Dynamic Poses: Unlock the Art of Movement

1. Welcome!: My name is Carla Kassar. I'm an Illustrator, and I mainly do editorial and narrative work. I've always loved to draw characters, and I remember that one of the things that I used to be quite scare about was to draw my characters in movement or in complex poses. A lot of the times, they would just stand straight, looking quite stiff. And I really wanted my characters to look more energetic and expressive, especially because I like to tell stories with my illustrations. I spent years of drawing characters and learning about gesture drawing and line of action, and would love to share with you in short and practical lessons a bit of what I've learned. So you can put these concepts into action straightaway. Also, I started to do ballet as an adult, and I got mesmerized by the cleanliness of the movements and how expressive they can be. So inspired by ballet and its beautiful ins, I would also like for us to talk about how balance and emotion can also help us achieve a dynamic pose and even help us communicate a story. There you want to improve your ability to draw poses, or interested in narrative illustration. This class will give you key insights and techniques to get started with drawing more expressive and dynamic poses. For this class, you'll need simple drawing materials that you'll likely already have at home. As the class progresses, we will be creating different poses and learning what makes them more dynamic. I'm really excited to start this class, and I hope you enjoy it. See you in the first lesson. 2. Project & Materials: In this class, we will be doing practical exercises in each lesson. For these exercises, we will need paper of choice. I will use this letter size printer paper. On color pencil. I suggest using a bright color. I will use this red one. A pencil. Doesn't really matter what kind, but I would suggest something that is not too dark or too light. Maybe an F, H, or two B. You could use an eraser, but I highly recommend to not use one. We will be drawing two poses for each lesson. Don't worry. They're quite quick exercises, just to revise and put into practice key concepts. Please feel free to upload these drawings as your class project, or if you would like to draw a more finished piece, draw at least one of the images from the Pints board. You can find the link in resources. Okay, so ready to start. Let's begin with our first lesson. 3. Gesture Drawing: In order to achieve dynamic drawings, there are four main aspects that I would like to cover in this class. And these are gesture drawing, line of action, balance, and emotion. I'll briefly explain what they are and how they can help us achieve more dynamic poses. Just a quick FYI. There will be a lot of ballet inspired poses in this class, not only because I love ballet, but also because I believe ballet poses are very clear in their shapes and lines for analyzing the topics we'll discuss. Okay. Let's go ahead straight into the first key aspect, which is gesture drawing. So what is it? Gistur drawing are sketches that are done very quickly, and which main purpose is to capture the essence of the object we're drawing. Gisture drawings are usually done very quickly, usually in just a few seconds, and in a very expressive manner. That is, we don't tend to erase, and the strobes tend to be quite loose and free flowing. This encourages the artist to focus on the overall form rather than getting caught up in details. Comes to gesture drawing, we don't really care about how accurate the sketch is, but we care more about the overall shape and vive of where we're drawing. Sometimes gesture drawings can be used as warm ups, but gesture drawings are more of a skill in and of itself, because they can offer us a plethora of benefits when it comes to our drawing practice. Some of these benefits are helping us understand the energy of what we're capturing. It help us to be more aware of forms and shapes when we're drawing a spontaneity, flow and movement. This helps to convey a sense of liveliness and action. It can help us improve our drawing speed. Especially if you tend to spend a lot of time working on a piece and end up not liking it. This is a skill to hung on in. Gesture drawing is amazing to work on abstraction and observation, two very important skills in any drawing practice. And overall, it can help us feel more confident about our strokes and drawing techniques, and as a result, create more expressive work. We're now going to do a quick exercise. As you grab your materials, here's a few quick points to consider as we draw. Our sketch doesn't have to look good. Doesn't have to be a masterpiece, doesn't have to feel finished. Our goal with gesture drawing is to capture the essence of what we're looking at. Imagine that we're taking a photo. T snappy and quick. Now, for this exercise, we will be doing gesture drawings of two different poses. The posts we will be working with will remain onscreen the whole time as we drop. But in case you need to see the image in more detail later, you can find it both on my Pintres board, which is linked in resources. We'll have 30 seconds for each post. Let's start with our first one. I think it's really important to analyze the image before we start doing anything. Whenever I'm doing gestural drawings, I like to think shapes. So let's analyze here what shapes we see. The head would be oval or a circle. And I can see a triangle right here and another one right here and another one right here. And I can also see that hertroso is a little bit square. Is not quite a rectangle, now we're going to do the drawing. Don't think that has to be perfect as I said before. Now, let's use our pencil, and let's start ready set go. Okay. We've got the head, but it's kind of tilted to that side. Got the square, the arms, and this is the triangle's telling you about. This