How to Draw Dynamic Anime Poses | Enrique Plazola | Skillshare

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How to Draw Dynamic Anime Poses

teacher avatar Enrique Plazola, Learn to Draw the Easy Way

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (56m)
    • 1. How to Draw Anime Poses

      3:14
    • 2. Master the Stick Figure!

      5:13
    • 3. Simple Shapes

      9:35
    • 4. Overlapping (Important!)

      14:00
    • 5. Perspective

      2:56
    • 6. Demonstration of Process

      11:26
    • 7. Complete Review

      5:50
    • 8. Bonus Lesson

      2:12
    • 9. Final Thoughts

      1:37
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About This Class

This is a step-by-step drawing lesson on how to Draw Dynamic Anime Poses. It's meant to be broken down for beginners so you have an easy time following the directions. If you love anime, this is the course for you. 

Let's go over what is inside the course.

1 - Mastering your Stick Figure

2- Shapes of Forms

3- Overlapping Shapes (important)

4- Perspective of the body

5- Demonstration of Process

6- Review of the Whole Process

7- Bonus Lesson

8- Final Thoughts

Meet Your Teacher

Teacher Profile Image

Enrique Plazola

Learn to Draw the Easy Way

Teacher

I help beginner artists learn to draw as fast as they can. So you can draw that family portrait, or draw any character from your mind. 

I've worked as a fine artist, professional illustrator for book covers, worked at a movie studio as a stereo artist, as a caricature artist at theme parks, and more. I've been in literally hundreds of art shows. 

I've been teaching art for 6 years and I love it. I started to draw at 19. I felt it was a late age. It took me 2 years of training in drawing to start working and making a living from art. I want to teach YOU!

 

 

 

Find what you need in any of these collections of classes to learn a variety of fun techniques to improve your own artwork!

