A calf-length tutu falling in long foldsA romantic tutu is long and soft and hangs like a bell, down to the calf or the ankle. Never draw it as a flat disc.
A classical tutu on a hangerA classical tutu is short and stiff and sticks straight out from the hips. On a hanger it tips like a plate.
A curtsy to the teacher when class endsBallet calls this bow of thanks a reverence. One foot slides behind and the knees bend.
A demi-plie in first positionThe knees bend outward and the back stays upright, so the legs make a diamond.
A foot rising onto demi-pointeThe heel lifts and the weight sits on the ball of the foot. The toes stay flat on the floor.
A grand jete at the top of the leapA long jump from one leg to the other, with the legs in a split in the air.
A pair of pointe shoes slung over a barreEach shoe ends in a small flat tip to stand on. The ribbons trail down and twist.
A pair of soft ballet shoes, toes togetherSoft shoes are leather, canvas or satin with thin bendy soles. Round the toes and crease the sides.
A pirouette with one curved motion lineA turn on one leg. The other leg bends so its toe rests at the knee, which makes a triangle.
An arabesque in silhouetteOne leg supports the body and the other reaches straight out behind it. Both knees are straight.
An attitude: the raised knee bent squareOne leg supports. The other lifts, turned out, with the knee bent to about a right angle.
Arms rounded low: the preparatory positionBoth arms hang down and rounded, hands just in front of the hips, fingertips almost touching.
First position: heels touching, toes turned outThe heels touch and the toes point outward, so the two feet lie along one line.
The five ballet foot positions as footprintsAll five turn the feet out. In first the heels touch. In fifth the front heel meets the back foot's big toe.
Pointe shoe ribbons crossed and tied at the ankleTwo ribbons wrap the ankle in opposite directions and cross at the front.
Tap, street and social 15
A breaker holding a freeze on one handA freeze is a pose held off the ground on the strength of the arms. Balance everything over that hand.
A breaker in a floor spin, legs as two arcsPower moves are one of the four kinds of movement in breaking. Blur the legs into wide curved strokes.
A conga line snaking across a roomOne dancer behind another in a long line. Bend the line into an S so it fits the page.
A limbo bar with one dancer bending under itA level bar rests on two uprights. The dancer passes under leaning back, face to the ceiling.
A Lindy Hop pair opened out in a swing-outThe swing-out is the defining move of Lindy Hop. In its open position the partners join hand to hand.
A line dance: three rows, everyone facing one wayThe dancers repeat the same steps in rows. Draw one figure, then copy it across and back.
A pair of castanets joined by a cordTwo wooden shells shaped like the halves of a chestnut husk, one of the instruments of flamenco.
A ring of onlookers with one dancer in the middleFrom above, a circle of heads and shoulders. The dancer in the gap is the only one moving.
A square dance set from straight overheadFour couples make the four sides of a square. From above that is eight circles with arms.
A tap dancer's feet with sound marks round themThe sound comes from the metal taps. Show it as short marks flying off the toe and the heel.
A waltz drawn as numbered footprintsA waltz is in triple time. Number the prints one, two, three and join them with arrows.
An Irish stepdancer mid-step, arms at the sidesThe upper body stays stiff while the feet move fast. Keep the arms straight down and bend only the legs.
Irish dance shoes: a hard pair beside a soft pairHard shoes make sounds like tap shoes. Soft shoes are more like ballet slippers.
Jazz hands held up as the music stopsBoth palms face the audience with every finger splayed wide. Keep the shine lines short.
The underside of a tap shoe, showing its tapsOne metal tap sits under the toe and one under the heel. Leave them pale against a dark sole.
Studio and gear 15
A ballet barre doubled in a wall mirrorA barre is a handrail at about waist height. In the mirror it runs away from you a second time.
A ballet bun from behind, pins showingA coil like a snail shell. Each hairpin shows as a small U at the edge.
A class timetable pinned beside a wall clockA grid of days and hours on a corkboard, one corner of the paper curling away from its pin.
A costume rail on wheels, hangers all one wayA row of skirts and sleeves in a block. Pick out three costumes in detail and leave the rest as edges.
A dance bag with its contents sliding outShoes, a bottle, a hairbrush, a roll of tape. Let one ribbon trail away across the floor.
A dancer stretching at the barre, seen in the mirrorDraw the back view large and the mirror view smaller, facing you. The two figures touch at the barre.
