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#hopes this answers the question
bobacupcake · 7 months
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begging... pleading... for a bigger version of that pikachu gif (if possible), i am so utterly enchanted with it its unreal (i have that exact plush in my house!!!)
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hattiestgal · 5 months
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If you don't mind my asking, how do you go about drawing fat? :3
JUST THE EXCUSE I WAS LOOKING FOR
So, for me personally, a lot of the time when I draw fat characters, I'm not looking to specifically capture the specifics of fat as much as the feel of fat. Bulkier, rounder shapes in the right places that has a feeling of weight to em! A lot of that is intuition and simplification at this point, but it all works on the same frame as just any ol' person. Like take this-
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For example. This is the basis for any body shape, not just the more average one that it may imply. Sure- it can be that average body shape:
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But also a fat one too!
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And a big part of that is knowing where fat usually tends to bunch up on the body, so lets take a look piece by piece! (Please keep in mind this is very simplified, and not completely precise in some parts)
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THE FACE: Cheeks (in purple) and especially the chin (in light blue) are the places where a lot of the fat is gonna wanna gather and round out on your face! Additionally, theres a small pocket of fat beneath the cranium on the backside of your head. It's small, but it is there. I believe fat can build up elsewhere like the bridge of your nose and forehead, but generally speaking, you're gonna have a whole lot more buildup in other places first.
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THE TORSO: A lot of the fat built up on the torso is gonna be sent to your tummy. More cushioning for vital organs, mostly out of the way, it just makes sense. Additionally, the lower backs fat builds up and joins with a patch of fat on your sides that forms what is typically referred to as the love handles to make that double belly look. Along with this, the immediate next target for the torso is the breasts, followed by the upper back!
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THE ARMS: For this limb, a VERY notable amount of the fat present builds up on the tricep and bicep areas, lessening once you get towards the flexor and extensor areas. You can almost think of the arm as a sort of triangular shape, wide side starting from the shoulder and tapering towards the hand, which itself mostly builds up fat around the back of the hand and the fingers. The shoulders themselves don't build up too much fat unless you got a lot
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THE LEGS: And finally, you can think of the legs having pretty similar curves to what you're probably already used to thinking. The front of the thighs getting a big buildup, along with the back of the calves, the other parts being flatter in turn. As far as the feet go- similarly to the hands, the top of the feet, along with the heels get most of the buildup, as fat on your soles would impede mobility. The glute, hip and crotch area will also especially build up fat, lending to the same triangular shape that you can see in the arm!
A big thing to note with fat is that it tends to taper off towards joints. Your knees, elbows, shoulders, hips, and all the other places are gonna have significantly less fat so that you remain mobile and flexible, as that's important!
Now that we have an idea of where fat builds up on the body, you might have something that looks kinda like this
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Which yes, does demonstrate a solid understanding of the places fat builds up, lacks the weight you're probably trying to convey, which brings us to out next point! Fat is well... heavy! Gravity is what gives fat much of it's shape, especially as you tread towards larger and larger bodies.
This is demonstrated really well on the arms especially-
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Those big ol' bits of fat'll really start to sag when left hanging, and they will squish like hell if they run into something. I like to think of these bits of fat as big ol' ovals that squash and stretch depending on if there's an obstacle in their way or not
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These are the important shapes to remember when it comes to the weightiness of fat! If you take all of this into mind, you should be getting something a lot closer to that shape you've been after!
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Oh, and always remember that fat bodies come in all variety of shapes and sizes! Play around with a whole lot, and seek out all the resources you can! it'll really lend to your knowledge when it comes to this kinda stuff!
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And as I always recommend when it comes to learning art- look at what your favorite artists do with fat bodies. See what you really like about the fat bodies they draw and try to replicate it in your own work, I promise you it's one of the most helpful things ever.
This is like the most basic of basics when it comes to drawing fat bodies though. If there's any additional thing about fat bodies, or maybe you want clarification on something, don't be afraid to ask! If there's enough to cover, I'll make an addition to this post!
