How to draw dance poses
Dance Poses Drawing - Illustrationen und Vektorgrafiken
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von 52Bring Energy and Life to Your Poses!
Understanding the figure
To draw a pose correctly, you don’t need to always carry an anatomy book with you. It’s not as difficult as it seems: observation and practice are your best tools. If at any point you get curious about trying something new (which I hope you do), it never hurts to take a look at that anatomy book.
Even if your drawing style is far from realistic, the aspects that make a pose interesting and credible remain the same: strength, rhythm, action lines, construction and perspective.
Observation:
Your closest reference is yourself. If you look at yourself in front of a mirror and start moving, you will notice that your body works as a single element.
When you raise an arm, the arm is not the only part of your body that moves, unlike how the removable extremities of dolls work. The changes in your body don’t resemble figure A, right? For example, your shoulder also lifts, and many other parts of your body adapt to the movement as in figure B.
This is what observation means: paying attention to the details and characteristics of the body.
Strength and rhythm
Your characters move thanks to their inner strength. They can walk, jump, dance… whatever comes to mind! But unless they are floating in space, it is not the only force that acts on them, as gravity makes their feet stay on land.
When two or more forces interact with each other, a rhythm is set, which provides balance and sense to the movement.
If your character is pushed to the left, his body will fall in that direction (A), unless he puts up resistance to stand (B).
If the character wants to pull something that refuses to move, his body will lean in the opposite direction.
Obviously, once the cat gives in to the force, your character will fall, as the cat was what kept him standing.
Strength and rhythm provide a lot of visual information you can work with: the weight of your character (1), the balance of his pose (2) or the lack of it (3).
Action lines
The action line is the imaginary guide that indicates your character’s movement. It focuses on actions and helps to unify the whole figure.
Below you can see a couple of examples where strength, rhythm and action lines interact together.
Example 1:
The character (1) has a relaxed stance, resting on her right arm. In the figure (2), we can see her action line, which covers her whole body up to the foot. The shape is slightly similar to an S.
We can see it is a relaxed pose because her weight rests on a single point (3) and all she needs is to keep the balance with her left foot, which remains taut while the right one is resting.
Example 2:
The next pose is more dynamic, so there are more things going on in this image.
This time you can see three action lines, but the most important are (1) and (2), the ones that really tell the story. The first one covers the whole figure from head to toe, and the second one goes in the opposite direction, keeping the balance and forming an X. The third one simply provides greater stability to the pose.
In this drawing we can see that there is a force that pushes the character in the opposite direction to her gaze. Elements such as the hair, the clothes and the dust on the floor suggest that the force comes from the right side, and as these elements are light, they are affected by the speed with which this force acts.
However, this girl wants to overcome this force with her own strength. She has no intention of losing the fight.
Example 3:
This time, our character is a baseball player.
He’s spinning his body to get enough momentum and counter the ball’s force to hit it far away. Don’t you get the impression that it will be a home run even though you haven’t seen how the scene ends yet? It’s the magic of anticipation. If you know how to properly handle the strength, rhythm, and action lines correctly, you will be able to guide the spectator along the path you have set. This is very important for any comic artist.
It’s important that you don’t overpopulate your drawing with too many action lines, because it could confuse the character’s intention, make the force go in different directions, and take the emphasis away from the most important action.
Construction
The body is quite complex and it is difficult to draw correct proportions and move away from the 2D plane. I recommend you shape a base that helps you discern the volume of each element. To do this, we will use geometric figures such as spheres, cubes and cylinders to represent the structure of the body.
These figures can be freely rotated, stretched, flexed, and twisted according to the pose.
These figures represent the direction of the different elements of the body. You must pay special attention to the limits of the joints, since at a certain point you have to turn or twist the body to keep moving in that direction, changing drastically the pose.
With practice, this process gets simpler. The better you understand how the figure works, the fewer guides you will need.
Perspective
Perspective turns the 2D plane into a 3D one and adds more depth and visual richness to the composition than just looking at it from a frontal plane.
