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Hello, Integrity, and good morning. Nice job on your first try, but there are too many straight lines, but not enough curves and S curves in your energy drawings, in your figures. How would you care to just go ahead with caricaturing your straights and curves with 6 minutes of 2 minute blind contours?

The reason why you could and should go ahead with this tiny, little suggestion is because your figure drawings can and will have a really unopposed sensitivity in vitality and energy in lines and shapes. So for more tips on practicing, please just look into the Daniel Coyle book on Talent.

My hat's off to you.

Excellent but fully exceptional praise to you and Sanne and others, Kim, and we wish you all a Happy Memorial Day to everyone!

Yeah, I know.

Hello and welcome again, JO NI. Nicest job on your robo-bean poses and anatomy drawings. I love how much clarity and most simplicity and geometry in your spaces, shapes, and of course, forms. Yet I'm still not getting enough of your looseness of your lightest lines, shapes, and forms yet. How would you like to please kindly loosen up your robo-beans in 5 minutes each like these here?

The logical reason why is because if you've just carefully captured your robo-beans most slowly enough, then you speed can improve quite dramatically and fairly with speed and most myelins. For most details, please look into more gesture drawing vids by Proko.

Good luck from me.

Good morning, General Winter, and welcome back, and how are you doing today? Nice job on retaining your forces with forms over anatomical details of your nude figure's back shot. I love the carved out quality to your construction, lines of action and rhythm and silhouette, but I feel your pain that the 25-minute pose looked too much for you, or seemed too much for you. Why don't you please boil down your nude figure studies with trying out our interactive drawing tutorial, even if it only does figure studies?

The reason why is because you can and will be able to record your loose figures for comics with as few lines as possible but to get as much strength and ambition in your designerly communication. Thank you.

Oh, yes, Aunt Herbert, I see your point but yes I do see your point, but I'm sorry about the inspecific advice. What I said about this quick approach to drawing the most realistic portraits with as fewest lines as possible, therefore my feeling is that the most detailed ones could be done as longest as 3600 seconds to 1 hour 50 minutes. The logic, to spend the most time on the forms and details, while I truly mean to explain that by warming up your faces and expressions, you don't really want to get the most hyperdetailed faces and expressions with the least amount of time, which can and will and shall be an exercise in and of itself, but don't worry, you don't have to be a perfectionist about it.

Let's hope my most constructive critique could and should be the most informative to make up for the last one.

• Polyvios Animations edited this post on May 24, 2024 9:01am. Reason: Spelling

You know, Herbert, Shinycats, I think that warming up your face and expression drawings could and would and can and will be a greater idea. I feel that I really need to see your drawings of faces and facial expressions can and will become more obvious if you can and will show me your drawings of those faces and features. The logical arguement is because by seeing a collection of your faces and facial moods, they can and will become more clearer examples of caricatures and exaggerated cartoons if you really must do, like the caricatures by Al Hirschfeld and Frank Hoppmann of Eulenspiegel in Germany and Instagram. The really reason why is because, like sketching the animation poses, you don't really need to care too much about the forms and details, but you need to pay closest attention to the forces, action,and rhythms of your facial bones and muscles of your models. Also, you need to be the most concerned with rendering the faces and heads with the least amount of lines possible.

Let's hope they've been completely, definitely, and absolutely useful and helpful.

Well, I dunno, but if you're still looking into knowing how to give more constructive critiques, I recommend you look into this link here, and here, too. AND MORE.

The logical explanation why is because, these links help to provide you with how to give and take the most constructive critiques, in the the context of general drawing practice, and most specifically anything. (even figure drawing) Let's hope they've completely and totally rubbed off on me and all of you. (let's hope these links worked)

Hello Wish. Nicer job on your range of flow, composition, tones and colors of your background sketches. However, upon looking at your quick sketches of the backgrounds. I love your understanding and control of your perspective and layout of the shots, but I'm not getting enough your stronger but broader gestures and curves against straights. Would you like to please loosen yourself up with 15 minutes of 5 minute scene and environment drawings?

The reason why is because your control and understanding of perspective can and will become more intuitive as they would be more analytical. The more work you practice your multi-point perspective, the more masterful but more second-nature you can and will be with them. So for more details, please look into the book Vanishing Point by Jason Cheeseman-Meyer on book and Kindle.

Good luck to you and your process.

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.

You know, JO, I think you're really getting to be on the right track with your patterns of lights and shadows shapes, but I feel that these are getting to be farther too smoother and slicker yet. How would you like to please go ahead with the stronger and more powerful shapes of tones with 16 minutes of 2 minute poses in lights and shadows please?

The premise behind this whole thing is because you not need to think of shadows and lights as just shadows and lights, but more so as lines and shapes of them. For more details, kindly look into some online tutorials on how to observe tones for your drawings. Let's hope they've worked out for you for the better.

Yeah, I think this idea would be greater, too.

Hello JO, and upon looking at your quickest sketches, I must really do say that I think your drawing talents are definitely and absolutely on the rightest track. But I feel that the simplest but most organic forms need most work, so how would you like to please just go ahead doing the bean poses and robobean poses by drawing a series of 2 10 minute poses, as seen in the Proko drawing videos of the bean and robobean torsos?

As a result, you can and will and shall be able to work the most simplest in the most complicated anatomy shapes, spaces, and forms, even if you could and would use to learn how to draw floursack bodies. My hat's off to you, and here's this link, and thank you.

Well, Idon'tknow, now that you've mentioned it, it is that, I don't know how I can precisely answer this inquiry or question, other than I can suggest a goal for you personally. I think your goal could and would be to go for most guts in your lines of action. Would and could you please do this?

The reason why is because, if 15 seconds is too fastest for you, than I must recommend between the time intervals of 30 seconds-10 minutes. But if you're really comfortable with 15 seconds, then I recommend you sketch out smartest but hardest and therefore fastest, by loosely but lightly drawing for 14-1 seconds. So for most details, may I suggest you look into the Proko Gesture Drawing videos rrrright here. This link leads you to tons of inspiration and influences for you to help you lift yourself up. If you may be thinking "I really don't want my figures and things too look like needle-and-haystacks!" I may remind you that your quick drawings are not meant to be the finished drawings, but for the free-est exercises. My hat's off to you.

Well, Idon'tknow, now that you've mentioned it, it is that, I don't know how I can precisely answer this inquiry or question, other than I can suggest a goal for you personally. I think your goal could and would be to go for most guts in your lines of action. Would and could you please do this?

The reason why is because, if 15 seconds is too fastest for you, than I must recommend between the time intervals of 30 seconds-10 minutes. But if you're really comfortable with 15 seconds, then I recommend you sketch out smartest but hardest and therefore fastest, by loosely but lightly drawing for 14-1 seconds. So for most details, may I suggest you look into the Proko Gesture Drawing videos rrrright here. This link leads you to tons of inspiration and influences for you to help you lift yourself up. If you may be thinking "I really don't want my figures and things too look like needle-and-haystacks!" I may remind you that your quick drawings are not meant to be the finished drawings, but for the free-est exercises. My hat's off to you.