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realpokemon · 2 months
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creampuff’s evolution went better than expected but it took a HELL of a lot longer than predicted. moral of the cautionary tale: do NOT everstone a pupal stage pokemon. she’s a bit of a runt of a salamence because her growth cycle was thrown off schedule, but she should continue growing even after she’s evolved so we’ll see how that turns out. she’s currently on a medication to help regulate her growth hormones but there won’t be any definite results for a long while. since. you know. she’s a dragon
and yes, she’s happy and healthy right now
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setacin · 2 months
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"she's dead scar.... you won."
my cosplay of scar's secret life red life skin!
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the-catboy-minyan · 3 days
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Does this mean catboys can't loaf during Passover...
holy shit wait
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idk why I made this
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wispscribbles · 5 months
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why are you and your drawings so cool 😭🙏
afdsasdfasg thank you !! irl ppl would laugh at me being called cool lol - Have a ghoap as thanks <33
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hellsitegenetics · 27 days
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Hello hellsitegenetics! I gotta tell you, you are my favourite blog in this digital jungle and your work really brings a smile to my face (: it's very cool, keep it up! Every time I see the phrase "string identified" i imagine a robot voice saying that (as a lead up to an output) which makes it very funny when it appears in a reblog - just wanted to tell you that. Anyways, I actually have a real question for you: What's your favourite "string identified" so far?
Greetings from a biology nerd!
String identified: tgtc! gtta t , a at g t gta g a a g a t ac (: t' c, t ! t t a "tg t" ag a t c ag tat (a a a t a tt) c a t t aa a g - t at t t tat. Aa, acta a a a t : at' at "tg t" a?
Gtg a g !
Closest match: Neoneuromus ignobilis isolate Gutianshan chromosome 5 Common name: Dobsonfly
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(image source)
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drawnfamiliarfaces · 8 months
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Heroes of Millennium (HoM) AU
Act 1: What was left behind. - Part 1 (page 1-5) -here- -> Part 2
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boinky-doinky · 4 months
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can you please draw the Winnie the Pooh meeting Alex Kralie
Thank you
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Alex Kralie meeting Winnie the Pooh
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paper-mario-wiki · 2 months
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Do you purposefully speak in prose?
yes? no.
no?
i actually don't know what this means. prose is normal speech. prose is defined as a normal speaking pattern. doesn't everybody speak in prose?
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proteidaes · 1 year
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Do you have any tutorials ???
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Lots of people have asked me for painting tutorials, so I finally made a little walkthrough! I hope you find the method informative!!
(ノ◕ヮ◕)ノ*:・゚✧
(I use photoshop as my painting program, along with a selection of the already installed kyle webster dry brushes.)
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fantastic-nonsense · 1 month
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I love your thoughtful SoC meta! I would love to know your thoughts on Kaz and Jesper’s relationship. Specifically, I adore Kaz but one thing in particular that always seemed so dark to me was that he enabled Jesper’s gambling addiction even though he obviously does care about him. Kaz is obviously willing to do a lot of fucked up things in service of his goals, but this one in particular, toward his own brother figure, I find sad. It’s kind of addressed during their fight at the end of CK but still feels a little unfinished.
I love Kaz and Jesper's relationship. There's sooooo much to dig into there (way too much for a single meta); it's super juicy and complicated, and one of the best complexities of it is that they often enable and feed off of each other's trauma. The pre-canon status quo is a situation where Kaz and Jesper are, in many ways, using and abusing each other as a way of avoiding dealing with their own trauma. It's a fascinating push-and-pull dynamic because neither of them are pushovers and yet neither one is particularly interested in facing their Issues™ head-on, and they both seemingly recognize that in each other and give each other an uncharacteristic amount of grace in helping the other avoid dealing with it.
In Kaz's case, that most often looks like enabling Jesper's gambling addiction and then repeatedly bailing him out of trouble under the justification of "he's loyal and competent, it would be wasteful to let the other gangs kill him." In Jesper's case, this looks like ignoring Kaz's countless and extremely obvious issues in favor of playing the loyal second. Basically, it's not just Kaz enabling Jesper's gambling addiction; it's also Jesper enabling Kaz's unhinged ruthlessness with little pushback other than a few snarky comments.
