Pose Prompt Generator

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Pose Prompt Generator: 30 prompts

Seen in a mirror with their back to the viewer: a figure standing on the seat of a chair, weight thrown well to their left. Hands: one pulling the other arm across the chest. Mood: like a cat that meant to do that.

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Camera angleseen in a mirror with their back to the viewer
Actionstanding on the seat of a chair
Weight and balanceweight thrown well to their left
Handsone pulling the other arm across the chest
Moodlike a cat that meant to do that

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Prompt of the day

Seen in a mirror with their back to the viewer: a figure standing on the seat of a chair, weight thrown well to their left. Hands: one pulling the other arm across the chest. Mood: like a cat that meant to do that.
As three small thumbnails from three angles: a figure gliding on one skate with the other leg trailing, hips pushed forward and shoulders hanging back. Hands: both held up open to show they are empty. Mood: tense up top and relaxed below.
Eye level in three-quarter view from their left: a figure marching with knees lifted high, bowed forward from the waist. Hands: arms wrapped around their own ribs. Mood: bone tired after a long shift.
Framed between two dark foreground shapes: a figure running with the front foot just touching down, chest twisted to their left over still hips. Hands: one cupped around the chin with a finger up. Mood: unhurried with all day to spare.
Foreshortened from above with the head nearest: a figure standing on a moving bus with feet braced wide, head tipped against the line of the shoulders. Hands: one counting on the fingers of the other. Mood: springy like the floor is a trampoline.
Worm's-eye view from behind: a figure standing with one knee bent and the heel lifted, shoulders tilted steeply down to their left. Hands: one on the hip and one hanging. Mood: triumphant after a narrow win.
Eye level from behind their right shoulder: a figure sitting on a stair with feet two steps below, upper body turned round to face behind. Hands: both hanging loose at the sides. Mood: restless and unable to keep still.
Low angle in three-quarter view from their right: a figure pushing off for a jump with heels lifting, spine arched back in a long C curve. Hands: both resting on top of the head. Mood: like a ghost unused to having weight.
Worm's-eye view through long grass: a figure crossing a tightrope one foot ahead of the other, weight pouring forward into the next movement. Hands: one counting on the fingers of the other. Mood: open with nothing to hide.
Bird's-eye view from directly overhead: a figure spinning on the ball of one foot, spine arched back in a long C curve. Hands: both carrying a tall stack of books. Mood: smug about a secret.
Eye level from behind their left shoulder: a figure crouching low with one knee nearly on the ground, leaning to their right from the waist. Hands: one carrying a heavy bucket. Mood: like a spy failing to blend in.
High angle from behind their left shoulder: a figure kneeling upright on both knees, ribcage pushed forward and lower back arched. Hands: both hauling on a thick rope. Mood: impatient and watching the clock.
Low angle with a Dutch tilt: a figure sitting on a low stool with knees wide, weight thrown well to their left. Hands: arms folded across the chest. Mood: embarrassed and wishing to vanish.
Bird's-eye view with a long shadow on the ground: a figure crossing a stream on stepping stones, rock steady with the weight dead centre. Hands: one swinging forward and one swinging back. Mood: open with nothing to hide.
Dutch angle with the horizon tilted left: a figure marching with knees lifted high, leaning far back with the chest to the sky. Hands: both closed into fists at the sides. Mood: like a cartoon burglar.
Dutch angle with the horizon tilted left: a figure standing on a narrow beam one foot ahead, rock steady with the weight dead centre. Hands: chin resting on one fist. Mood: impatient and watching the clock.
Eye level in profile facing right: a figure kicking high with the standing heel lifted, hanging in the still moment before a movement. Hands: one holding an umbrella up. Mood: bursting with energy that has nowhere to go.
Eye level from behind their right shoulder: a figure standing with feet planted wide apart, leaning to their left from the waist. Hands: one holding a melting ice cream cone. Mood: stiff from sitting too long.
In a tall narrow panel cropped tight: a figure standing with ankles crossed, torso as lopsided as it will go. Hands: one reaching back behind the body. Mood: like someone in a full suit of armour.
From the eye level of someone much taller: a figure lunging forward onto a deeply bent front knee, weight settled low and heavy. Hands: both holding a map open wide. Mood: like a scarecrow come down off its pole.
Worm's-eye view from behind: a figure balancing on the edge of a kerb, hips facing one way and chest the other. Hands: fingers interlocked and pushed out palms first. Mood: like a scarecrow come down off its pole.
From the eye level of someone sitting nearby: a figure sitting cross-legged on the floor, rocking back out of the way of something. Hands: both hanging loose at the sides. Mood: open with nothing to hide.
Dutch angle with the horizon tilted left: a figure pushing off sideways from one foot, swaying gently from side to side. Hands: both closed into fists at the sides. Mood: springy like the floor is a trampoline.
As a front and side and back turnaround: a figure striding out with a long step, leaning back from the waist. Hands: one carrying a heavy bucket. Mood: sluggish on a hot afternoon.
Low angle from behind: a figure holding a deep lunge with the front knee bent, chest twisted to their right over still hips. Hands: both held up open to show they are empty. Mood: sluggish on a hot afternoon.
Worm's-eye view through long grass: a figure balancing on a wobbly plank, shoulders dead level over level hips. Hands: both hugging a large box to the chest. Mood: graceful without any effort showing.
Through a window from outside: a figure holding a deep lunge with the front knee bent, right hip high and right shoulder low. Hands: both brushing dust off the front of the clothes. Mood: relaxed with every joint soft.
Bird's-eye view from directly overhead: a figure stamping one foot down, sagging towards their left side. Hands: both turned palms up in a shrug. Mood: like a silent film star overacting.
Eye-level full shot showing the whole figure: a figure crouching on the balls of the feet, spine held as straight as a plank. Hands: one holding a phone to the ear. Mood: graceful without any effort showing.
High angle in three-quarter view from their right: a figure kicking a ball with the standing foot planted, spine in a gentle S curve. Hands: both held out in front with palms down. Mood: like a ghost unused to having weight.

