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Good morning,Rotiobakar, and welcome to your first time in Line of Action. How do you do? Upon looking at this figure pose, I'd say that your very-first attempt is postively and absolutely on the right track. Greater job on your first attempt, so please keep on pushing yourself smarter but harder.

However, your first ever pose seems a bit too rigider and stiffer in terms of the lines and lines of action above. How would you like to solidify and loosen up your lines and edges of action and rhythm and tempo with your first ever 2 minute pose, while being much more than nicer to yourself, except you can and shall enjoy yourself and the process. The two reasons why is because of two reasons: First, to be lesser than concerned about purer perfectionism, but being more concerned about the rawer vitality and energy in your drawn lines or shapes; And second, to have fun and more fun, and even more fun with the journey to be the greater master of sketch art in your own way. Thanks for listening, but I'm sorry if I'd waffled on a bit far too much.

If you're curious about more about loosening your organic shapes and geometric shapes, as applied to gesture drawing, look at these two videos below:

https://youtu.be/EOb1BijMBjU

https://youtu.be/vs_1Ey-mNr0

Please take those two vids with a much, much more smaller grain of salt. Hope these have been extremely and absolutely useful, helpful and encouraging.

Well, I have an iPad Pro with Adobe Fresco and Procreate, along with a Huion Kamvas and Adobe Photoshop 2023. I think and feel that they COULD help me out. How about all of you?

Good morning, Allenjchiang, welcome to Line of Action. I'm Polyvios Animations, and what is your current specific goal?



Please send me a DM of your recent work.

Good evening, Strawberrydrea, and welcome aboard to our site. I'm Polyvios Animations, and how do you do tonight? Say, I think you're off to the greater than greater start on your difficult odd angled poses, in terms of your 5-10 minutes of poses, in terms of movement, appeal, and dynamic balance with some simpler, more geometric forms, indeed. Please will you kindly keep up your greater efforts. However, I really, really, REALLY need to see more than pushed lines of action and rhythm of your poses form worm's eye to bird's eye. Please loosen up your graphic shapes, or lines, spaces or forms with a 2 minute pose, then the 60 second pose, and next the 30 second poses, to emphasize the more simpler flow and direction and angles of the clearer poses.

The explanation behind this littler thing is because though you can do the simpler poses for more dynamic uses of gesture sketches, so can your extreme angled poses and attitudes. For more of what I mean, kindly check out this link right here. It's from John K.'s older blog, and it has all you need to know generally about practicing anything.

Good luck to your march of progress and learning curves, and good night.

Good morning again, Chloe87, and welcome aboard again, I don't know if I have time to look thru every one of your drawings and sketches, but I'm gonna focus on one of them or two, so here are my comments on your 2 genre studies and exercises. Great job on your facial expressions because of how much solidity and forces and gestures there are on all of them. I also think that you're doing a greater job on you hand and foot sketches, so that they have the potential to get your lines of action and rhythm on any and every appendage you got.

My biggest criticism is that the faces, hands and feet could use a bit more vitality and energy in your lines or shapes in terms of caricature and exaggeration. How would love to go with 30 minutes of 2 minute faces, and your first 30 minute class mode of feet and hands? The biggest explanation is as a result, your human anatomy, poses, expressions, and gestures of all these things will become the least stiffest and most dynamic. For most details, please look into the Walt Stanchfield books, 2 of em.

Good luck to your learning curve.

Good evening again Thephilistine, but however I'm not thinking that you're failing too much, especially in your lines of action and rhythm in your figures and poses, so other than that, I feel that you're on the rightest track indeed.

However, in order to make your gesture drawings the strongest in their looseness and liveliness. How would you like to time yourself with 90 more minutes of 30 second scribble figures, with a Timer app on your iPhone or whatever? The reason why is because if you do the timer app on your smartphone, then they can make you practices more than your addictive games, thus making your lines of action and rhythm the most totally and extremely liveliest and energetic.

Hope this suggestion had helped you too much for you. Good luck.

OK, OK, Khj, here are the benefits of drawing in 30 second intervals, but there are plenty more along the way:

Here they are!

-work in the most extremes

-loosest lines

-lightest lines and touches

-largest drawings

-longest contours (outlines)

-liveliest attitudes

-strongest lines of action

-strongest lines of rhythm

-stronger lines of tempo

-strong lines of balance

Thanks for reading my benefits for you. Hope they have completely and totally benefited you the most.

I think that's a pretty swell idea, and I feel that it could and would be useful for the longer drawings.

Good evening, KHJ2005, and welcome aboard, I'm Polyvios Animations and how are you doing tonight?

Great job on showing the organic gesture drawing of your poses for one minute per pose. Please keep on pushing your gestures far enough. Still, I'm not getting enough of that bold stylization of the lines and straights-against-curves. How would you like to do 5 minutes of 30 second poses? The reason why you would draw this fast is because, you'll get more connected to the humor and feeling of the poses and expressions and such. The more faster you sketch out your lines of rhythm, the more fluid and flowing your poses will eventually become.

Good luck to you and your learning curve.

I'm think you're getting off to a great start, Buggi, and I feel that the basic facial construction could use a bit more life and energy. Would you like to loosen and liven up your lines, shapes, and spaces with 10 minutes of 2 minute faces and expressions, all flipped vertically?