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Transcripts

1. How to Draw Anime Poses: Hey guys, what's up? How's it going? I'm Enrique, artist and illustrator. Today we're going to go over how to draw dynamic anime and manga poses. I'm going to take you from the beginning all the way to the end. So what I want you to do is if you're a beginner, this is geared for you. You don't need to know anatomy or anything like that. I'm going to walk you through very easy process that you will understand. And we're going to break it up into chunks. And that's what these lessons are within the whole course. So let's get into how I'm going to break this up. In the beginning, I want to talk to you about stick figures and finding the pose. I use a very, very basic stick figure. It's kinda funny sounding, but I'm going to show you exactly what I mean by that so that you can literally do this even if you're a complete, complete beginner. So that's the first lesson. The next one, I'm going to go over shapes of the body. Since we're not going over anatomy, there's entirely other lessons for anatomy. Go check that out later. We're not going to go over that. We're going over simple shapes because anything you look at can be broken down into a simple shape. And that's very vital with this. Okay, I'm going to show you some simple shapes that I use for parts of the body that anybody can understand, right? Which have a circles, squares, really simple stuff. Then from there, I'm going to be talking about foreshortening or as I call it, overlapping, overlapping shapes and how those interact. This is the most important lesson I feel because if you understand this, this is going to level you up in a way you've never, you'll never really understand it. It's so huge. There's like a huge, huge level and that's the best way I can think about it. If you understand this and all of your drawings, your paintings, everything's going to change if you understand this concept. So I think it's important, hopefully you do as well too. So I'm going to go over that overlapping. Then. I'm going to go over very basic perspective. How much perspective do we need to really draw a figure? We do need a little bit, not that much, but I'm going to give you exactly what you need because we're buildings and other things like that, right? Cars, that's a whole other deal. But with figures, I'm going to give you the bare minimum on the perspective that you need. And then after that, I'm going to go through a review. I'm gonna go through and literally demonstrate the process from beginning to end that I was talking about on how to find a dynamic pose or repose so you can create your own. After the review, I'm sorry, whoops, after that, I'm going to go over the review. Basically, I'm going to review literally the entire thing. And then from there, I'm going to give you a bonus. The bonus video is going to tell you how you practice this stuff to get it in you and really, really make it stick, okay? What you need to do to practice this stuff, alright? And then at the very, very end is a goodbye video and thank you for being around. But that's pretty much it. So hopefully you're ready for this. This is a pretty I think this one is pretty intense in the middle. But since you can be a beginner, you will be a better artist coming out of this course. I guarantee you that if you practice this stuff, I guarantee you'll be a better artist at the end. So let's jump into the lesson right now. 2. Master the Stick Figure!: All right, so let's jump into kind of what really goes into my mind first. And you have to do with stick figures first. And I know that's kinda, you know, goofy in strange. But what I was thinking of as I always think of the one I'm thinking of the pose. I'm thinking of the head. Don't worry about what shape it takes right now. The ribcage and the pelvis. Right. It can be it's like more square here. Right. The head and then like think of like the rib cage, the pelvis. Yeah. And then from here, I always think of just a rate that spine and the leg area, right. And we've got the arms here. And what I'm thinking of right here is literally a stick figure like the one you drew was a kid because you want to know what direction everything is going in. If you don't know that it's going to be chaos, you'll want to know how this is going to move in the easiest, most simplified way is a stick figure. And then that you build that upon. So think about it like a building, right? When you get, when people build buildings and houses, it's just a scaffolding, right? It's complete skeleton. It is the wood part and then you start adding the cool stuff on top of that. But you need that framework in order to make it look solid. Because if it doesn't look solid, It's going to be pretty much it as mass, no matter what, no matter how much cool stuff you put on top of that, it'll be junk. It has to have kind of a solid frame to stand on. And I always think about a stick figure. So as goofy as that sounds, you know, think of anybody can do this, right? You're thinking of the ribcage, the pelvis, and then the head. Think it almost like on a spring or something. Anyone can create stick figures. Obviously the elbow and the knee right there's a space for the elbow and the knee. So doing that, getting used to just doing that as easy it and Goofy's that seems, is a step up, right? You're already starting to think in kind of people framework in terms of their bodies. You're already starting to understand some, some the baby steps, essentially that first step. And this is professionals and myself, but I'm also a professional. I still do this right now. I'm thinking about the body in this way. Before I think about anything else. Right? You put a dot for the knee right here and the elbows if you want. And I don't draw them out quite like this. I draw them a little looser, but this is what's going on in my, in my mind's eye. So what I want you to do for that is really get used to this. And I can't emphasize how important this is because if you don't really get this part of it, it's going to be very, very, very hard to get anything beyond this point because you're not going to understand the framework of it. Visually. You can understand it intellectually, right? But we're talking about on a visual level, like can you kind of understand? Can you kinda understand this concept and get into your muscle memory? So you have goofy dance. But you can just make these up out of your head. But do as many of these in right now, these are all pretty much relatively flat. I'll show you how to do the 3D ones and the next one here, like the ones where they're coming right out at you, the perspective once. But right now I need you to understand this on a flat level. Right? See a little box there didn't have to be like exact measurements or anything, just kind of approximate it. I know I keep hearing. The head is like what is it? The body is eight heads tall or six heads tall, right? I