They also project a lot of their own issues onto each other! Kaz pushes Jesper away in part because he's projecting the grief and blame he feels over Jordie's death onto Jesper, but Jesper is using Kaz's ruthless pragmatism to escape the crippling disappointment of returning home to face his father's judgement for being a college drop-out, gambling addict, and gang member. And Kaz withholds praise and verbal declarations of trust from Jesper because he hates acknowledging that he cares about people, but Jesper uses Kaz's emotional detachment as a crutch to avoid dealing with his own commitment issues by pining after a boy he knows will never reciprocate his advances. This status quo is, of course, insanely unhealthy for both boys long-term, but where would we be if any of the Crows actually dealt with their issues in a healthy way?
That dynamic, imo, is also only possible because Kaz and Jesper have known each other for longer than anyone else in the main crew; Kaz may have let Inej in further, but he let Jesper in first. As far as we know, Jesper is the first person Kaz genuinely lets past his mile-high walls since Jordie died...but he very deliberately holds him at arms' length in a way that he does not with Inej (something that Jesper notices and is jealous about!). Being "the first" in this case unfortunately comes with a lot of baggage, and Kaz and Jesper would both lowkey rather die than talk about how much they care what the other thinks of them.
Kaz clearly didn't recruit Jesper looking for a friend or someone who reminded him of his dead older brother; he recruited him because he saw someone with a useful skillset who he preferred to be at his side rather than in a rival gang or dead in the canals. It's to Jesper's credit that he managed to break through those walls anyway, but there's only so much he can do in the face of Kaz's armor. And like Inej, Kaz's closed-off personality and actions hurt Jesper repeatedly. But he stays anyway, because he (like Inej) sees the boy underneath the mask that Kaz wears and cares a little too much to let him go:
“He wouldn’t—” Jesper stopped short, and then he laughed. “Of course he would.” Jesper flexed his knuckles, concentrated on the lines of his palms. “Kaz is…I don’t know, he’s like nobody else I’ve ever known. He surprises me.” “Yes. Like a hive of bees in your dresser drawer.” Jesper barked a laugh. “Just like that.” “So what are we doing here?” Jesper turned back to the sea, feeling his cheeks heat. “Hoping for honey, I guess. And praying not to get stung.” Inej bumped her shoulder against his. “Then at least we’re both the same kind of stupid.” “I don’t know what your excuse is, Wraith. I’m the one who can never walk away from a bad hand.” She looped her arm in his. “That makes you a rotten gambler, Jesper. But an excellent friend.” “You’re too good for him, you know.” “I know. So are you." -Ch. 17, Six of Crows
Kaz is unused to verbalizing the trust he places in others and actively in denial about how much he cares about them until Crooked Kingdom; he spends his time deliberately being cruel and pushing people away even as he proves over and over again that he doesn't actually want them to leave him. This casual assholery hits those closest to him (Inej and Jesper) the hardest because they are clearly trusted with his life but not with his heart, and that hurts them both.
For Inej, resolving that behavior looks like giving him an ultimatum ("I will have you without armor or I will not have you at all") and telling herself to walk away unless he meets her challenge. For Jesper? That looks like duking it out on top of the Geldrenner when they're both at rock bottom, because of course that's the only way either one of those boys is ever going to verbalize the tension that underlies their relationship. There's just a lot of baggage and mutual toxicity and unsaid words that neither of them are very interested in dealing with until everything comes to a head during the Clocktower fight.
I think we also forget that the Kaz-Jesper dynamic we see in the majority of the duology is not their normal dynamic: it's how they interact when Kaz is mad at Jesper. And a mad Kaz is, within the scope of canon, a pretty cruel Kaz, which is something that I think a good portion of the fandom likes to handwave away in favor of pointing towards Kaz's active attempts to be better in the back half of the duology.