is the other triangle, which is a little bit more Okay, Let's see there's a big triangle here, so the leg goes like that, and the other one goes like that. Can add a bit of detail in gray here. Then time's up. Now, we're going to grab our colored pencil, and what we're going to do is to clean quotation marks up the sketch a little bit. I would like to just do a little bit of corrections to my sketch and add some details. And let's see if we can see the shapes. A little bit better. Now, this is my final result. I like a movement, and I could add more details like that, like pants, if you want. Some wrinkles. And the ear and even sun shading. Okay, this is a good start. Let's go ahead and have a look at our second image. And let's analyze the figure a little bit. I'll share with you what I see. I see the head that is an oval, and I see a bigger oval right here at his hands. This is a rectangle, I think. It's like elongated. It's not quite a square. I see a triangle here and another triangle down here, which I think it might be a little bit tricky. Let's grab our pencil and remember that these images are going to be in my pint sport. If you want to have a look at them a little bit closer later. Okay. Ready, set, and go. Now, the head is going that way. Let's do the torso. And another oval, I said right here, the arms a triangle right here, I said. So and then this goes down. And this leg will be going down here, the triangle right here. The neck and the arms. Oh, I really like the energy of this post. And I think that one of the best things that we can do whenever we're drawing, doing gestural drawings or simply sketching is to have confidence in our strokes. Because I believe that when we're very precious about how our sketch is going to look like, we tend to control the movement quite a lot, and it's really important to that go whenever we're trying to capture movement. Grab your colored pencil, and let's do a little bit of detailing if you want. Or corrections, which, again, we don't need to correct anything right now because we're just doing just doing just rule drawings. But we could add a little bit of shading who we want. Or if there's a line that you don't quite like and would like to redo or do over. And I do like both. I think both share energy, but definitely I prefer the sick. I can see that with this one, my hand is already losing up, so I'm actually pretty happy with how this turned out. 4. Line of Action: Let's not talk about line of action. The line of action is an imaginary line that runs through a character. This line help us identify the flow and direction of the pose we want to draw. In this examples, we can see that the line of action illustrates the flow and direction of the poste. The line of action show us where the energy of the pose is or is going. This is a great example that shows us where the energy is going. In the first picture, both energies are moving upwards and the characters appear a bit stiff with little interaction happening. In contrast in the other image, the energy has specific direction and flow, making the punch feel much more dynamic and visually engaging. This is another excellent example. We can see that because the character is being pushed and offering no resistance, the line of action curves to the left, clearly indicating the direction of the energy. In image B, however, the character is offering some resistance, so we can feel that while some of the energy is moving to the left, part of its directed to the right to prevent the character from being completely pushed in that direction. One common misconception that sometimes I find is that some people imagine this line as a spine of person or animal, which is not quite accurate. The line of action can be placed anywhere, not just the spine. Usually, there is a main line of action that starts from the head and ends at one of the feet. However, we can draw several lines of action because ultimately the purpose of these lines is to show where the energy is flowing and in which direction is moving. We can draw a main line of action for the body, but we can also add lines to the arms or legs, depending on what helps you visualize the energy and direction the best. Let me show you a couple of examples using my own work. In this illustration, the girl is walking to the right, but we can see that her energy is fully directed in that direction. Otherwise, it would feel like she's either walking faster or trying to catch the butterfly. At the same time, she's reaching for the butterfly, so some of her energy is also directed outward. Since she is moving to the right, her back leg indicates the direction she's headed. These lines create a sort of skeletal structure. This guy is sitting and relaxing. Most of his energy is directed toward the bench. Since he's holding the boom box, he needs energy to lift it. So I drew this curved line to show where the energy and movement flow. He's not fully leaning against the bench, so we could even assume he's dancing a little. Also, it's worth mentioning that a line of action can be applied to plants too. Animals. Anything that is alive, basically. Let me show you a couple of examples. This beautiful photo shows how the two different animals have distinct lines of action. But these differences actually enhance their interaction and provide context. With plants, it's very interesting because some grow upwards, trying to find the sun, so their energy is directed upward. Now, look at this sassy guy. We can see that his body is pushing forward, but his hands are creating a curved elegant movement, and his legs are moving sideways as well. Back to plants. So we're just trying to resist gravity. This one is not trying too hard. Finding the line of action in our poses is easier when we consider the three line of action basic types? The C, which is also known as convex, reverse C or