think we're six heads tall in real life, or something like that, were about six heads tall in real life. But when we draw it in a manga is like usually they make the head a little bit smaller and they make it like eight heads tall to make the character look bigger. Because it's like, you know, things are based on proportion. But I don't really think about that stuff that much. I'll be honest, I've never really use that measurement like ever. I don't really get it. So I would just approximate it and you start to get a feel for it. Just create a bunch of these little, like a page full of a bunch of these little stick figures. This is what I do when I'm prepping for a pose. For whatever I'm doing. I'm literally doing this. Just like a kid right now. A little bit more specifically into kid writer, kid didn't think about it when I was a kid didn't think too much about the pelvis area, the ribcage or something like that. This arm right here it gets all it can even tell that it's a little bit smaller and extend it. So that is the framework. You need to think of it. So let's move on to the next step where we're going to put something over this. I'm going to talk a little bit about specifics. So let's push on to the next lesson. So I'm glad that's easy. Let's move on. 3. Simple Shapes: Okay, so let's jump into the next part. Let's say you had your, your action figure, you're actually for your stick figure. What I'm gonna do is we're gonna go over the shapes in here, general shapes that I use as a shortcut for body parts. What I want you to understand though, is this is not an anatomy course. I have other courses on anatomy on here. Go check those out on like every part like the arms have their whole course on them, their legs, the chest area, the back has its own course. But this is not an anatomy course and I don't wanna do that. But what I'm gonna do is I'm going to give you something still you don't need to, you know, you don't need to wait to learn all the anatomy. You can start it now. So what I'm gonna do is I'm going to give you some simplistic shapes for you to fall back on. For body parts, and that will help you out. Massively. Simple shapes are the framework to drawing in general. They really are just simplistic shapes. If you can break down anything into a simple shape, you then that's kind of how you draw it. That's how you deconstruct drawing anything, not just people. And I have a whole course on that as well. Like not just people, but now we're going to talk about people and really what we think about as we think about the cone. We think about the sphere, and we think about like the box. So right here for the pelvis, obviously that's a box. I use that as a simplistic shape, very similar to a pelvis. You don't have to learn all the anatomy. I would recommend it eventually, but for now, you don't need it. The arm and the legs as well. So we've got the arm right here. We've got our stick figure first. Let's draw the stick figure. We got to stick figure. Hands usually go a little bit below the pelvis, doesn't really matter, but it's an approximation, a sulfur the head I almost always use, as we talked about earlier, that sphere shape, that kind of egg shape really. I almost always use that for the head. Ribcage, same thing, egg shape for the rib cage. So pelvis, right. So we got the head simplified shape, egg. I'm going to write just egg on here. Right here. Eg, as goofy as it seems, but it's easier to remember. A little bit bigger egg box. I know that can be a rectangular box. So be it. So let's go over the arms and the legs. The arms right here. I always think of the shoulder as a kind of half circle here or even just a full circle. The reason I think about that it's because in this area there's the shoulder, right? That's the deltoid. Again, you can learn about that over there, but that's the deltoid, which is the muscle there. And it has a round shape. Same thing over here as well. How big or small that round shape has to do with how much you work out. And then some, usually in manga and anime, It's pretty big rate depends, not always. If you look at someone like like Naruto, well, I mean he has close up, close up, close on, but it's not that big that area. But again, if you look at something like like a go COO and he like, you know, are broadly or something, right? Broadly this gigantic, right? So I always think about as a round circle. I think of this midsection right here as a tube. You know? So like a tube and when you're thinking about it, Let's go over here real quick. So and I mean like a tube, like an actual tube right there. Right. Like it's got cylindrical form. I think of that like like a like a paper like or what he call it like a paper, a roll of paper inside. I think of it like that. That's literally think of the arm initially over here, the rest of the arm, I think of it the exact same way, that same tube. And then the hand is its own entity really, it's more like a box initially with fingers. But let's stick with this. So this is a tube or cylinder. And try to keep it really simple. Tube as well. Maybe tapers down here at the edge. And then same thing goes for the other arm, of course. Tube. Tube and the hands are more of a more of a boxy form. Okay. The neck initially it's a tube as well. But so think of that as a tube as well, right? That cylindrical form, a cylinder and or tube. But the ribcage kind of comes around there because there's a muscles, they're called the traps. That else's straps. Top of the shoulder muscles and the ribcage. And so you can kind of even that out. And just kinda think of it like that. So you don't want to draw just the neck on its own. You want these muscles here, even if they're not developed. This transition here between the neck, the tube of the neck. And it transitions into, I guess they call these traps. But you can think of it as like a triangle shape almost if you want as well inside there, you can think of it as a triangle. That makes it easier for you. You're doing is what I'm doing is it's simplifying this to shapes to make it easier for you to understand and digest so that you can, you can put it down even if you don't know the exact muscle. But like I said, eventually you should go with the muscle. I'm just giving you the tools right now to just start drawing immediately pulled down basically a tube for the waste, the large tube for the waste. Connecting that to the ribcage. You can even draw it like a cross here. So it's like a cylinder tube as well. Large one. The legs. Same thing. Tube. Man. I always wondered why they they taught us the tubes. The tubes stuff first and I'll tell you why in the next lesson. Same thing, tube tapers down though, bed here on this one. And the feet are like wedges. Like the stuff that you close the door with. Like a wedge or like a block, like a triangle block of cheese. Everything here, you can break down into more shapes as well. And honestly there's, you can create your own