Ultimately we only see the "normal" Kaz-Jesper dynamic for the first 12 or so chapters of Six of Crows (when the Dock Fight/Eyeball Incident happens) and the last few chapters of Crooked Kingdom. Those chapters are a really interesting look into what that relationship looks like when they're on good terms. It's clear that they're good friends, trust each other a hell of a lot, and joke around with each other quite a bit (the "saves ammo" joke in the parley chapter, their interactions during the Hellgate breakout, the "man with a knife!" "man with a gun!" exchange immediately after Kaz throws Oomen overboard, etc), but we also see the stress points: Jesper getting mad at Kaz for not telling him about Big Bolliger's betrayal, Kaz sending Wylan with Jesper during the prep chapters to keep an eye on him, and Jesper's bee and honey conversation with Inej on the Ferolind, for example.
These stress points are what fracture and crack in the aftermath of Jesper accidentally alerting the other gangs that they were headed out on the Ice Court Job and nearly causing Inej's death, and further buckle under the stress and pressure that Kaz and Jesper deal with during the following month and a half: the Ice Court job, Van Eck kidnapping Inej on Vellgeluk, Colm showing up in Ketterdam, and the Sugar Silo/Auction scheme.
In this way, I think Kaz enabling Jesper's gambling addiction is less about Kaz being actively cruel towards someone he sees the ghost of his brother in and punishing Jesper for the sins he percieves Jordie to have made (which is also true, and a meta for a different time!) and more about the weird balance of toxic mutual leniency Kaz and Jesper have allowed the other to provide for them for over two years...and how that leniency breaks down once it's not just Kaz's life or time on the line when Jesper fucks up.
Put more succinctly: for a long time, Kaz and Jesper existed in a toxic balance of enabling each others' worst impulses and behaviors, which was only able to be verbally addressed when they were both at rock bottom, desperate, and seemingly had very little left to lose. This conflict is somewhat addressed and resolved in the conversation where Kaz refuses to give Jesper the last of the parem and offers up a tiny bit of information about Jordie—showcasing his own growth and how he's finally trying to break the cycle by refusing to enable Jesper's self-destructive tendencies—but that level of tension is unable to be properly resolved in one single blowout argument. And I think it's deliberately left a bit unfinished because neither of them are really in a place where they're ready to address everything they've left unsaid for so long, even in the epilogue chapters.
However, we do see the beginnings of that reconcilitaion (Kaz asking Inej to tell Jesper that he's "missed around the Slat") and the story ends on a hopeful note regarding Kaz's commitment to removing his armor, which implies a lot about the resolution of that dangling thread. And of course, we know that by Rule of Wolves they're back to being thick as thieves and fucking around as usual, so clearly they hashed it out at some point in the in-between (and personally? I don't think it took either of them very long after the CK epilogue chapters to do that hashing out).
tl;dr: I love it when two traumatized and emotionally constipated teenage boys use each other to avoid facing their own personal problems and then get into a fistfight to avoid talking about how much they care about each other. Top-tier dynamic. Chef's kiss. I could talk about them for hours.
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cherrirui-official · 6 months
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Friendlocke Violet Gijinkas (Part 1/7)
Since the edited episodes are starting to come out, I figured that bc of that and the fact that I've been keeping this in the back burner for a loooong while now, might as well complete all my friendlocke violet gijinkas!! Some are gonna stay the same while others are gonna have slight/ complete redesigns, so please keep that in mind!
I plan on posting them in order by groups of three, so there's gonna be seven parts in total, all of which I'll be linking here when done vvv
(Part Two) (Part Three) (Part Four) (Part Five) (Part Six) (Part Seven)
!! These will contain personal headcanons I have for the cast, little fun facts, and also spoilers for Friendlocke Violet (for both the edited vids and the streams) !!
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@saltydkart-reblogs
And that's pretty much it, designs under the cut!
LARK:
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HUGE nerd. spent most of his time during the Uva Academy studying different kinds of pokemon as well as different fighting styles he can utilize once he is able to go out on his own journey with his very own trainer! Too bad that didn't really help in the long run...
His entire wardrobe consists of McDonald's related outfits. It's fucking insane. He even has some from long LONG ago that aren't available anywhere else.
The bubble pattern on his hair is able to move and change. Nobody knows how this is possible, not even Lark himself. All Lark knows is that his hair looks incredibly stylish!
Speaking of bubbles, he has the ability to blow bubbles whenever and wherever he pleases!