Next step Give the pose a scene and an outfit

Camera angle: all 67 camera angles

Eye level 13

eye level from behind their left shoulder Mostly back, with a sliver of their left cheek. The near shoulder is the biggest shape in the frame.
eye level from behind their right shoulder A three-quarter back view. The curve of the spine is on show, so set it before the shoulder blades.
eye level from directly behind No face at all. The shoulders, the spine and the feet have to carry the mood.

Show all 67 camera angles (64 more)

Eye level, continued

eye level from the front The neutral angle. The camera adds no comment of its own, so the pose does all the talking.
eye level in profile facing left A side view shows every lean and hides every sideways tilt. Facing left, they meet a left-to-right reader head on.
eye level in profile facing right The near arm and leg cover much of the far ones. Facing right, the figure travels with a left-to-right reader.
eye level in three-quarter view from their left Between front and profile. Their left shoulder is nearest and the far one tucks half behind the chest.
eye level in three-quarter view from their right Their right shoulder leads. Let the near arm overlap the torso: one overlap does more for depth than shading.
eye-level cowboy shot cropped near the knees A medium-long shot ends near the knees. One variation of it is known as the cowboy shot.
eye-level full shot showing the whole figure A full shot: head to toe inside the frame, with very little room to spare above or below.
eye-level long shot with the figure small A long shot shows the environment around the subject. The pose must read as a small shape.
eye-level medium shot cropped at the waist A medium shot stops near the waist. The legs are out of frame but still set the hips.
from the eye level of someone sitting nearby A touch below the eyes of a standing figure. Just enough to show under the chin.

High angle 13

from the eye level of someone much taller A gentle high angle. You see a little of the top of the head and shoulders.
high angle from a balcony across the street A long shot from above. Things look smaller as their distance grows, the feet most of all.
high angle from an upstairs window High and far. The figure is a small shape on a big plane of ground.
high angle from behind The back of the head and the shoulder blades lead. The feet are small and far away.
high angle from behind their left shoulder Looking down past their left shoulder. The floor becomes most of the background.
high angle from behind their right shoulder From up here you see what they see. Put whatever holds their attention on the floor ahead of them.
high angle from the corner of the ceiling The view of a security camera. Both the top of the head and the floor are visible.
high angle from the front The camera looks down from above. The figure tends to read as smaller and less in control.
high angle from the top of a staircase The stairs give you ready-made perspective lines that all point down at the figure.
high angle in profile facing left You see the top of the head and of the near shoulder. The ground rises behind them like a backdrop.
high angle in profile facing right A side view from above. The floor fills the background, so the cast shadow becomes part of the pose.
high angle in three-quarter view from their left From above, the head and shoulders grow and the legs taper away. Their left shoulder is the widest shape.
high angle in three-quarter view from their right Draw the top planes first: the crown of the head, the tops of the shoulders, the tops of the feet.