The eye level or horizon line represents the actual height of the viewer’s eyes (1), and the vanishing points are the lines projected from a point on the horizon (2). The following image has a perspective with two vanishing points with which we can appreciate two faces of the figure.
The body is more intricate, but the principle is the same. For example, this figure’s feet and hands are smaller due to the perspective, and even suggest us how we should project the vanishing point lines.
Action poses always look more dramatic when the perspective is exaggerated. Even when the poses are not entirely realistic, the figures seem credible and the scenes look more interesting.
I recommend you to practice and read about perspective as much as possible, as it is not something you can master in a day. Analyze as many references as you can. Eventually, you’ll end up seeing vanishing points everywhere.
Essential lines
You can speed up and improve your observation skills by drawing poses using photos or actual people as a reference and setting a short time limit for it. The aim is to capture the essential information of the figure and, of course, to draw as many poses as possible.
This exercise will also help you to increase your confidence when drawing.
Don’t be afraid to draw the first line, and even if you make a mistake, avoid erasing the lines. Try to focus and draw clean, clear lines.
Below you can see some examples of poses that I have drawn within 45 to 60 seconds:
At first, focus on drawing the whole body with smooth lines. Then, if you have more time, detail and build the shape better.
Don’t be afraid to draw what you don’t see or what is hidden, as it will give you a better idea of the figure’s structure.
Try to exaggerate the lines. It makes them softer and more credible, however crazy it sounds.
Unless the model is in a very rigid posture, try to avoid straight lines. The most natural poses are built with curves.
I hope these tips have been helpful!
If you want to see more of my work, from these links you can access my social media pages and my portfolio:
https://www.instagram.com/eri_duh/
https://twitter.
com/eri_duh
https://www.artstation.com/eridey
Thank you so much for reading this article!
– Eridey
Interested in concept art or what it takes to become a concept artist?
Check out the link below!
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How to draw action poses with a pencil step by step
Step 1 Drawing characters in action poses is actually one of the hardest things I can think of. Doing the right thing, however, can be very rewarding. Having a cool character in a standing pose is okay... well, character design... a character can't really come to life if you can draw it in action. So what is this action pose? It's basically a character doing something. Don't confuse it with the cool stance, though I'll talk more about that later.
The actual act of posture requires movement, strength, intent, emotion, and a lot of internet artistic knowledge. Going from just drawing a standing pose to drawing an action pose can be intimidating, but I'm going to try and break things down to help you create your own dynamic pose action.
Step 2. So ok, we have two digits here. One is obviously a basic standing pose and the other is a more action pose. I don't want to get me too crazy about the pose just yet, but I want to illustrate how mixing up some basic stuff can really bring a character to life. First, I changed the camera angle, front view to 3/4 view. We are also looking at the character, so there are many different surfaces shown on the body. From there, I exaggerated the position of the arms, tilted the torso slightly forward, and bent the legs in a sitting position. Even for such a simple drawing, there's a lot going on.
Step 3 Here are a couple more numbers. On a standing figure, the horizontal lines of the eyes, shoulders and hips are parallel and level.
It's good for some things, but not for actions. The second drawing shows some body language, and appears in a more natural pose. Notice what happens to these lines now. In opposite corners of the eyes the lines, the line of the shoulders and the line of the hips are visually interesting. The center line in the figure also changes from a straight vertical line to an s-curve. With these changes, something actually happens in the drawing. When a person looks at an image, there is more to observe and think. You want people to look at your drawing for as long as possible, so it's up to you to give them something interesting to look at. Difficult angles, curves and body language will do the trick.
Step 4. The torso is pretty much the first thing to pay attention to when drawing the pose action. The position of the arms, legs and head depends entirely on the position of the torso. In the center of this image, I drew a facade shot of a simple torso, divided between the rib cage and pelvis.
