Side Profile Female Full Body Drawing Floating
Understanding the figure
To draw a pose correctly, you don't need to e'er conduct an anatomy book with y'all. It's not as difficult as it seems: ascertainment and practice are your best tools. If at any point yous get curious near trying something new (which I hope y'all do), it never hurts to take a look at that anatomy book.
Even if your drawing style is far from realistic, the aspects that brand a pose interesting and credible remain the aforementioned: strength, rhythm, action lines, construction and perspective.
Observation:
Your closest reference is yourself. If y'all await at yourself in front of a mirror and start moving, yous volition notice that your body works as a single chemical element.
When you raise an arm, the arm is not the merely office of your body that moves, unlike how the removable extremities of dolls work. The changes in your trunk don't resemble figure A, right? For instance, your shoulder also lifts, and many other parts of your torso adapt to the movement as in figure B.
This is what observation means: paying attention to the details and characteristics of the trunk.
Forcefulness and rhythm
Your characters move cheers to their inner force. They can walk, jump, dance… any comes to mind! Simply unless they are floating in space, it is non the only forcefulness that acts on them, as gravity makes their feet stay on country.
When two or more than forces interact with each other, a rhythm is set, which provides residual and sense to the movement.
If your graphic symbol is pushed to the left, his body will fall in that direction (A), unless he puts upwards resistance to stand (B).
If the grapheme wants to pull something that refuses to move, his torso will lean in the opposite management. Obviously, once the cat gives in to the forcefulness, your graphic symbol volition fall, equally the cat was what kept him standing.
Force and rhythm provide a lot of visual information you tin work with: the weight of your character (i), the balance of his pose (2) or the lack of it (iii).
Activeness lines
The action line is the imaginary guide that indicates your character's movement. Information technology focuses on actions and helps to unify the whole effigy.
Below you tin see a couple of examples where forcefulness, rhythm and action lines interact together.
Instance 1:
The character (1) has a relaxed stance, resting on her right arm. In the figure (two), we can see her action line, which covers her whole trunk upwards to the foot. The shape is slightly similar to an S.
We tin can see it is a relaxed pose because her weight rests on a single point (iii) and all she needs is to keep the balance with her left foot, which remains taut while the correct ane is resting.
Example 2:
The next pose is more dynamic, so there are more things going on in this image.
This time you tin meet iii activity lines, only the most important are (1) and (2), the ones that really tell the story. The first i covers the whole figure from head to toe, and the second one goes in the opposite direction, keeping the residue and forming an X. The third one just provides greater stability to the pose.
In this drawing we can see that in that location is a force that pushes the grapheme in the opposite direction to her gaze. Elements such as the hair, the clothes and the grit on the floor advise that the force comes from the right side, and as these elements are light, they are affected by the speed with which this strength acts.
However, this girl wants to overcome this force with her ain strength. She has no intention of losing the fight.
Example iii:
This time, our character is a baseball game player. He's spinning his trunk to get plenty momentum and counter the brawl'south force to hitting it far away. Don't you get the impression that it volition exist a dwelling run even though y'all haven't seen how the scene ends withal? It's the magic of apprehension. If you lot know how to properly handle the strength, rhythm, and action lines correctly, you volition be able to guide the spectator along the path you take set up. This is very of import for whatever comic artist.
It'due south of import that you don't overpopulate your cartoon with also many action lines, because it could confuse the character'south intention, make the force get in different directions, and take the emphasis away from the near important action.
Structure
The body is quite circuitous and information technology is hard to draw correct proportions and movement away from the 2d plane. I recommend yous shape a base of operations that helps you discern the volume of each chemical element. To do this, we will use geometric figures such as spheres, cubes and cylinders to stand for the structure of the body.
These figures tin can exist freely rotated, stretched, flexed, and twisted co-ordinate to the pose.
These figures represent the management of the different elements of the body. You must pay special attending to the limits of the joints, since at a certain point y'all take to turn or twist the torso to go along 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 y'all will need.
Perspective
Perspective turns the 2D plane into a 3D one and adds more depth and visual richness to the limerick than merely looking at information technology from a frontal plane.
The centre level or horizon line represents the actual height of the viewer'south eyes (i), and the vanishing points are the lines projected from a point on the horizon (two). The following image has a perspective with ii vanishing points with which we can appreciate ii faces of the figure.
The torso is more intricate, simply the principle is the aforementioned. For example, this effigy's feet and hands are smaller due to the perspective, and even advise us how we should project the vanishing point lines.
Action poses always await more dramatic when the perspective is exaggerated. Even when the poses are non entirely realistic, the figures seem apparent and the scenes look more interesting.
I recommend y'all to practise and read about perspective as much as possible, every bit it is not something you can master in a day. Analyze as many references every bit you tin can. Somewhen, y'all'll end up seeing vanishing points everywhere.
Essential lines
You can speed upwards and meliorate your observation skills past drawing poses using photos or actual people every bit a reference and setting a brusque fourth dimension limit for it. The aim is to capture the essential information of the figure and, of course, to draw equally many poses every bit possible.
This do will besides help you to increase your confidence when cartoon. Don't be afraid to draw the first line, and even if you make a error, avoid erasing the lines. Attempt to focus and draw clean, clear lines.
Below y'all 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 ameliorate.
Don't be afraid to describe what you lot don't encounter or what is subconscious, equally it volition give y'all 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, attempt to avert directly lines. The most natural poses are built with curves.
I hope these tips have been helpful!
If you want to see more than of my work, from these links you lot can admission 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 commodity!
– Eridey
Source: https://www.clipstudio.net/how-to-draw/archives/156164
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