A leotard on a hangerA leotard is one tight piece covering the body from shoulder to hip. On a hanger it falls flat.
A portable barre standing in an empty roomNot every barre is fixed to a wall. This one stands on two feet and can be carried off.
A rosin box dusted with shoe printsDancers rub their shoe tips and heels in rosin powder so the shoes slip less.
A studio door with street shoes left outside itA row of sneakers and boots on a mat, and a slice of bright floor through the open door.
Leg warmers slouched round two anklesThick footless tubes for the lower legs. Draw them as a stack of wrinkled rings.
One dancer and three reflections in angled mirrorsEach reflection turns a little more away. Keep the same pose and change only the angle.
Tap, jazz and ballet shoes lined up under a benchThree pairs, three shapes: a heeled tap shoe, a low jazz shoe, a soft slipper.
Tape crosses and numbers marked on a studio floorSmall marks in a row show where each dancer stands. Run floorboard lines under them.
Worn pointe shoes with frayed tipsFray the fabric at the flat tip and crease the sole. Worn shoes give you more to draw than new ones.
On stage 15
A curtain call: one row of dancers bowingThe performers come back to thank the audience. Bend every figure forward to the same angle.
A dancer lit from below by lights at the stage edgeLight from below throws shadows upward: under the chin is bright and the forehead is dark.
A dancer's shadow on the backdrop, three times her sizeThe lower the light, the taller the shadow. Keep the pose the same in both.
A diagonal line of dancers, every arm matchingThe figures shrink toward the back corner of the stage. One arm angle repeats down the whole line.
A dressing table mirror ringed with lampsA rectangle of round lamps, a costume over the chair and a pair of shoes on the table.
A pas de deux in silhouetteA pas de deux is a ballet dance for two. Draw the pair as a single joined shape against a pale backdrop.
A recital program and a ticket stubTwo flat papers at an angle to each other. Leave the title of the show blank or make one up.
A stage framed by its proscenium archThe arch is the frame between the stage and the seats. The main curtain hangs just behind it.
An empty stage with one shoe left behindA wide floor, a dark back wall and one small shoe a little off the middle.
Flowers landing at the feet of a bowing dancerTwo bunches on the floor and one still in the air. The dancer bends from the hips.
The main curtain parting on a dark stageHeavy folds gather to each side. Shade the valleys between the folds and leave the ridges light.
One dancer alone in a spotlightA cone of light from above and an oval on the floor. Everything outside the cone goes dark.
Painted scenery rising out of sight on ropesA fly system of ropes, pulleys and counterweights lifts scenery above the stage. Show the cloth half up.
The stage from the highest balcony seatRows of heads curve away below you and the dancers are small bright marks on a pale floor.
The wings, looking out from backstageTall narrow drapes called legs hide the wings. Dancers wait between them, lit from the stage side.
How it works
These dance drawing ideas are steps, shoes, studios and stages, from the five positions of the feet to a curtain call. Each named step or position says what the body is doing.
Read the full guide
Start with the feet
The five ballet positions all turn the feet out. In first the heels touch. In fifth the heel of the front foot meets the big toe of the back one. Draw the feet from above first, like footprints, and the pose that stands on them gets easier.
Four topics
Ballet holds positions, jumps, shoes and tutus. Tap, street and social runs from the taps under a shoe to a square dance seen from overhead. Studio and gear is still life: a barre, a bag, a box of rosin. On stage is light and curtains.
Draw a pose as a stick figure first: one line for the spine and one for each limb.
A pointed foot carries on the line of the shin. A flexed foot breaks that line at the ankle.
Questions and answers
What are the five positions of the feet in ballet?
Five ways to place turned-out feet. First: heels together. Second: heels about a foot apart. Third: one heel by the other foot's arch. Fourth: one foot a step in front. Fifth: front heel against the back foot's big toe.
What is an easy dance drawing to start with?
Leg warmers slouched round two ankles is a stack of wrinkled rings, and One dancer alone in a spotlight is a small figure in a cone of light. Easy, under More filters, has more.
How do you draw pointe shoes?
Draw a slim shoe that ends in a small flat tip. Two ribbons wrap the ankle in opposite directions and cross at the front.
What is the difference between a classical and a romantic tutu?
A classical tutu is short and stiff and sticks straight out from the hips. A romantic tutu is soft and bell-shaped and reaches the calf or the ankle. The Ballet group has one of each.