In the surrounding shots, I tried to show the different ways you can tilt and rotate your torso to create a more interesting pose. Always remember that you can move the camera (so to speak) around a shape by drawing it from the top, bottom, back, or side. The thorax and pelvis are not necessarily oriented in the same direction. In fact, placing their faces in different directions creates a lot of movement in the drawing. When a person walks, their ribcage and pelvis rarely line up perfectly, so you should really try to avoid if the character is perfectly square on target. Practice drawing these torso shapes. If you have trouble visualizing your torso, try imagining it as a pillow that you can fold in half. Remember, the center of the torso is soft, so much bending and squishing can go there.
Step 5 Here we have two poses. The top figure is walking, and the bottom figure puts itself on display, almost dancing. Of course, in the first shot of each pose, there isn't much movement going on.
These are too tight to be called action poses, so what can we do to improve them? In the second shot for each pose, the main change is that I arched my back. Putting the shoulders back creates a strong look, and the curve of the torso suggests forward movement. I also added curved arms and legs to give the numbers a more natural look. Notice how in the bottom picture the side is pinched into a V-shape as she lifts her leg. In the 3rd walking shot, I really exaggerated all the elements of the drawing. The head is pointed upwards, the torso is twisted so that the chest is in front of us and the pelvis is directed in the opposite direction. The arms and legs are in more extreme positions, offering a lot of rebound in the character's step. He's basically jogging at this point. You can always overdo the pose, but this is just an illustration of the idea. In the 3rd lower shot, I tilted my head up again, and made the limb positions more extreme. Notice how the top leg attaches to the pelvis.
Round affection gives us a sense of depth. The side pinching is also more extreme here, which makes it look like she just lifted her foot to the side quickly. This pose could be continued, but then it would be an animation tutorial.
Step 6. Something interesting I wanted to highlight is the connection between dance and fighting poses. I remember being surprised when I heard how the guys, how Jet Li actually did ballet. What? This actually makes a lot of sense. A choreographed fight is like a dance. So if you want to draw a fight scene, or just learn how the human figure works, you might want to suppress the action of the movie and instead watch some of the dance steps for reference. The Cirque du Soleil is always fun to watch, and it can give you some great ideas as to the movement in your figure drawing.
Step 7 When I start character illustrations, I usually do some sort of exploratory sketching before starting the final image. Some people make tiny miniatures of drawings.
I like to do a lot of messy sketching to test the drawing and find shapes and lines that look and feel good. These sketches are not always successful. Actually, there are more failures than successes, but that's why it's good to explore and experiment before starting the final image. You don't want to spend a lot of time and effort to draw something you're not sure about. Make some sketches so you have a clear idea of what you are going to draw. You may even stumble upon something better than what you originally had in mind. For this image, I drew several different punching poses. Notice how the position of the torso changes from pose to pose. Each punch has a different feel to it, and that's because of the most correct hand position. When you draw a character throwing a punch, the whole body is part of that punch. Figure out where the force is in motion and body parts will follow in that direction.
STEP 8. Here are some more punching poses. I actually have some links to this because I wanted to have some really strong poses to show.
Look at how the head and arms touch the torso, and notice the curves and angles of the torso itself. Try to imagine the movement of each action. Pictures of a fighter leaning on his jab, or jumping with his swinging uppercut.
Step 9. Here I put some ridiculously swollen muscles on top of the base drawings. Something worth mentioning is that you don't always see the character's face in action pose. This is especially true in animation or comics and manga. When you're trying to tell a story with pictures, it's the action that matters most. Sometimes an arm or leg is more important to an image than a character's face.
STEP 10. Here are some more wire mills, but this time we'll be looking at the legs. We have one standing hit, one hit and jump. I've squeezed the jump punch on the bottom of the image, so I apologize for that. The two figures were not meant to be interacting. If anything, the position of the chest and pelvis tell a lot about the actions taking place here.