The reason why you would do this little drawing tip is as a result, you'll tap yourself more into your creative side of the brain, but to help you get better in your drawn observations and caricatures of facial expressions, except to make your faces and facial features a lot more fluid and vital. For more information, kindly look into Drawing from the Artist Within and Drawing on the Right Side of the Brain by Dr. B. Edwards. Good luck to you and your march of progress.

Hello and good evening, and welcome back, and how do you do?

When I was first starting out with drawing practice, I'd done some one-on-one art instruction, then thru the Salem YMCA's art program back from 2003-2006, then later did some drawing practice from how-to-draw books, where my first attempts were a bit too stiff, but that didn't matter at the time, because I thought I could only practice the drawing once, yet it took me longer to figure out how to get better at drawing loosely. So then, later on, attended an art class at the Salem High School art department, where I'd really got back on the wheel in gesture drawing since the YMCA, but that was when I'd learned how to use a timer for quick sketches. One was for one minute per pose. Felt a bit of pressure, but I'd gotten thru it. Furthermore, it still took me a bit longer to know that I had to get movement working in my lines, yet all that changed when I'd websurfed on some online drawing tools on this Internet.

Sorry if I'd gotten a bit all over the map on my explanation, so to make a long story short, I'd truly gotten better at my loosest and lightest touch with my sketches and drawings, especally for my art, cartoons, and animations. But that's not all, I've gotten a link of some samples for my Drive, if you don't mind. HERE!

To answer your question, to start with, in order to maintain your guts, you'd have to start with the guts of your drawings, in other words, gestures, forces, or whatever you wanna call them. To further illustrate this communication, here's a link to John Kricfalusi's(Spumco, Ren and Stimpy) older blog with a tag on here, here, aaand here! Though whether or not he knows it, but the only great way to push your guts in your sketches or pictures, is that you should use the reference, not copy it in fear of loosing the sparks of life and vitality. Please don't read too much into his attitude on gesture drawing, but it's OK if you can just bookmark, add to reading list, download and study and warm up the videos and images on John's oldest, greatest blog. Please take what I've suggested and these things with the really smallest grain of salt.

Greatest works on your loosest and most totally dynamic facial forms. Please keep up the greatest works!

Still, I'm not getting enough of the fastness and the most loosest and lightest lines in your poses of faces. How would you kindly love to do 1 hour of 30 second expression attitudes, using your underhand position?(120 facial sketches, with a 5 minute break towards the end of the session) As a result, before your start some of the most realistically complex forms of the faces, mind if we suggest doing the strongest strokes of your facial lines of movement, so that way, you'd be able to go with the flow in terms of your facial storytelling expressions. For even really most details, then I'd suggest this video down below.👇

https://youtu.be/nQQIVXjTS60



This one is about how you would and should start out with the loosest abstract pass with anything, especially faces.

'Hope this helps.

Good evening, Syd-O, and welcome aboard, and OK, your looser poses are absolutely, positively are all on the righter-tighter track in getting exaggeration and expression in your graphic mark-making. Please keep those things going!

Still, those lines of action, balance, rhythm, and tempo could use a bit far more distortion and exaggeration. How would you like to push the lines a lot more faster, looser, lighter, and free-er with 30 minutes of 29 second quicker figure pictures? As a result, your quicker doodles and drawings will be the most boiled down and distilled in terms of the organic pictures and flow. It's OK if your lines are a lot more messier and shakier, because, you'll loose those things with even more time, practice, and progress. For more and even more details, be sure to look into some Classic Cartoon animators reels on YouTube for most inspiration for studying the mechanics and performance combined. But the point is, we're all learning about the quick sketching techniques for animators, cartoonists, and artists alike.



My hat's off to you, and let's hope these have been absolutely, positively, and totally helpful and informative! ;)

Thanks for the first batch, Chloé, but could and would you please give us permission on the last three? Thanks and have a swell time.

Good evening, Shyandkawaii, and welcome aboard, and I'm Polyvios, and how are you doing tonight? So, I've looked at, duped, rotated, flipped, grayscaled, and saturated your drawings up for me, and it seems that all of your quick sketches are all fluid, organic, solid and far more appealing to me in their own ways. Very good job, and please keep going on your first and latest attempts.

If I'm pressed to pick one detail, I'd say that your quick poses don't look or seem flowing and pliable enough to me, especially in those quicker sketches for 30s-1 minute. How would you kindly like to work your pencils in an underhanded position with 30 minutes of 2 minute quick poses, while beginnning with the lightest and loosest lines as possible? As a result, your poses and forms and shapes will become the least mechanical and the most dynamic, spontaneous and alive in your acting drawings that tell the story, visually. If your aspirations to get in comics and art in general, then I'd like to recommend, or suggest, Understanding Comics by Scott McCloud and the PDF of Fun with a Pencil by Andrew L. Reasons: Drawing and storytelling fundamentals, and the Andrew Loomis book, the basic drawing fundamentals or ideas. Now keep in mind that some of the images, though they are all uniquely appealing, they seem to be from a different era. So please take this suggestion with the really smallest grain of salt, by clicking here!

Good luck to you and your developing learning curve