concave, S. Training or I is key to cultivator during skills. So let's do a quick quiz. I'll show you a few poses, and you tell me which line of action is, either a C, reverse C, or S. Remember, we're going to start imagining just the main line of action from the head downwards. Which line of action do you see here? This is a C. How about this one? It's an S. Now, this one. This is a C, and here's an easy one. This is a reverse C. How about this one? It's an S. And this one is a C. Here's a tricky one. If you set an S, that's correct. However, certain poses may have different interpretations. Now, which one should you use? It depends on what you're aiming for and how you want to portray the energy. Remember that these are just guidelines to help you find what's most suitable for your work and what feels right. If you are onshore, try different lines of action and decide which one looks more dynamic to you. Personally, I have found that the S is often used when there's some form of resistance. Remember this example. In image A, we can see the energy is distributed evenly, whereas in image B, the energy is going in two different directions, representing resistance. One personal tip is that for dynamic poses, even a straight pose will have some curve or energy to it. This example, although she's standing completely straight, and we might say the line of at suggests the energy is going upwards, our spines are curved to distribute our weight. So even when a person is standing straight, the drawing will look more dynamic if we add some curves that imply the energy is evenly distributed. This is why people sometimes confuse the line of action with the spine, but let's remember that it all depends on what you want to achieve with your pose. Not all poses will have the same line of action. It's time for exercise. We will draw two different poses. We will need to find the line of action and do a quick gestural drawing of that pose. Two important key things to remember, think about the movement and flow of the pose. And keep it simple, so it's clear and readable. These poses would also be in my Pinter sport. Remember, we're going to do the line of action, and then I just drawing. We don't have a time limit here, but I highly encourage you to work quickly. Let's grab our pencil, and I'm going to be showing you the first image. I can instantly see that it is a reverse C right here. Let's not worry about seeing shapes at this point. Let's just worry about the line of action, and we're going to be tracing it. I like to do from the head boards, but If you find it easier to go the other way around, it is completely up to you. As I said before, the archers guidelines. The important thing here is that you find a method that works for you. Now the other way around that you work for the method, if that makes sense. I can see another thing before I start drawing the line, is that it is a C, It's a reverse C, but it is an open one, if that makes sense. It is not to like the angle is like that and not quite like that. So we're going to try to figure out how open or closed our C is. So I think this is, like, kind of medium C, so we're going to start and try to recreate that. And once again, with lines of action, I do suggest to do a quick movement. At this point, we can actually start thinking about shapes, b square and I do with the gestural drawing. Now, I can see a triangle, a of square is a rectangle. And I'm going to try that the line follows the line of action like so. And remember, be quick. You can do a couple corrections, but don't try to overdo it because otherwise it's just going to be really messy, and it's going to be hard for you to figure out which line do you want to do because we want just to train our hand to be quick and not be too precious about what we're doing. Now, let's see, we have the triangle right here, but it's moving in that line, so we're going to incorporate the figure into the line of action. So we have the triangle right here. We can phrase another line of action like that. And now let's do the arms. There is a line that goes actually goes up here, not right here, so. Sorry, my mistake. And this one goes like that. And this is a triangle that I was telling you about. Now, we're going to use Well, I'm using red, but we're going to use our colored pencil to trace over this and to it up ale bit. I'm going to happy with this one with this arm, I don't think if this one ends here, it should start from here. Okay. I think that will make more sense. But anyway, we're just want to capture the movement. So we can see our line of action. The other one I drew and the ones I drew for the arms. Let's just draw some shorts. And by the Okay. This is our first line of action sketch. Let's have a look at our second image. Alright. This one is very interesting. We can see that it is C. And well, once again, don't worry too much about the figures or while you're going to be drummed for adjust for drawing, let's just focus on the line of action, which I think it goes from the head to the toes. And it is a little bit more open. So, let's try to do that. Ooh. Maybe let's Okay. Alum gate the line a little bit. So it's a little bit more open. Oh. And les star drawing shapes or let's try to do the gesture drawing. Now, I see a triangle ratio, and I see that the torso would go here, and we are going to be trying to trees that torso that kind of matches the line of action ratio, going upwards. Little bit downward, and here is the triangle I'm going to be drawing the hand. You feel free to draw the line if you want. But there's another line of action here, but I'm going to skip it. Then it goes from here to that bit. And that bit. And let's connect this too. And this is my sketch. And let's start cleaning this up or to give that more details. Is there any sort of, like, a belt type of thing right here? And the leg is actually quite low. Sound like tow a bit higher up. This is my sketch, and I do like it. I think it has that energy that goes that way. And I'm quite happy with what they look like. Let's just add some shading here as. The characters jumping. Don't forget to upload yours. I'll be ally I'm looking forward to seeing your drawings. 