Often keeps himself extremely clean and gets upset if even a small speck of dirt gets on him, despite this he somehow smells like McDonald's food and axe body spray. Disgusting. He's so cool!
Even after death he still likes to hang around the other team members as a ghost, often getting to know the newer members as well as reuniting with the old ones. Sometimes they see him, sometimes they don't. It usually depends.
SARA:
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Due to being a human in her past life, Sara is able to actually speak with the other humans in the pokemon world. However she usually doesn't due to it being seen as extremely weird and out of place. She did slip up once while talking in the presence of Arven, who thought it was the weed making him hear things.
Oinkologne are usually unable to do much with their hooves but Sara spent nights practicing how to knit with her new hooves and now she's able to do it flawlessly. I don't know how she managed to do that but go queen!
When first joining the team she'd often have the urge to eat her food related companions. It was a strange time for Sara, but she managed to overcome it.
When Peppy gets sick, she usually is the one who nurses him back to health. She was a human once so she often is able to figure out whatever sickness Peppy has and treat it properly. I suppose she's like a second mother to him.
The bag she carries with her is full of thread that she collected from various Tarountula she encountered on the journey, as well as little things she knits together in her spare time.
For the most part, Sara forgives... but NEVER forgets.
Did you guys know that Sara has a new YouTube channel? Check it out!
Pastey:
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Before joining the team, Pastey was a nameless wanderer. He's been down every road in Paldea and knows almost the entire region (except for Area Zero) like the back of his hand.
He's gotten hurt pretty badly throughout the run (ie. the Mikey fight, the Atticus fight, and ESPECIALLY the final battle), however, he does not gain any (physical) scars from those fights. This is bc he's basically an axolotl, and axolotls are usually able to heal without scarring.
Pastey's "arms" are, to put it simply, mud prosthetics. More info here vvv
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Pastey HAS met Mall Bingo once before the run, however, he doesn't recognize her. The only reason he does not recognize her is bc she wears glasses. (You know how people somehow aren't able to recognize Superman bc he wears glasses in his civilian attire even tho his face remains the same? It's basically like that lmao)
Unlike the lightbulbs he eats, the gasoline he drinks isn't really mandatory to his diet. Gasoline is like alcohol to him and he drinks it like an absolute CHAMP.
He goes fishing when there's nothing else to do or when he can't sleep at night. He doesn't do this bc he thinks it's fun or anything, only bc it's a "good time passer" or so he claims. Other members of the team will often sit with him and vent out anything that's troubling them at the moment, and Pastey is always there to listen to them.
And that's pretty much it. Next is Joe, Hannah Ü, and Mykyie!
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comradekatara · 18 days
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do you have a masterpost of "ty lee comes from crypto-air nomad" posts? I'm fascinated by this idea and want to read everything I can but I can't find where it started 😭
i feel like this is a question better posed to @kyoshi-lesbians, who, at least in my book, is the leading expert in ty lee studies (among other things). that said, i can definitely synthesize the argument (and why i find it cogent and persuasive), even if i don't actually know from where the theory originated (but i'm sure that if you look up "ty lee air nomad you'll immediately be directed to an old reddit page or fan forum from years ago; it's a "theory" that goes way back).
firstly, ty lee's appearance is distinctly "air nomadic" in a way no one else's is. save for aang, of course. she and aang do bear an uncanny resemblance. everyone else in the fire nation has yellowish brown eyes, for example, while ty lee, like aang, has charcoal greyish brown eyes. and they also have similar (round and cute) facial features, similar expressions, similar vibes. similar dispositions...
ty lee does not "have the personality" of a ruthless fire nation soldier, despite acting as the princess's right hand who takes out more opponents than pretty much everyone else put together. ty lee acts like an airbender, flirty and flighty. her relentless optimism and goodwill and cheer is decidedly a mask, but it is a mask she adopts adeptly. even if she is performing, she nonetheless performs the "aang" function of her respective group.
ty lee presents herself as more spiritually attuned than other people in the fire nation, who outright disrespect the spirits and spirituality. her constant talk of auras is likely a calculated move on her part, as nearly everything is, to make her seem silly and trivial, because she thrives best when she goes underestimated. but her talk of auras also has to come from somewhere, and seeing as literally no one else mentions auras once throughout the entire show, ty lee's sources are clearly scarce.