shapes and more you draw. It can be like, oh, this looks little bit like this, and that's what everybody does. But what I wanna do here is give you a framework to make it easier for you to understand, right? So that's the basic pose, because what's going to come in the next lesson is going to be, you know, is going to be foreshortening and you're going to have to understand this. To Tube Wedge. I like to keep the hands as a, as a, as a square block maybe. But obviously that gets more complicated as it opens as a whole other lesson for that. But right now what I'm doing is I'm giving you a primer so you can just start drawing pretty much as soon as you can. So right now, this is what we have. These are simplistic shapes. It's a lot of spheres, tubes, egg shapes, right? Egg shapes, boxes. And that's the normalised always how I kind of initially look at the figure after I've drawn my. So let, let's take that, let's take this approach and we'll take it back to one of the other drawings, right? So how would I do that over here? It's a little bit small, but hopefully, Let's take this figure right here. It's a little small, I hope you can see it. I would start putting these tubes like so. And then the wedge over here. And what I'm doing now is I'm giving mass to the figure. And so my stick figure, I'm literally giving it a body now to that, to bend at the waist and see a ball at the shoulder here. You're giving this like a real thickness now. Now it's like coming to life. It's starting to come to life. Tube for the arm here, box over here, neck, neck. And then you have like basically a form that's actually starting up. And you can do that to all the stick figures that you drew as well. What you're doing is building one thing that scaffolding. So let's move on to the next lesson where I'm going to talk about one of the most important things ever that separates a beginner from a not beginner. And I think it's fine If I teach it to you. So let's jump into it. Okay, It's going to be overlapping. 4. Overlapping (Important!): Okay, so let's talk about overlapping really quick. We had our simplistic forms. Again, you can create your own if you want. These are the ones that I started with and I still lean back on when I have issues. So let's kinda talk about this. I took this tube shape and took it and this is how it look like in 3D. Like. That's what I'm thinking. Like this, there's a round form, it goes around the corner here. Let's see, I need to make this line a little bit thicker. It's like a plane going by. Right now, sorry of that. You can hear that on the audio feed. So overlapping is up with the, one of the most important things that distinct, that makes it kinda real. So the thing is you're going to have to understand 3D. Like you have to imagine in your mind's eye. Like what's going on behind that tube, which is a little bit like you're going to, you're going to want to understand that. So I'll give you an example of what I'm thinking of as far as thinking in 3D goes. Let's say this is the box of the pelvis. Okay. You can see this side of the box. Let's just differentiate that. I'm looking at the front of this box, right? I can't see the top. I can't see the bottom. I can't see the back or the left side of that box, right? But I can imagine it. And this is the part that's really going to separate you out. I'm going to imagine it in my mind's eye that inside like this is the inside wall. I'm, I'm, I'm looking through that box in my mind. I want to imagine what does that far I'm gonna do. What is going to be behind that? What is. So reason for that is because let's say you draw a shape like this. Let's say it's a mouse like your computer mouse. Oops, it easy. That computer mouse, it's flat to the floor. So if it's flat to the floor, if I look through that, I'm going to be able to see that there's a surface touching the ground. Understanding 3D is what's going to separate you from every other beginner who's never even tried that. Like almost no one does this. All I've seen this almost always like a 100 percent of the time at the professional level, but I never see anyone at the beginner level do it. You want to understand that this is going over that this have a round surface and then that's flat on the bottom. And the best way to do that, and the best way to go about that is to draw these simple shapes, like help give you a simple one. Here's a great one to make you start thinking in 3D. Create a random shape, a completely random. It can be round or it can have soft edges. And try drawing a line as if an aunt was crawling on this. Okay? Imagine the ant. Like crawling. And draw, draw a line. See if you can like draw a line on here. And right now what you're doing is you're kind of creating the surface form by thinking in 3D. And you're going to do another one like you're cutting a slice out of it. And you just kinda making this up, but you would need it to be consistency each other, right? Because you're like, Okay, what happens if I slice it there, this little slice through this, but it might come in here where it goes flat on this side. Let me know if I'm making sense or not because I do this a lot with students. And when they get this, if you get this, this is going to be like level you're drawing up to a degree you never thought like for reals, if you can understand this concept and if you can apply it. So we're cutting a slice out of here, right? You're trying to draw. You'd try to, try to imagine that 3D aspects of this thing we just made up on the fly here, right? And if you can do that, you can do that with a person as well, which is going to make your drawing a gazillion times better. So let's get to the overlapping them. If that's the case. This is an exercise, by the way, if you, if you really want to understand this, That's the best exercise creating these weird shapes. Think about like flat or round or anything and start cutting them in slices like that, just putting a line through them, imagining it. And you really gotta understand the power to this. Once you figure it out, you're like, oh okay, you're, you're gonna start looking at like cartoon characters the same way you guys are looking at it like, oh sonic, that means, you know, like his spike is on. Like that's a crazy example, but like you see a spike on one side, you're like, why is it on the other side? Okay. Because he could see through the form as he's drawing it and he knows the spikes going to come out the other hand, I don't know. That's a little bit of a weird example, but Understanding that is going to actually push you to the next idea of overlapping. And if that's hard, I might split it up into two videos, but so overlapping. So let's go over overlapping. So we have those, the tube for the arm. Okay. We have that two for the arm. Okay. Now, we're going to look at it in 3D. So here's the question, and let's just say this is facing us and this is not, we're not looking through the box on this, on this is