5. Balance: F. Let's now talk about balance. When it comes to drawing poses, we think of balance as how our pose is visually distributed. If we want to draw a pose that looks natural and dynamic, we need to consider physics a little bit. So I would like us to consider gravity and weight. Let's use this image as reference. I'm going to remove the background so we can focus on the pose. Let's identify a point where the body makes direct contact with the ground. This will be where gravity is resisted. If we draw a line upward from that point, we can clearly see that most of our weight is shifted to the right. This line has an in It's called a plumb line. A plumb line is a line that has weight attached to the end. Originally, plumb lines were used by builders to take the walls we straight. In this particular case, we will think of weight where gravity is being released resisted. Let's have a look at this image. In her first drawing, we can see that her weight is basically sitting on her back leg. And as you can see, this first pose looks way more balanced and organic than the second one. And we can see where the plumb lines are located. Usually in standing poses, the weight will shift between legs, and sometimes we would have even distribution of weight in both legs. In that case, we will draw the plumb line right in the middle. In Ballet, there's always this tension, let's say, between your energy going upwards, but also pushing downwards. And you have to constantly be aware of where your center of gravity is to avoid falling. Let's talk about center of gravity. This is the point where weight is evenly distributed interpose. In humans, it's usually located around the mid abdomen or lower back. In cases like this one, we can locate the center of gravity and draw a plumb line from there. Now that we have an idea of where the center of gravity will be, we can start thinking on how the weight would be distributed in order to maintain set center of gravity. Let's look at this example. Since he's upright, gravity is pushing him downward, while the upper part of his body is resisting gravity slightly. The point where these forces meet is the center of gravity, though it could be a bit lower too. If we locate the point where gravity is least resisted that is his foot and draw a plumb line from there, we see it passes right through his center of gravity, indicating that his weight is equally distributed on either side of the line, making the post appear balanced. One thing that really helps me to distribute weight italy is to think of the line of action rather than the whole shape of the person or object that I'm drawing. In other words, the idea is to adjust the line of action in a way that it's balanced and that our object doesn't tip off. Now, let's go back to the previous example. We have identified the point of least resistance in terms of gravity. Let's draw a line of action from the head to that point. Now, let's locate the center of gravity. Draw a some line and adjust both the line of action and center of gravity. So the line passes through the later. We can see that the weight is more evenly distributed now, creating a more balanced pose. This is the before and after. One version looks like stipping over slightly while the other doesn't. Remember, you can use this tool depending on what you want to achieve with your pose. I found a great example that shows how adjusting the line of action can help create the illusion of weight. It is important to consider gravity and the energy needed to resist it when drawing poses. Let's now do a quick exercise. I would like to show you the previous drawing that I did, because I want to point out a few things that balance can help us with. As you can see, the line of action, it was a C. However, the character's energy seems to be tilted to the right. Perhaps the character would look a little bit more accurate if we tilt the image a little bit. So this is how balance can help us. So let's start with the first image. So let's draw the ground and our plumb line. Now, let's imagine the same lines in her image right here. We can see that a lot of her weight is tilted towards the right, and we can see that her leg is basically the one that is moving to the left. We can see that her hand right here is be lined with her foot right here, and we can see that her head is not too far away from the plumb line. We can see that the line of action could be could be a little S or could be a st, depending on how you see it, and not so curved C. I think personally, I'm going to be doing let's see. Now, the Plumlin can also help us with the degree of openness of our line of action. So we can see that the head would be right here and that her feet is right here. So our line of action is more or less like that. And we can start drawing the it row drawings. We can do the head. We can do the hand right here. We can do the torso, which will be like that. Look quite a square rectangle. And that goes all the way down here. That The leg goes. The leg is actually a line to our center of gravity. So let's try and do that. You can draw a line of action for this one, too. And this one goes down, goes like that. And let's draw the skirt. Well, perhaps a little bit longer. And now let's grab our colored pencil and start doing our sketch. M Okay, this is our second one. Let's just draw the ground and the plumb line. So we can see that the plumb line would go up here and that she is a reverse. We can see that she almost feels as if she's tilting to. So let's do that. This is the ground, and