ty lee also fights like an airbender. despite generally taking the offensive, ty lee nonetheless exhibits a graceful, acrobatic quality when in combat. she never kills anyone either, merely incapacitates them momentarily. and when she is faced with stronger than typical opponents, she usually relies on her skills as an acrobat by taking the aerial advantage. note her ability to jump incredibly high, such as in "the chase," or her ability to run along a moving cable wire in "the boiling rock." ty lee's skills go beyond merely being a good acrobat. she's incredible. and perhaps even exhibiting some latent airbending skills she inherited from her ancestors.
ty lee's air nomad ancestry coheres really well with her arc as a character. imagining that her family of genocide survivors hid in the heart of the fire nation and assimilated into the imperialist culture that sought to exterminate them makes her own role that much more impactful. there's already a beautiful parallelism to the fact that ty lee is an acrobat and performer who contorts herself to suit the desires of others and performs obsequious loyalty for her own survival, but an extra layer of depth is added if she's also assimilating into the royal court by reducing herself and hiding her true feelings and motivations, just as her family did.
i see ty lee's ancestors as having assimilated into the imperial core out of fear, but over the generations, genuinely being subsumed into fire nation culture, with the desire to social climb a natural extension of their patriotism. but there are also still facets of ty lee's ancestry, whether genetic or otherwise, that have remained in traces. the generational trauma, for example, definitely reflects why her parents had so many children. and the fact that she's constantly torn between two worlds, as a genocide survivor who also directly serves the imperialists who murdered her ancestors, represents her internal struggle as someone who desires freedom of expression and the choice to assert her individuality, but is also forced through circumstance into lying and deflecting and manipulating (which, to be honest, is also the air nomad way) for the sake of survival.
surviving is ty lee's number one priority, in a way it just isn't for mai. mai and ty lee both come from social climbing families (although i've always assumed that mai's family is far wealthier than ty lee's) but mai is also depressed and frustrated and bored out of her mind. and even though she was raised in a family that forced her to don a mask and reduce herself and perform a passive model of femininity, she also has no problem stating aloud how she's feeling and what her limits are (with the exception of when azula gives her a veiled command as a test, and mai has no choice but to obey).
mai has the privilege of knowing that the stakes don't really matter, which she all but states when she claims that she grew up in luxury and opulence, and always had everything handed to her. which isn't to say that she led a perfect, easy life. she wouldn't be as depressed and repressed as she is if there weren't factors actively harming her, but she still chooses to join azula by choice, even if it's really only the illusion of choice between two awful options, whereas ty lee has to be coerced through violence.
mai kind of has a "fuck it we ball" attitude and doesn't really seem to care about her own safety (if anything, she's more concerned with comfort), whereas ty lee would do anything to ensure her survival. and that kind of mentality illustrates how she differs from most of the fire nation elites, who were inculcated into imperial privilege and never really considered what prioritizing survival even entails (zuko learns that lesson the hard way). ty really exhibits the mentality of the genocide victim/colonized subject through her prioritization of survival in the face of what to mai is a problem, but to ty lee is an existential threat.
whether or not ty lee even recognizes that her desperate desire to live comes from a place of generational grief and trauma is another story, but i do think there is something to be said for the fact that descendants of genocide survivors can feel that grief as it has been passed down to them. i think ty lee feels it, and i think that it motivates her to do whatever it takes to live, because above all, she is a survivor. and even if she has to assimilate and manipulate and cut away every part of herself that's real and authentic and true, she will do it (until she doesn't). and that's also, incidentally, what makes her such a great foil to aang.
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sapphicseasapphire · 10 days
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Wild likes shiny things right? So what happens when wilds left alone with warriors?
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GRAB
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wellfine · 1 year
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HII I love your art so much it's so expressive and it feels like theres so much movement in it! I was wondering if u had any tips or advice to help with that? I practice anatomy and expression so much but it seems like everything I draw on my own is so stiff!! Anyway I hope you have a great week :)) <3
Hi there! Firstly, thank you so much for the kind words, it means a lot that you would take the time to tell me!