The top figure has a turn of his torso that indicates a backhand with a roundabout type of punch. The bottom drawing has a straighter torso because it's the next leg action. The body moves in the given direction of the foot. Notice how dizzy to watch where the pin is directed. Keep your eyes on the enemy! This is good advice for both wrestling and dragging.
Step 11 More ridiculously big muscles. The strange thing about the action of the pose is that a lot of the "cool" parts of the body tend to be covered or hidden. What's cooler than chest muscles, right? Yes?? Well, in both of these legged poses, the chest is pretty heavily covered by the arms. I think there is a tendency to show the body in different poses, but that's not how it works in real life. Another thing to note is how the lower leg disappears into the lower kicking pose. This drawing is a bit extreme and cartoony, but it's another case of body parts overlapping one another. In some positions, the whole arm or leg may not be visible.
Again, it's not intuitive, but if you look around and get a certain reference, you'll start to see and absorb when it happens and when you can take advantage of that while drawing.
Step 12 Cleaned up the line art and decided to add some color to my heart's content. Although I have only used a few clothes here you can see how the fabric affects the body of action. Wrinkles and creases in clothing can help heighten the action going into the action pose.
Step 13 Here is a mini tutorial for you. This one deals with foreshortening. This is related to what I was talking about body parts hiding other body parts. In this case, it's the objects closer to the camera that cover the objects behind it. The next time you look in a mirror, see what happens to your hand when it is pointed directly at the mirror. It basically gets shorter. The hand begins to obscure the forearms. The forearm hides the top handle. The top arm covers the shoulder. This is an angle. In this mini tutorial, I used an extreme angle for a cool pose.
That we get a giant claw hand in the face that covers the whole hand for it. The position of the body and the size and position of the hands indicate the actions of this jerk trying to hit us in the face. There is an illusion of a figure coming straight at us. I saw other examples of the angle in the right hand and torso. The back forearm covers most of the hand and one finger. The upper chest covers most of the abdomen and pelvis. When drawing something with a lot of overlapping body parts and accessories, always start with the main objects. Then draw the helper objects and move your path to the background objects. In this guy's case, Step 2 showing us the hands is the first thing we can extract. Step 3 shows the head as a help object. Step 4 has the torso and rear retract lever. Finally, Step 5 has the way we draw the legs, which are drawn much less than usual in order to push that sense of depth.
Step 14 In the center of this image, we have a little dude in a fighting stance.
It's not exactly an action, a pose, but I imagine him jumping around a bit, maybe like Bruce Lee. In the surrounding four shots, I drew the same pose from different angles. Learning how to draw the body from all angles is difficult and takes a long time to master. I still have a long way to go, but each drawing will help you improve a little more. So basically I redraw this pose from the top, bottom, side and back. The camera angle can really affect how your character looks. Choosing an extreme camera angle can make for a tricky drawing, but it's good to challenge yourself. Notice how different parts of the body become visible or hidden when the drawing is drawn from different angles. Four corner drawings exist to illustrate the impact of image cropping when drawing pose actions. I really like the top right and bottom corner of the image. Choosing the right angle can actually transform a relatively generic pose into a pose. On the lower right side of the image, notice how the shadows fall on the character.
I actually did this as a trick to get out of having to draw the chest detail. Talk about laziness! It turned out beautiful though. Drawing complex action poses can be tedious at times, but using shadows and other tricks to cover up difficult drawing details can make it easier. I know it sounds terrible, but sometimes you have to go all out to make a picture of a job and get the job. *nods* that being said, don't use cheap tricks too often or you'll end up ten years down the road not knowing how to do some very important things. No, of course I'm not talking about myself. What? Let's go further!
Step 15 Okay, enough lectures. Now let's move on to some traditional tutorial action. I didn't want to hit you with something too complicated, so I just did this pose on the fly and I think it works. This is the guy with the magic sceptor. See sceptor? *nods* good thing I chose that jumping pose. This guy sort of goes to the far right. His left arm and shoulder will be facing us.