her head would be right here. So that would be a line of action. Now, let's do or let's try to find the shapes. Now, we can see that her head is actually like here. Now, her arms are not quite doing. Well, they can be doing an oval, but this one is a little bit straighter. So, goes like that. Her torso, it is short, so we're going to be doing a square. How close is this line to the plumbing line? I think it's It goes like that rather than here because it's a little bit farther from that. Now, I can see a triangle right here, but I can also see that it aligns with her head a little bit, so I'm going to be doing the triangle here. I can see that it crosses the leg right here and goes down like that. Okay, so this is my image. Let's go ahead and trace it with our color. Little bun she's wearing. Now, her neck is lovely, is really elongated. But remember what we said before, even a straight line would have some curve to it. Her top is really cool. So let's try to recreate that top. This is a final image. I really like it. I just like the flow of this image. I think this is my favorite so far. Let me show you the first one, we drew. And here we'll have them side by side. 6. Emotion: And finally, let's talk about emotion, which, in my opinion, ties everything that we have talked together. Think of emotion as the mood your pose has. The mood in your pose will affect the overall energy of it. For example, when we think of happy poses, the energy typically moves upward. In other words, there's greater resistance to gravity because there's a lot of energy pushing in all directions, making the pose appear very light. Set poses, on the other hand, depict energy moving downward, offering less resistance to gravity. Cre poses are interesting because although the energy seems to be moving downward, there's a lot of resistance to gravity creating tension and heaviness. So the emotion in your pose based on its energy can help give it context as well. And this is very important if you'd like to work with narratives. For example, understanding the energy and how much your character is resisting gravity can help us visualize the line of action more clearly, and as a result, we will be able to draw emotional poses a bit easier. In Ballet, we think a lot of emotion in order to communicate with the audience. And since we cannot speak on stage, we use our body, and it's energy to tell a story. So the main takeaway in this lesson is to think of emotion as energy or. And to think in advance, if we want to draw a highly energetic pose or perhaps a more subdued one. So considering the level of energy or emotion in our pose before we start drawing can help us create a more dynamic and interesting pose. One little tip that I also got from Ballet is to exaggerate the emotion a little because when we are on stage, we may appear very little to the audience, so we need to make ourselves seen. So if you're having issues, whenever you're drawing or an emotional pose, that is, if your emotion is having issues being seen, try exaggerating the pose a little. It may feel odd at first, but this can help us identify where we're actually having issues. For our exercise, as usual, we're going to draw two poses. For this specific exercise, I want us to keep our characters faceless. We want to focus just on the energy of the post. Okay, let's do our last exercise, which is emotion. And remember, we're going to keep our characters faceless, so we're going to care just about the energy. The characters or the figures that we're going to be drawing is projecting. Let's look at our first image, which is this one. Oh, I perhaps think this is a very tricky one. Let's think about the energy, the characters projecting. Okay, she seems to be pushing to the left, but also pushing downwards. So we can see that the whatever she is afraid of, it's coming from here, so we want the energy to go this way. And let's start drawing the ground plumb line. And let's just see if that energy crosses the plumb line, feels heavy down here. So we wanted to go pushing downwards. In the specific example, let's find her center of gravity, which is right here. So this is where we're going to be we're going to be drawing a line of action passing through here. Is it too tall, perhaps, perhaps we need to draw it a little lower because it's pushing dow. So ignore this one. Once again, we're allowed to reconsider movement. But the reason why I don't like to use erasers is because we tend to be too precious about whatever we're drawing. So it is okay to reconsider, but it's not okay. Quotation marks to doubt about yourself and your lane work too much. Okay, let's go back to the drawing. Now, the head. So we need to think about the head will be right here. O line of action is an S. So it goes Wh. Now, This would be the first leg, the first leg, this is the one leg, and let's draw the other one. So this is our line of action, and this is our other line. The head, how far away is it from the plumb line, and how high up is that line? So we're going to be drawing it here. I can see a circle. I can see a red tgul right here that actually passes a plumb line. Oh, like that. The hand goes right here and goes down like that. And let's see where the plumb line is. It actually this like crosses the plumb line a little bit. Goes like that, and this one goes a little bit farther. Let's grab our trusty colored. Remember no faces. I was about to draw the vase, but no faces. If you were to look at this image, what would be the emotion that you'd be thinking of? Perhaps is the hands that are kind of giving it away that is trying to protect herself, perhaps is the legs. What is it about this image that makes her look scared? Let's do our second exercise. Come on, this is our last one. Okay, so let's draw the ground, the plumb line. Okay. Let's look at her energy. She isn't happy. She seems pretty