and satirized in the character's thoughts and feelings. Here's the link to click on. My hat's off to you, and good drawing practicing.


    To answer you question: Yes, I really do think that some of the figures you've posted are totally stiff and broken. What I completely think that you should focus on is that way you draw organic flowing drawings and poses of your models, especially your figure drawings. Thanks your your response. so, please take it easy for the night. Happy practicing.


    Good evening to you, Eshlost, I'm Polyvios Animations, I'm greater, how are you doing tonight? Greater job on your range of movements and motions of your gestures and mannekin constructions. Keep up the greater jobs indeed.

    Meanwhile, here's my one smaller, tinier, and littler constructive criticism. I love your broad lines of your animation drawings, but they could use a little bit more pushing and plussing in the action and acting. Kindly free up your non-dominant hand with your first-ever, if you really haven't already, 1 hour class mode consisting of figure poses. Question: did you really just do your 1.5 hour class?

    Fast forward to my constructive critique is because, to make your drawings the less stiffer and more gutsy, more organic and flowy. For more info, be sure to look into some gesture drawing for animation Youtubes.






    Hope this videos have helped you out the very absolute most.


    Good evening, Fezz635, I'm Polyvios, how are you doing tonight? Greater job on both your sketches and your painting. Greater range of tones and gestures and proportions. Keep up the greater work. Move forward.

    However, I'm giving one smaller bit of constructive cirticism. I love how much shadows and lights you've got into your human figures, but the shadows seem that you've scribbled them in too much. Please plan out the graphic shapes of the lights and shadows of the figures. And while you're at it, practice your lights and tones with simple primitives with your desk lamp, if you have one in your home. If you want to do that suggestion, then I truly suggest you do it. The reason, so that simple forms are more easier to grasp on perceiving your values, tones and colors. For more details, then websurf some tutorials on mapping out your tones in your drawings and sketches. Hope these help you out very well for a long shot.


    Good morning, nandopaath, it's me, Polyvios, and I'm a student animator and cartoonist. Doing great, how are you? Say, I love so much on how much a light touch you've got going for your 30 second and 1 minute poses. Greater job on those. And as for the longer poses from 5-30 minutes, I say way to go on your forms and proportions and angles.

    In the meantime, here's one smaller, littler suggestion. I love so much action and animation you've got going in your shorter warm-ups, but some of the shapes and lines in your more longer attitudes look or seem a bit too conservative to me. Would you kindly accentuate your hips and pelvises in your three drawn nudes, in 5 minutes in each pose? And as for your quick animation figures, please liven and animate your sketches with 14 minutes of 2 minute rough attitudes?? As a result, your gestures in your hips and pelvises will become more bolder and direct; and your lines of action and rhythm will become more gutsier than you've drawn them for the very first time. For more info on gesture drawing, I'd highly recommend the Youtube videos on quick sketching by Drawn Animator, Tonika Pantoja, and many, many more.

    My hat's off to you, and happy sketching.


    Good evening, gelatingem, it's me, Polyvios. I love how much range of gestures and emotion in your poses you've drawn. I completely love how much forms, spaces, silhouettes, proportions, perspective, and anatomy and tones you've got going so far in your long poses. Way to go, and keep up the good work.

    My tiny little suggestion is that your quick gestures look and/or seem a bit too cluttered in the warm-up poses, otherwise, they're very lively and appealing. Would you please loosen up your dominant and non-dominant hands with 15 minutes of 29 second fast poses? (60 seconds x 15 minutes=900 seconds/29 second poses=ruffly 31 quick sketches of poses) The reason is so that your gesture sketches will have the stronger possible lines of action and lines of rhythm. For more info, be sure to look into Proko on Youtube, and this video below.


    It's called, "The 7 L's of Gesture Drawing." It's about the benefits of gesture drawing.

    Hope this link to the video helps you out and support you so much.


Hello, and good evening to you, georgiapettus, I'm Polyvios. I'm finest, how are you doing tonight? I love how you've got started out on your baby figures. Great work on your gestures and construction and edges of your babies very much. But, I've got one smallest problem. Some or most of them look or seem a bit too stiffest to me. Please would you kindly loosen up your tightest babies with a 2 minute study of an infant? As a result, your young'un's gesture will become the least stiffest as a board and the most loosest and free-est in your broadest strokes for your children. To look up more baby photos, be sure to look into your personal baby photo album for inspiration, or look them up on your search tool.

Hope these helped and benefited you so much.


Hello and good evening. I'm Polyvios Animations. How many time limits are in the aforementioned class mode? Please and good night.


Howdy, ViciousPony! Good afternoon, I'm Polyvios, how are you?! Sorry if I was a little too excited in my tone. Anyways, great job on your fluency and organicness of the lines and shapes. Way to go. I've got one small recommendation: I love how much freedom with a softer pencil, but I'm not getting enough of the rounded cartooniness in the poses. Would you please free yourself up with a wax crayon, like Crayola, with a 15 minute session of 29 second quick attitudes? (900 seconds/29 seconds=about 31 quick sketches) The reason why you could go ahead with this suggestion is because it can make your fluency more funky and looser in your sketching and your hands. For more details, be sure to look at this link right here:

Good luck, and I hope this link helps you out more.


Hello and good evening, frankthegoblin, I'm Polyvios. How are you? Great job on your figure sketches, with their economy of statements and their quick range of expression. Way to go.

I've got one small recommendation: I love how much movement you've got on your forces and forms, but they're not too exaggerated enough. Would you please work loosely and quickly with a 2 minute pose, with a crayon. The two reasons or more why you could do this suggestion is because, your lines will be nearly impossible to overwork. And furthermore, to make your figures more exaggerated and free in your lines of forces. Good luck to you. Here's the following quote:

Go as far as you can go, and then go farther.

Art Babbitt.

My hat's off to you, and good luck to you.


Hello and good evening, Esop, I'm Polyvios. I'm greater. How are you doing tonight? Greater job on your fluid poses, your construction, your lines of action, and your solider primitives. Keep up the greatest work.

But there's one smaller problem. The forms look or seem a bit too tighter and too rigid to me, but some of the arms are a bit too inconsistent in length. Would you kindly take all of your figure drawings, mirror them, and correct the arms in some of them, making them look more believable in those bodies. And furthermore, would you like to kindly go for a tremendous drill of 1 hour's worth of 1 minute sketched poses? For more details, see that Shamus Culhane book on Quick Sketching Section. The reasons are because, first of all, to make your perspectives on your bodily anatomy all the more fresher. And last of all, to make your forms the least geometric, and more organic, alive, and natural looking and feeling, especially if you're using solid primitives.

Good luck to you on your journey, and my hat's off to you and it.


Hello and good evening, J-dawg, I'm Polyvios. How are you? Fine, and you? Greatest work on your forms, forces, and anatomies you've got going so far at this time. I've got one smallest and miniscule criticism. I love how much flow in the bones and muscles of your anatomy, but they seem or look a bit too stiffest, too mechanical, and too mathematical and not enough organicness. Would you kindly loosen up both your hands, if we haven't already with your very first 1 hour figure drawing class now. If in doubt, Here's this link right 'cheer.

As a result, your forms, proportions, gestures and anatomy will be able to be the least stiffest and tremendously spontaenous, dynamic, energetic, fluid, vital, and lively. For further details, please pick up and check out a copy of the Michael Hampton book for the gesture drawing practice and the Frank Netter Anatomy book for quick sketch practice. Cheers, my hat's off to you, and greatest luck.