Second- my advice is to take everything you've learned about anatomy and THROW IT OUT THE WINDOW!!!!!!!
... For now. Just into the front yard so you can keep an eye on it. But I have seen many artists concentrate chiefly on studying anatomy only to feel like their art ends up too stiff. My own experience has been to treat anatomy as a tool best used to correct an image in the later stages of construction rather than as your driving foundation.
If "correct" anatomy (however you choose to define that) is the priority of your undersketches, I find that you end up with a sort of Skeleton Song approach to drawing - y'know, the knee bone's connected to the thigh bone, etc etc. Whatever energy, emotion, or intent you wanted your drawing to convey is getting lost each time you split it into another anatomical segment. By over-focusing on individual parts, you lose sight of your image as a whole.
The key to conveying dynamic movement in motionless art is to ensure every element of your image agrees on and communicates the same action, the key to which is something called the line of action.
A line of action is simply that - an implied "line" with wich you lead the viewer's eye and communicate movement. Think of it as the core of your figure's action, simplified to its rawest form. By knowing this, you know what to emphasise and what to de-emphasise.
Well, art is a visual medium and I am better explaining with drawings than words or I'd never have picked up a pen in the first place, so:
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Images can have multiple lines of action, lines of action can complement and contrast each other, and a line of action isn't always as obvious as something like running. Imagine you're tring to make your art more "aerodynamic" to the eye. Since I draw a lot of One Piece fanart, I assume you're also familiar with it, and you can probably imagine how Oda uses "lines of action" when composing panels of Luffy punching something, Zoro slicing something, Sanji kicking something- etc etc. He's really good at selling the "oomph" of action shots by reducing visual clutter so that the impact of the action is greater.
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(The Monster Trio's abilities are all designed in such a way that allow for REALLY striking lines of action... you can tell Oda loves studying manga fight scenes and wanted to create a world where he could push these concepts to the limit, and it's no wonder One Piece caught the eye of animators even before it was serialised by Toei)
You're probably already noticing how line of action also feeds into composition and silhouette when it comes to conveying movement in an image. Basically put, once you've isolated whatever action it is that you want to convey, the more visual clutter you can streamline away from that action, the stronger an impact that will have on the viewer. A firm line of action, an uncomplicated silhouette for your figure, and a readable overall composition of your image/panel are all ways to minimise visual clutter.
You can also use this information to achieve the opposite effect! Sometimes the ideal action you want to convey is not fast, or powerful, or confident, and you can use the same principles.
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In fact, you can apply line of action to images that don't have any "action" in them at all. You can make a drawing of someone simply standing there feel more lively by applying these same principles to their body language:
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You can develop an eye for how to simplify movement down to its "lines of action" by studying real photos and other people's art. Try simplifying a figure to its silhouette, and then simplify that silhouette further to a stick figure. And honestly, a lot of this could be boiled down to "see your image as a whole and not just a collection of individual pieces". Set anatomy aside during the composition stage and bring it back in when you start building up the sketch.
Moving away from the line of action, my second piece of broad advice is simply to exaggerate more. Lots of artists subconsciously hold themselves back from pushing motion, expression, etc. out of concern that it will look "too much". Well, maybe it will- but you won't know that unless you try! You can always walk it back if you think you took it too far, but I think you'll be surprised by how far you can push your art before you hit that point.
My final piece of advice is to work on line confidence. Even if you follow the rest of this advice, if you have hesitant and scratchy lines, you're undermining the flow and punch of your art. The best way to improve line confidence is simply by practicing! Do a lot of quick, timed studies, and use a permanent medium like a ballpoint pen or marker. Focus on unbroken lines wherever possible even if it makes your studies look like garbo. I find traditional studies are best for improving line confidence, but if you'd really rather stick with digital then just don't let yourself use the eraser tool, and try using a chunky brush with limited pressure sensitivity.
And that's it! Don't stress about it too much though. Loosen up with your art and, like any other skill, you'll improve with practice, time, and analysing what you like about other people's art. Good luck!
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