If you want to learn more about sketching from Rembert check out his Ultimate Sketching Course.
The most important quality in a drawing is the life it possesses and the energy it transmits. Here are some of my personal shortcuts for drawing characters with structure and energy, which are especially useful for fast-paced work like storyboarding.
Finding the Energy with Contrapposto
To start a pose, I first find the energy. A great way to do this is with contrapposto, which creates a natural, dynamic stance.
I begin by drawing a cross on the ground to place the figure. Then, I establish the contrapposto rhythm:
- Tilt the hips.
- Tilt the upper body in the opposite direction.
- Tilt the head in the opposite direction of the shoulders.
I always try to find the energy first, but I use key landmarks to keep the structure solid. My main landmarks are the hips, shoulders, sternum, and a few key bony points like the acromions (shoulders) and greater trochanter (hip).
Structural Shortcuts for the Torso
To draw quickly while maintaining accuracy, I use simplified shapes for the main masses of the body.
The Hip Box I think of the hips as a box. This simple shape gives me the flexibility to turn it in any direction in space. On the front of the box, I draw an "underwear" shape. The corners of this box represent important anatomical landmarks:
- The top corners are the "asiss" (the anterior superior iliac spine).
- The bottom corners are the "aiis" (the anterior inferior iliac spine).
These landmarks are vital for understanding how muscles attach. For example, the quads connect to the "asis."
Male vs. Female Ribcage The shape of the ribcage differs between males and females.
- A male ribcage is like a Greek arch, wider at the top. Think of the classic "vacuum pose."
- A female ribcage is more like an arrow pointing up, creating a sharper, more tapered shape.
Building the Pose
With the basic structure in place, it's time to build the figure. For a contrapposto pose, I really push the hip of the supporting leg out. This exaggerates the gesture and adds energy. I try to keep my shapes gestural and avoid making them too rounded.
A key technique is to draw shapes in one another. Instead of drawing separate parts, I draw shapes overlapping and flowing into each other. For example, drawing the shapes of the upper and lower leg into one another will naturally create the form of the knee and patella. The same applies to the arm, where drawing the bicep and forearm shapes together helps define the elbow.
Anatomy informs the gesture. The deltoids attach from the acromion on the shoulder, and the glutes hang lower than the hip box when viewed from the back.
Adding Form and Depth
To finish the drawing, I add simple shading to give it form. I usually imagine the light coming from slightly above.
Use shadows to show how a form turns away from the light, like on the side of the torso or under the breasts. You can use the shapes of the anatomy to guide your shadows. Finally, always add a simplified shadow on the ground to anchor the figure and make it feel grounded in the scene.
It's often better to overdo the gesture than to underplay it, especially for learning. Focus on these simple structures and the flow of energy, and your figures will come to life.
If you want to learn more about sketching from Rembert check out his Ultimate Sketching Course.