facing us right now. You know that this flat side right here is facing us like we're looking at it like a sliced zucchini or something. We're looking up that aren't we write, you have to figure that out. We're looking up at that. Let's take the shape of the bottom, the cone right here, the cylinder. And I'm going to make it. So we're looking down at this, forgive me of this lesson is hard because I know this is actually one of the harder concepts for new people. I just thought I'd make it in one video, like the hardest video. So like Please ask me questions. If you don't, then you're not sure. So right there, imagine like a hot dog cut in half. We're looking up at this side because we can see that side and we're looking down on that one. How do you know that? Well, you know that because we can see the flat part of the top on this, than this one right here. On this cone, we can see the top right there, but we cannot see the bottom. And over here we can see the bottom. Right, but we cannot see the top over here. We cannot see that side because it's aimed a little bit away from us. So we're looking up at this cylinder and looking down at this cylinder. Okay. So what, what happens if someone punches, like she has a shot where they're punching right at this fate, right at that, right at the viewer. You're going to have this, remember the tube arms, right? You're going to have like a pretend they have no hand by the way and we have to like figure the hand part out. I figured out, but I'm saying the hand part is not relevant to the example arena. But just imagine like the no hand part, we're just dealing with the arm, the upper arm, and lower arm. So what we're looking at now, that's the same form, but that arm or the arm without a hand is punching at us right now. And what you're getting is one shape overlapping the other. And we know behind this right there, There's this shape right here. Alright? We know that that's on the other side. Same thing with this and this side on this cylinder. And then we know that. And we know that because we did our 3D stuff. We learned to think in 3D. And this is called overlapping, right? You have one shape right here, overlapping the other shape. And this is the key to perspective. Like at least with anatomy. Hopefully you understand this. Let me give you another way to think about it. Okay, Let's jump into the next kind of example. So let me give you another example of this. So let's take a triangle than a circle. These two over here, right? I'll keep it over here. So which one of these is bigger? Which one these are smaller. We have no idea. Right? Which one of these is in front of. Like which one was, which one of these is closer to the viewer than the other? We have no idea. The only way to express that is they move closer together. And then maybe it starts looking like that. Right? And then you're like, Oh, okay, so now you know the triangle. The triangle right here is closer to us. And let me, let me do something here just to make it obvious. Like doing that, that netting thing. Right? But what if, what if this happens? What if they get closer to each other? And then this could happen right? Now we know the circle is closer to us, right? You're letting the viewer know that by deciding, because you're the artist, right? You're deciding what is closer, what is going on. Is this a moon and have been like a pyramid from Egypt or something like that. And then. Is it like a giant moon or something or the moon behind it? You're deciding that with overlapping. And so how do you, how do you how do you make that happen over here in the arm? What's an easy way to dictate that? So I'm going to show you this. So let's just say we have that arm again. Let's go back to this arm. So the R0, I'm going to dictate it like this, right? The overlapping is when we go to a human arm right here. And I'm throwing this little line right here. Like so. Maybe I'm going over this. So as well. Like there's a little bit of overlap usually with the anatomy you don't have to know about. I'm trying to show you, maybe even without it. This we know this shape right here. This one, this tube is closer to the viewer to us, then this one, because this shape we just showed it, overlapped it right there. This is the overlap, okay, right here. That's the overlap right here to this overlapped, showing that this shape is overlapping, the back one. So let me show you what it would look like the other way around. Let's just say we do this same thing with the two bombs, right? And let's just say we do a different, it's like this. And maybe some like this. And that's the elbow over there, you know, and that's the front of the bicep or something. But let's say the overlapping was like that. Now we think, oh, okay, the upper arm is closer to the viewer than the lower arm. It must be slightly leaning back. Now, instead of this, do you understand that like this overlaps up like that, where this shape is, the lower shape is dominant. Now, on this one, the upper shape is closer to the viewer because we know it overlaps in front of that shape. So it's doing this now. As opposed to this one over here did did what dow ended up there? Sorry, I'm like talking like that, but I really want to make sure that you understand that, that this shape is closer to us here because we see that in inserting in a different way and this one is like that. Anyways, that's it. For this lesson. That is a very, very, very new, the most important lesson in the whole thing. Really, really try to understand this. I guess the first one was as well, a lot of important stuff. Try to practice this if you have any questions, ask me but overlapping, it's the key to perspective. It's a key to all this flashy drawing. The cool manga like, like the, the really cool poses. This is vital. It is all about overlapping. And this is how you make dynamic poses is not just the pose, It's really literally understanding the shapes and what simplified shapes you're using is r in front of the other. Whoo. Anyways, let's move on to the next one and start applying it. 5. Perspective: Okay, So let's touch really quick on perspective. Overlapping is a big part of perspective with the body. I'm going to talk really quick about just the concept of perspective really fast and this is all you need. I'm not gonna talk about wood buildings or anything else, anything like that. But let's talk really fast about this. What you need as far as how much you need for the body. So let's say that's the tube of the arm, right? Those are two parallel lines. What is, what does parallel mean? Let's draw some other parallel lines as well. Right? Those are kinda Genki. What does parallel mean? Parallel means that these two lines, you can run them out forever and run this out forever and they will never touch. That's what parallel means. So you can just run them out. I mean, minor little cricket here it's like I would touch, but here's the, ideally you'd run them out and