How To Draw A Person Sitting In A Chair Side View

Understanding the figure

To draw a pose correctly, you don't demand to e'er carry an anatomy book with you. Information technology's non every bit hard as information technology seems: observation and practice are your all-time tools. If at whatsoever signal you get curious virtually trying something new (which I promise you practice), it never hurts to take a look at that anatomy volume.
Even if your drawing style is far from realistic, the aspects that brand a pose interesting and credible remain the aforementioned: forcefulness, rhythm, action lines, construction and perspective.

Observation:

Your closest reference is yourself. If you look at yourself in front end of a mirror and start moving, you will notice that your torso works as a single element.

When you raise an arm, the arm is not the simply office of your torso that moves, unlike how the removable extremities of dolls piece of work. The changes in your body don't resemble figure A, right? For example, your shoulder also lifts, and many other parts of your body adapt to the movement equally in figure B.

This is what ascertainment means: paying attention to the details and characteristics of the trunk.

Force and rhythm

Your characters movement thanks to their inner strength. They can walk, leap, trip the light fantastic toe… whatever comes to heed! Merely unless they are floating in space, it is non the only strength that acts on them, every bit gravity makes their anxiety stay on state.

When two or more forces collaborate with each other, a rhythm is set, which provides balance and sense to the movement.

If your character is pushed to the left, his body will fall in that direction (A), unless he puts up resistance to stand (B).

If the grapheme wants to pull something that refuses to movement, his body will lean in the opposite direction. Manifestly, once the cat gives in to the force, your character will fall, every bit the cat was what kept him standing.

Strength and rhythm provide a lot of visual information y'all can piece of work with: the weight of your character (1), the balance of his pose (2) or the lack of information technology (iii).

Activeness lines

The action line is the imaginary guide that indicates your character's movement. It focuses on actions and helps to unify the whole figure.

Below y'all tin can see a couple of examples where forcefulness, rhythm and activity lines interact together.

Example one:

The grapheme (1) has a relaxed opinion, resting on her right arm. In the effigy (2), we can see her activeness line, which covers her whole body upward to the foot. The shape is slightly like to an Due south.

Nosotros can encounter it is a relaxed pose because her weight rests on a single betoken (3) and all she needs is to keep the residuum with her left human foot, which remains taut while the right one is resting.

Instance ii:

The next pose is more dynamic, and then there are more things going on in this image.

This time yous can come across three action lines, but the near of import are (1) and (2), the ones that really tell the story. The offset ane covers the whole figure from caput to toe, and the second ane goes in the opposite management, keeping the residual and forming an X. The third ane but provides greater stability to the pose.

In this drawing we can see that there is a strength that pushes the grapheme in the opposite direction to her gaze. Elements such every bit the hair, the clothes and the dust on the floor suggest that the force comes from the right side, and as these elements are light, they are affected by the speed with which this force acts.

However, this daughter wants to overcome this force with her own strength. She has no intention of losing the fight.

Example iii:

This fourth dimension, our character is a baseball player. He'due south spinning his trunk to go enough momentum and counter the ball's forcefulness to hit it far away. Don't y'all get the impression that it will be a habitation run even though you lot haven't seen how the scene ends still? It's the magic of anticipation. If you know how to properly handle the strength, rhythm, and activity lines correctly, you will be able to guide the spectator along the path yous have set. This is very of import for any comic creative person.

Information technology's important that you don't overpopulate your cartoon with besides many action lines, because information technology could confuse the graphic symbol's intention, brand the strength go in different directions, and take the emphasis away from the nearly important activity.

Construction

The torso is quite complex and it is difficult to draw correct proportions and move away from the 2nd plane. I recommend you shape a base that helps y'all discern the volume of each element. To practice this, we will employ geometric figures such every bit spheres, cubes and cylinders to represent the structure of the body.

These figures tin can be freely rotated, stretched, flexed, and twisted according to the pose.

These figures represent the direction of the unlike elements of the body. Yous must pay special attending to the limits of the joints, since at a certain point you have to turn or twist the body to keep moving in that direction, irresolute drastically the pose.

With practice, this process gets simpler. The better you sympathise how the effigy works, the fewer guides yous will need.

Perspective

Perspective turns the second plane into a 3D ane and adds more than depth and visual richness to the composition than just looking at it from a frontal plane.

The centre level or horizon line represents the actual height of the viewer's eyes (1), and the vanishing points are the lines projected from a point on the horizon (2). The following image has a perspective with ii vanishing points with which we tin can capeesh two faces of the figure.

The trunk is more intricate, but the principle is the same. For example, this effigy's feet and hands are smaller due to the perspective, and even suggest u.s. how we should project the vanishing point lines.

Action poses ever look more than dramatic when the perspective is exaggerated. Even when the poses are not entirely realistic, the figures seem apparent and the scenes look more interesting.

I recommend yous to practice and read nigh perspective as much equally possible, as it is not something you tin main in a mean solar day. Analyze as many references as you lot can. Eventually, you'll finish up seeing vanishing points everywhere.

Essential lines

You lot can speed upward and improve your observation skills by drawing poses using photos or actual people as a reference and setting a curt fourth dimension limit for it. The aim is to capture the essential information of the figure and, of course, to draw as many poses as possible.

This exercise will also help you lot to increment your conviction when drawing. Don't be afraid to draw the outset line, and even if you make a fault, avert erasing the lines. Endeavour to focus and describe clean, clear lines.

Below you can see some examples of poses that I accept drawn inside 45 to 60 seconds:

At kickoff, focus on cartoon the whole body with smooth lines. And so, if you have more than time, detail and build the shape better.

Don't be afraid to describe what y'all don't see or what is hidden, as it will give you a meliorate idea of the figure's structure.

Try to exaggerate the lines. It makes them softer and more than credible, however crazy it sounds.

Unless the model is in a very rigid posture, endeavor to avoid direct lines. The most natural poses are built with curves.

I promise these tips take been helpful!

If you want to come across more of my work, from these links you tin can access my social media pages and my portfolio:

https://www.instagram.com/eri_duh/
https://twitter.com/eri_duh
https://www.artstation.com/eridey

Thank you then much for reading this article!
– Eridey

Source: https://www.clipstudio.net/how-to-draw/archives/156164

Posted by: nelsenheratat.blogspot.com

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