lifted, so the energy is going to go up and to the side. Like her energy seems to be going in all directions. The plumb line is right here, and it is from here and the head goes. It's pricing the plumb line a little bit. So we can see that she's a reverse C, and it is a open one. So it doesn't go too far from the plumb line. So that's the line of action. And the shapes I see, it's a circle. I can see a square and it goes down, and the leg, the leg does a little triangle from the head here, so if it's going upwards, let's think like that. And play that. Now, the arms we said they were lifted and going up. This one is like a straight line like that, and this one goes like, Oh, it's actually crossing the plumb line a little bit. So this is our character, our fear. And now let's do a little tracy trace with our colored marker or colored pencil. So remember no face. Again, I was going to do it. I always sir with a face. I just like faces so much. This is the final recint. Let's look at the other image. And let's see. Do you see a difference in the feelings or the emotions that the sketches are portraying? How do you feel about yours? Do you think there's anything that needs or could be improved? Now, let's look at all of the sketches that we've done so far. I love this one. This is my favorite one. But we've got a few. And let's look at the first ones we did. I love the energy of this one, rate. I like the lines, and I like how quick the gestures are. I feel that as we had more time to draw, those lines were a little bit more tight. So I personally do recommend having a time limit, perhaps not very strict one, but I would recommend definitely having that. I also think that as we progress, there was a lot of warming up. I can see right here. I do love I love, love, love this one. And having said that, if this is a sketch that you particularly liked, I would encourage you to do a finished piece, and to share with us in the project gallery, as well, I would love to see more finished pieces because there's one thing I love about seeing projects is the progression, how it started from sketches and how they moved towards something more finished. You don't have to. This is completely optional, but I think I'm gonna be doing that. I'm gonna be sharing a few ones that I really loved. You can trace this once over if you don't use any digital medium. That's the reason why I suggested using a bright colored medium, because if you want to trace over the drawing to do a more finished piece, then you can actually do that. Thank you so much for joining me in doing this exercises. It was really fun. And once again, ss I blow them to the Perje gallery doesn't matter if they're just the sketches or if you want to do a more finished piece. I just want to hear your thoughts on your exercises, how you felt. If there's anything in particular that you found difficult or easy. Share with us. It's always lovely and so inspiring to hear other artists' opinions on the same project. 7. Extra Resources: In this section, I would like to share with you some extra resources in case you want to practice a little bit more after the class is finished. They are going to be linked in resources. I'm going to recommend you two apps. One is POSE. This app is great for visualizing dynamic human poses. You can easily manipulate three D models and try out a wide range of angles and positions to get your desired posts just right. Magic Poster, Another excellent app for working with three D models. Magic Poster offers more advanced customization options, including multiple models, various props, and dynamic lighting as well. I am going to recommend you two websites. One is quickposs.com. This site offers time to figure drawing sessions and random post generators to help you improve your speed and accuracy, line of action.com, a fantastic resource for practicing figure drawing and dynamic poses. This site features various post categories and time based sessions to simulate real life practice environments. Pinterest. Well, it's no secret. I really love Pinterest. You can find collections of reference poses for different body types, action poses, and dynamic movements. It's all there. While these tools are helpful, don't forget the value of observing real life. Drawing from life models or even capturing poses from people around you can dramatically enhance your skills, practice sketching friends or take inspiration from public spaces, or you'll find natural dynamic poses in everyday activities. Now, remember that these resources will be listed in resources. And now, just a few quick words before we finish the clas. 8. See You Soon: As we wrap up or class, I want to take a moment to thank you all for being here, and I hope that you enjoyed drawing dynamic poses. And that are four key concepts, just drawing, line of action, balance, and emotion, help you have a better understanding of how to bring energy into your drawings. I'm excited to see how you apply these techniques in your work. So, please don't forget to upload your exercises to the gallery. Drawing poses can be a bit daunting. So please remember that the more you draw, the better you'll become at capturing dynamic poses. So please keep practicing regularly. And also, very importantly, stay inspired. This is key. Explore different sources of inspiration, whether it's ballet, like in my particular case or any other sport that you may like or even daily life. Daily life is an amazing source of inspiration. Feel free to reach out. If you have any questions. You can find me on Instagram mainly, but I also have other socials. We'll list them here. And please leave a review, letting me know what you enjoyed the most about this class. This will help me incorporate more of what you liked into future classes. Thank you again for joining this class. Keep drawing, and I hope to see you in future classes. Bye for now.