they would never touch. The most common example of that is train tracks, right? When you look at train tracks, you know, you've seen this a bunch. It does this going on. Like let's just say this is a train track, right? And as it goes off into the distance, it looks like it's converging, but it never really, not supposed to really doesn't do that. So as an object goes away from you, it becomes smaller, right? As a whole. And it looks like it converges at the end, but it doesn't really, but you know, you can do it with the vanishing point. So the tube of the arm is similar, right? So if you have, like I showed in the other one, Let's say you have a tube and you have your, Let's just say right here you have your parallel lines, meaning this one. And this one. You have your parallel sides. If you were to put that in perspective. Right? One side's closer to you, one side is back, it's going to shrink as it goes away from you. And you have something like that where that's the same form. Except this one is in perspective. Right? Whatever it's further away, the smaller, that's going to be some of that going to play into the figure. We've already kind of seen it play into that, into the last lesson with the overlapping, but just kinda keep that in mind. And that's really all the perspective you need as far as the figure goes, okay? If you want me to add anything to this, let me know if you have any questions, let me know in the comments. But this is all I'm going to touch on. This is all you really need for perspective for this. And it's pretty simple to understand, right? Let's move on to some examples. I'm gonna do some demonstrations of some pretty crazy poses. Let's get started. 6. Demonstration of Process: Okay, so let's go over three poses. All right. First thing we're gonna do is we're gonna do kind of a regular while. I'm going to be more and more or less kind of brainstorming what? Let's draw a stick figure. So right off the bat, let's say I got draw my stick figure. Say my egg shape for my head, my egg shape for my torso. But remember the overlapping. So I'm going to meet thinking about that concept, right? So the head's going to be in front. I got my ribcage over here and I have my neck behind there. But start with the stress stick to only the stick figure out of the box. For the pelvis. Maybe something like that. And thinking in 3D, thinking through the form, That's another way you can do it like it's called a thinking through the forum or drawing through the form. Let's say its arms coming out over here. Let's say it's just going back like that. Good doing almost like a Naruto run kind of thing. Could have a go out that way. I can have a go at that way. Let's have it go that way. Stick figure lines. And let's have like the leg from the back over here, the pelvis, I'm going to the leg and let's stick figure leg, come over here, my left side. And then C on this side, my other leg is going to come out over here. All right. From here, I have my little simple pose. I'm thinking already a little bit in perspective. What's going to be smaller going away. Let's have the ball over here for the circle, for a solid circle here for the ball, for the deltoid, for the top shoulder. I'm going to be thinking the elbows over here somewhere. And pull line curve over here for that tube right there. And I have this curve this way because I know that this tube right here is going away from me. Other part of the tube down her right there. That tube is behind that. I'm actually going to go like that. Some darkness other to differentiate some of these shapes so you can see them easier. I'm going to do the square of the hand over here. And the hands, a whole other thing. By the way, there's a whole lesson on that. Go check that lesson out if you have time, but I'm not really going to go into the hand that's a whole other. That's a lesson on itself. But I'm just gonna put like this pseudo hand there as a block and a couple of clumps the fingers there. Let's go to the far side over here. I'm going to throw the ball of the shoulder on the far side. Right? I'm going to try to hide it because it's gonna be covering that 01:00. Am. I going to draw through that one? I'm going to draw the two of the upper arm. It is incredibly four, shortened. I got some other words, foreshortening, overlapping. It's incredibly short. And this is also short, the part behind it as well because it's going so far back in the distance. And then the box. And then the fingers over here, we have that. We have the waste right here, kinda connect that to the box of the hips line over here. I'm sorry, a line I make a tube for the upper leg. Then a tube for the lower leg right here. I'm going to show the top of this kinda just to show you my visualization. And that tube is going away from us because he has his leg bent back. Gonna go in. Find that wedge. Wedge is relatively small right there because that foot's flying back. And over here, let's find the tube on this side. For the other leg, right? This curves is direction. This is well drawn the inside that tube shape line over here curve. Also drawing that wedge is relatively small because it is far away. This one's actually closer. I could actually draw this wedge a little bit bigger, I think, and it would work right on line over here. And we have opposed to work with right there. That's literally the framework of what to do it. I mean, you can literally work with that, with that pose. So that is one pose right there that I can work with. You can draw on more musculature if you learn more about that. But as of right now you can start drawing whatever face you want. Again, there's like different tutorials for that. We're just going over the poses here, right? How to get dynamic poses. As far as the face goes, I have a whole other lessons on that. Go check that out how drawn anime face and how to draw a normal like, you know, regular, traditional art face. I've two separate lessons for that. But okay, so that's one pose. Let's go over another one real quick. So that's one. Let's go into it's another wild one that they have. Like a like a really like a kicking one would be good. Where they kicking like right at the screen. So I'm going to start backwards hearing to start with that wedge. And I'm gonna start that wedge really large because it's so close to us. So we look at the bottom of that wedge. The bottom of that like we're looking right at the bottom of their shoe right here. That's kind of what I'm thinking in my mind's eye. And I'm drawing that first because I really want to get the rest of my stick figure down. Line over here for the leg and the lower part of the leg. I've drawn it backwards, but I'm still thinking and stick figure form first except for the foot right there because it's so interface thing about the knee over here and my stick figure down over here for the upper leg, the thigh area. And then that's going to roll it to the box of the pelvis. And then we're going