Low angle 13

from the eye level of a small child A gentle low angle. An adult figure looms a little and the hands are near the camera.
low angle from behind The back towers. Heels and calves are the nearest and largest shapes.
low angle from behind their left shoulder Their left leg is the biggest thing in the picture. The head is a small shape at the top.
low angle from behind their right shoulder The back narrows as it climbs, like a tower seen from the street. If a foot lifts, you see the sole.
low angle from knee height The knees sit on the horizon line. Everything above them is seen from below.
low angle from the bottom of a staircase The steps rise towards the figure and lift it up the frame.
low angle from the front The camera looks up from below. The figure tends to read as bigger and more in charge.
low angle from the front row below a stage The edge of the stage cuts the view of the feet. The figure is lit and the rest is dark.
low angle from waist height Subtle. The belt line is level and everything above it tips away from you.
low angle in profile facing left The horizon drops towards the feet, so the figure stands against the sky.
low angle in profile facing right With so little ground in the picture, the outline has to explain the pose alone. Check it as a silhouette.
low angle in three-quarter view from their left From below, the legs grow and the head shrinks. You see the underside of the jaw.
low angle in three-quarter view from their right The near knee overlaps the hip and the hip overlaps the ribs. Stack the forms upward like steps.

Overhead, ground level and tilted 14

almost overhead and slightly to one side A steep high angle. The torso is squashed short and the feet peep out under it.
bird's-eye view from directly overhead Straight down from overhead. The figure becomes a head, two shoulders and whatever sticks out.
bird's-eye view with a long shadow on the ground From overhead the body is a small shape. The shadow shows the pose the body hides.
Dutch angle with the horizon tilted left The camera is rolled to one side, so the horizon slopes across the frame. Use it for unease.
Dutch angle with the horizon tilted right Also called a Dutch tilt or canted angle. The world looks out of balance.
foreshortened from above with the head nearest Foreshortening: lengths along the line of sight look shorter. The body stacks up behind the head.
foreshortened from below with the feet nearest The soles or the shoes are the largest shapes. The body shrinks quickly behind them.
head-on with the nearest part drawn largest Find whatever is closest to the viewer and exaggerate it. Overlap the rest behind.
high angle with a Dutch tilt Looking down and tilted. The floor slopes and the figure seems to slide.
low angle with a Dutch tilt Power from the low angle and unease from the tilt. Use it with care.
worm's-eye view from behind Looking up from the ground at the heels. The head may be hidden behind the body.
worm's-eye view from the ground at their feet The camera lies on the ground and looks up. The feet are huge and the head is a long way off.
worm's-eye view from the side From the ground in profile. The near foot is huge and the far foot much smaller.
worm's-eye view through long grass Blades of grass overlap the bottom of the frame and push the figure back.

Silhouettes, mirrors and panels 14

as a front and side and back turnaround The same pose three times at one height. Rule lines across at head, hips and knees.
as a mannequin built from boxes and cylinders Construction drawing: a ball for the skull, a drum for the ribs, a box for the hips. No details yet.
as a silhouette in a bright doorway The door frame is a second frame inside the picture. Only the outline is left to read.
as a solid black silhouette in profile If the pose cannot be read in flat black, move the arms clear of the body and try again.
as nothing but a shadow cast on a wall A shadow stretches and leans with the light. Decide where the lamp is first.
as three small thumbnails from three angles Small and fast. Pick the one angle that reads best and enlarge that.
framed between two dark foreground shapes A gap between foreground shapes works like a spotlight. Keep the figure inside it.
from far away as a tiny figure on a skyline At this size there is room for one idea. Usually it is the tilt of the torso.
in a tall narrow panel cropped tight A tall panel suits a standing figure. With a low pose, empty space becomes the subject.
in a wide panel with the figure off-centre Leave the empty side in front of the figure, where the pose is pointing.
over the shoulder of someone watching them A dark shoulder and head fill one side of the frame. The figure sits in the space left.
reflected upside down in a puddle The reflection starts at the feet. Ripples let you simplify the shapes.
seen in a mirror with their back to the viewer Two views of one pose. The reflection is reversed left to right.
through a window from outside The window frame crops the figure. Glazing bars can cut across the pose.