The torso bends forward a little, but we draw it from the side. The head covers the back shoulder. One funny trick I did here was stepping my limbs in front of each other. Your drawings can get boring if you're always drawing arms and legs in standard positions. Crossing the arm in front of the leg, or vice versa, can make for a very interesting pose. In this case, the angles actually create a small geometric figure - a square - framed the left arm and right leg. I think it will be a triangle later, but you will get a point.
Step 16 We want to draw the first object by shape now. Hmm... it's actually a toss-up between the head and the hand. Since these body parts don't overlap, we can start with the face and hair.
Step 17. The right hand blocks part of the chest, and crosses the right leg in two places. That's why we draw her before everything else. I'm tired of drawing next-door muscle guys, so I'm going to give this guy a trendy overcoat cuff thing on the shoulder and combat gloves.
Notice how the arm swings back and the fingers point in different directions. It's much more interesting than if I'm just a painted fist. Fists are easier, but it's more interesting. Use your own hand for reference if you need to, but challenge yourself to draw an open palm. The hands are very expressive and can add a lot of movement to your posture actions.
Step 18 Ok, time for some fabrics. Start this step by drawing the collar wrapping around the back of the neck and down the chest, disappearing over the arm. The collar extends down and reappears on the other side of the lever, ending at the bottom of the coat/vest. The vest flaps a little in the wind, and just a little bit of movement (combined with the direction of the hair) is enough to show us in which direction the drawing is moving. Wrinkles are used to indicate the shape and angle of the torso. Wrinkles here wrap around the back, and form together at the back/bottom of the coat. Notice how the wrinkles start to spread out from the underarm area.
Step 19 Now move on to the left leg. Thanks to some slight foreshortening, we see a shadow under the kneecap. The most important part here is the crooked leg, which gives a sense of direction, and the wrinkles around the crotch area. The data radiates from the center like a web, traveling to the hips, and down towards the outer knee. I also drew wrinkles running down my right leg. This will help us add detail to the outline of that leg at the moment.
STEP 20. As I said, we can use the side of those crotch wrinkles to draw the wrinkles on the thigh of the right leg. The fabric below the knee is looser and the wrinkles are smoother and more curved. Notice the different angles of the legs. This should really show how the legs are directed in different directions. Those crotch wrinkles stretch in the direction in which the knees are pointed.
Step 21. For the final draw step, we'll take care of the rest of the hand grips and headband flapping in the wind.
Since the right hand is in the distance, we will draw it smaller than the left hand. Look at your own hand for reference when drawing the hand holding the sceptor. The angle of the sceptor is perpendicular to the left leg, thus creating a large angle of 90 degrees. Almost. The thing is, this is another fun visual trick that adds to the overall pose. The angle you draw an accessory or weapon can affect how the whole pose looks, so play around with it and choose what you think looks the most dynamic. Headband tapes flapping in the same direction as the hair and back of the jacket/vest. This detail really helps to add a sense of movement to the character. One of the ribbons, in fact, forms an invisible line with the right hand. Hope that makes sense. It's just another visual fun trick. Actually, the sceptor lines up with the right thigh in the same way and we get another square-ish shape in negative space under the right arm. Quite chilly.
Step 22. So here is the final signed artwork.
There is plenty of room for the eyes to go around this figure. Those crossed limbs and negative space shapes I mentioned actually create something like a train track for the viewer's eyes to follow…. so their eyes are constantly moving around the figure and they are constantly looking at your drawing. This is exactly what we want.
Step 23 I added some colors and some cartoony mountains to frame the drawing. All in all, I think it looks pretty good. I hope this tutorial and lecture a few steps from early has given you some ideas to keep in mind when drawing characters in action poses. One final tip I can make when you've finished drawing a cool action pose, take another piece of paper and try drawing it again, pushing the pose even further, making it even more extreme. Change camera angle. Add some accessories. Just trying to improve what you've already done. Being able to look at your own work and make improvements is an important part of being a good artist and creating something visually unique.