to have the, you know, the stomach over here, but then that's going to roll into it. Well, it's going to also lead into the ribcage area, which is going to be in that kind of circle edge shape. And then the head of the liver's kicking or here. Behind that. This is where overlapping really plays a thing right? Now. See how the ribcage is closer to us than the head shape. So that's gonna, you're not gonna see part of the head because it's literally going to be overlapping. Again, you can call this foreshortening. I just like using that term more. Pelvis is overlapping. Part of the part of that as well, part of the ribcage. Let's put a leg out here. The other leg, where would the other leg be like bam over here, kinda karate leg drawn these stiff stick figures. And you can always just these, by the way, I'm doing this in pen for demonstration purposes, but you can always fix some mess with your own drawings as you do them. Let's draw a wedge over here on the foot as well. We probably seeing the bottom of the foot and obviously there's another foot drawing lesson as well. All of these have separate lessons right now we're just going over the poses because I don't want people to go like a, you're not making them look like animate. I'm talking about like we're talking about the dynamic poses of anomie and how to do that. So there's a whole the lesson on feet drawing. Go check that out. Okay, So right now we've got our cool stick figure here. What were the hands do? The hands maybe one right here. The shoulder be like over here. And I'm going to pull that out. Maybe like an a guard stance or something. And then the other one would be you get weak and let it fly back, be real tiny. Right here. It could be super tiny. Like that's the elbow end. Thanks. So let's go into the tubes. Like how do we turn this into tubes? So right now I'm thinking, I'm going to start from here again at the knee. I'm thinking of what is this going to look like? Over here? Over here, that tube from the knee down the side of the two here again, the tubes are just for emphasis. Going over here. That's the thigh. All right. Going over here. Little bit with different shape here. This two and this leg is closer to us, right? The bottom part of this other leg is close to us, just like this one. And you see how like be thinking in 3D really helps with constructing these poses. There's a stomach area here, I think. But that kinda connects it. That's a little vague, but I think that that can kind of portray that. Making sure the chest area I'm going to just thicken that line out to, to make it obvious that the head is over here. And then let's draw the tube on the arms right here. So curve occurs at the tube is going away. And we're going to make this little almost tiny right there because it's going away because so for short and it's so it's so perspective so bad and then give it like, we'll just give it like a novel of a hand over here. To this arm. Tube of this arm. This one's a little bit closer to us. The lower part of the arms a little equals doesn't the upper part. And I will draw a nub for the hand there. All right, The ego. And that would be that one. I like that. That's really cool. Yeah, I see. So that's kinda how you're gonna do this, right? You, you start constructing them with simple shapes. So we have two poses over here. We have this one out of this Naruto run thing, or I could have written a router R1, but I mean it's similar but it's not it's not because the rotor onto more back, both his arms are back. And we have this kicking pose and that's how you construct them. Let's move on to thoughts and I'm going to go over a review of everything we've learned. Okay. Let's move on right now to the review. 7. Complete Review: Okay, So this is review time. We're going to review everything we went through. That the reason for that is because I think it's a good summation of the process and I want you to fully understand this. So let's go over real quick. We started with posing. I start with stick figures, really simplistic forms. The only form of thinking about in the beginning is I'm thinking about the ribcage. I'm thinking about the pelvis. I'm thinking about the head when I'm drawing the stick figure forums for practice for you gave your draw this and then take it over once you have a pose you'd like. And then, okay, I'll take that over and then start working into a new drawing. But this could be for like idea generation, which I recommend you do. Um, but I'm, I'm thinking of the arms is like stick figures and I'm not thinking about any specific sizes right here. Just generally the ribcage is generally bigger than the head. And the ribcage, sorry. Yeah. And the pelvis is usually more square-like. Usually think of as a box more I should have, shouldn't draw it more as box here, think like little round. They've been more as a box or a cube, right? And 3D. Okay, that's good. I always think about it like that. I don't think too much about the height and stuff like that. That's something that will come naturally to you. I don't really think about the head, the six heads, eight head stuff that often, I really never have. So it's up to you if it helps, you definitely go buy it. Then from there, we went into basically the structure. The structure of what I use. Usually these are the simple shapes that I use to lay over on my stick figure. So this helps me give it mass. This helps me simplify these forms in order for me to draw them easier. Because when you look at anything, you are simplifying it and making it easier for yourself, you're deconstructing it. I can do this a dinosaur. You can do this with anything with these shapes because this is literally made up of egg shapes or circles, right? And tube shapes and blocks and squares. That's it, right? We don't have to learn anatomy. We should learn anatomy, I think over time. But to get started, you don't need to know anatomy for the moment being I will, I designed it this way. Think in 3D from there. When you think of something in 3D, that helps you immensely, I would say an example of that would be a good exercise, would be drawing like really strange, blurry, blobby things or even stuff like that. Draw any form, whether it be straight or not and try to slice it in your mind's eye, literally drawn it as if an aunt was crawling over it. What would that shape take, right? What would it take when you think in 3D? It's going to take your drawing to the next level without even really trying, even just knowing that concept, you're going to kind of practice it, but it'll, you'll see it'll start leaking into everything you do, your paintings or drawings, your everything, you just, everything's gonna get better. And you'll realize that over time. Then what I did was we went through overlapping, which I think overlapping. I should have actually talked about perspective first. But overlapping, I think is one of the most important concepts ever, especially when it comes to figures, and especially for figures. We talked about how we think about it 3D like we talked about what it forms is going away from us and what form is coming toward us or, you know, and then some and how we can show that by overlapping right here, some of the joints right on one end you're overlapping the other to show that's closer and then some right, What is closer to us and what is not. Then after that we went into perspective. General perspective as far as what we need for this, we're not doing buildings or anything like that right now. We are doing just the figure. So there's only, we only need a little bit of perspective to understand. And I talked about parallel lines. Parallel lines are two lines of that never intersect if you were to stretch them out generally, right? That's the idea. But they look like they intersect with perspective, like train tracks. They look like they intersect at the very end. They get basically whatever it's further away from us gets smaller, and whatever is closer to us is bigger. We use that on a tube right here. This is irregular to with no perspective and here's a tube. With perspective, you can force it, right? It's not forced perspective as a whole. The thing that's all that's like I'm buildings and stuff, but this is a great concept to learn for our figures. So now we have the shape, we have a stick figure, we have perspective, we have overlapping, then we take that and that's what we do. We put them together and I showed you that example. I just showed you in the last video. I start with a stick figure thinking of only an egg head and egg ribcage that's bigger and a box for a pelvis, right? You're thinking about something like that and you add to it you're adding the tubes for the arms and you're thinking about it now and now it's coming together. Now it's this form. Right? Now it says actual object in space and you're what helps you out as you're knowing what overlaps. So this little arm right here, this part of the arm, you can tell CMS is further away from us, then this part of the arm. How do you know that? Because right here you can tell one of these is closer to the other width at overlapping, literally this shape right here, it's overlapping that shape and that's how, you know, this is further away from us, that this is closer to us and you're doing it, we're doing it everywhere. And that's the key to getting dynamic poses to really work, right? One is the pose itself and then getting that overlapping to work. And lastly, I drew this a real extreme perspective on. You can get even crazier by drawing the foot even bigger and they do that all the time. Perfect, perfect, perfect stuff. That is the review. Let's move on to the bonuses and what I am going to tell you in the bonus section on what to do as far as exercises go. Okay. 8. Bonus Lesson: Okay, this is the bonus section. There's something you can do to this, right? We even create your own poses from your mind. That can be really fun. But sometimes the thing is, it's good and you will be able to, you will be able to do that. But the thing is, not everything is original. In art, things are not always original. Array. Things have been done like you can always put your little flare on it. So what I recommend you to do is go watch anime any animate you want, Dragon Ball, any like there's grade, grade poses and all this stuff. Pause it or take a screen cap of it or just Google images of action poses from anatomy you like, or in my Mongo. Mongo, you'd actually have a comic. But if you haven't, if you have a comic, draw that post, practice that pose. If you see a cool pose of somebody kicking, look at that pose and try to break it down on another piece of paper. Like how that would be like. Okay. Start with your stick figure. Right. And just I mean, I mean, I'm not looking at anything right now, but if I was looking at an image, I would try to break that image down that same pose with my stick figure. Right? And then start adding to it, doing this like whatever. And it was doing that. And I'm not looking at anything, so whatever, but breaking it down like this will give you a library of poses in your mind's eye already. So the more you draw that, the more you're going to have that in your brain. And you're going to be able to pull that out and change it and do what you want with it. That's the actual part they, people don't talk about is you're building a slowly a library of poses in your mind where some people, it looks like they're just drawing stuff from their head. Usually when they're drawing is a pose that similar to something they've seen before. And that's the key to it. Okay, I hope you're doing great. The next video I'm going to say, you know, like my guy, but hopefully this taught you everything. If there's anything you want me to add two here, I can add lessons on here. Let me know. Okay, let me know in the description I can try to add another lesson. There's some doesn't make any sense I made, I can make a follow-up video and squeeze and then let me know. Okay, that's it. Let's move on to my final farewell in the next video. And what I think you need to do. 9. Final Thoughts: All right, thank you so much. You are amazing if you stuck around to this point, That's amazing. I think this is kind of for a new person, I think to understand everything in here is very intensive for somebody that's brand new. So I do want to congratulate you for that. What I want you to do is I hope this is the beginning of a big artist journey. I want you to stay positive, right? Everything takes practice. Things. You're not gonna get things immediately, that's just not going to happen. So what I want you to do is practice the stuff I talked about, practice your stick figures. Go over and think of stuff in 3D. Go over and how do you say that? Just kind of look at other poses through manga and anime and see if you can construct them. You know, you're kind of breaking them down and understanding them. Because doing that is only going to make you better and you only become better through practice. So if I was going to give you an assignment to post to me, literally you can post anything. You can post the stick figures. You can post constructed figures. And or you can just, you know, whatever you want post. But as long as you do it, that's what's going to get into your hand. It's similar to like watching me lift weights as opposed to lifting weights yourself. You're going to have to do it. You can watch it all you want, but you're going to have to do it yourself. Post it for accountability so that you know that you did it. And I'm going to reply to every single post that you do. Okay? So hopefully that was great for you. I'm gonna see you in the next lesson. Go check out all the other lessons. There's how to draw specifics of the face, you know, the specifics of the eyes and the specifics of anatomy. Anyways. Thank you so much. I appreciate it. I'm Enrique again. Thank you so much. I'll see you later.