How this list was compiled: Original list written for Draw This Next, September 2026. Left and right in an entry are the figure's own unless it says facing. The effects of eye-level, high-angle, low-angle, bird's-eye and worm's-eye shots were checked on 2026-09-18 against https://en.wikipedia.org/wiki/Camera_angle, the Dutch angle against https://en.wikipedia.org/wiki/Dutch_angle, the full, medium, medium-long (cowboy) and long shots against https://en.wikipedia.org/wiki/Shot_(filmmaking), foreshortening and the shrinking of distant objects against https://en.wikipedia.org/wiki/Perspective_(graphical), profile and three-quarter views against https://en.wikipedia.org/wiki/Portrait, and the building of a figure from simple solids against https://en.wikipedia.org/wiki/Figure_drawing. The hints are in our own words. Left and right versions of one angle are separate entries, each with its own hint. The other hints are our own suggestions from ordinary figure-drawing practice, and a pose can always be drawn another way. Licence: own work

Action: all 98 actions

Standing 23

balancing on a wobbly plank Knees soft and feet wide. A steady figure on an unsteady base is the whole story.
balancing on the edge of a kerb Half of each foot hangs over nothing. Show the toes gripping or the heels dropping.
holding a deep lunge with the front knee bent Front shin near vertical, back leg long. The hips sink between the feet.

Show all 98 actions (95 more)

Standing, continued

rocked back on the heels with toes lifted The base shrinks to two heels. Something has to shift back to stop a topple.
standing in ankle-deep water with feet apart The waterline hides the feet. Draw a ring where each ankle breaks the surface.
standing knee-deep in long grass The lower legs vanish. Place the hidden feet anyway so the hips sit right.
standing on a narrow beam one foot ahead Feet in one line leave no sideways base. The balancing shows higher up the body.
standing on one leg with the other knee raised Keep the mass of the body over the standing foot or the figure reads as falling.
standing on the seat of a chair Feet close together on a small square. The height makes every lean matter more.
standing on tiptoe with heels high The calves bunch and the base shrinks to the balls of the feet.
standing pigeon-toed with knees together Toes in turns the knees in too. The whole leg rotates from the hip.
standing with all the weight on one leg Contrapposto. The straight leg is the engaged leg and the relaxed one is the free leg.
standing with ankles crossed Both legs share one small patch of ground. It looks casual because it is unstable.
standing with both knees soft and heels light The ready stance of most sports. The weight sits over the balls of the feet.
standing with feet planted wide apart A wide base is hard to push over. Draw the triangle from hips to feet first.
standing with feet together and knees locked The narrowest base there is. Any lean higher up now looks risky.
standing with heels together and toes turned out Turn-out comes from the hips. The knees point the same way as the toes.
standing with one foot flat on the wall behind The raised knee points forward and the standing leg takes everything.
standing with one foot resting on top of a ball The ball can roll, so the weight stays on the other leg. Bend the raised knee.
standing with one foot up on a low step The raised knee lifts that hip. Let the pelvis tilt to follow it.
standing with one knee bent and the heel lifted The free leg of a contrapposto stand. Only the toes touch and they carry nothing.
standing with one leg crossed behind the other The back foot rests on its toes. Most of the weight is on the front leg.
standing with the back foot up on its toes A paused step. The back heel lifts as the weight rolls onto the front foot.

Walking, running and stepping 26

climbing stairs two at a time A big knee lift and a long push from the lower leg. The feet are two steps apart.
coming down a steep flight of stairs The back knee bends deeply to lower the front foot. Draw the steps first.
creeping forward on the balls of the feet Knees stay bent and each foot is placed toe first. Nothing lands heavily.
crossing a stream on stepping stones The back foot stays down until the front one is sure of its stone.
gliding on one skate with the other leg trailing One bent knee carries the body. The free leg stretches out behind as a counterweight.
kicking a ball with the standing foot planted The planted foot sits beside the ball. The kicking leg swings through in an arc.
marching with knees lifted high The lifted thigh is level and the standing leg is dead straight.
pivoting on one foot to change direction The planted foot stays put while the hips swing round over it.
riding a skateboard with both knees bent Feet sideways across the board. The knees soak up the bumps.
running with the back foot pushing off The back leg is a straight line into the ground. A moment later both feet are in the air.
running with the front foot just touching down The end of the aerial phase of a run. The front knee is bent to take the landing.
shuffling forward with feet barely lifting Short steps and flat feet. The knees hardly bend and the soles stay near the floor.
skidding to a stop with both heels dug in Legs straight out ahead and braking. The feet are well in front of the hips.
sliding one foot out to the side in a dance step The weight stays on the standing leg while the other foot draws a line on the floor.
spinning on the ball of one foot The standing heel is up. Tuck the free foot in close to the standing knee.
stepping down off a kerb The back knee bends to lower the body. The front foot reaches down toe first.
stepping over a puddle One long step with the front leg reaching. The back foot is still pushing off.
stepping sideways through a narrow gap The feet point along the gap and the legs scissor. The hips go through side on.
stepping up onto a knee-high ledge The raised thigh is near level. The lower leg is about to do all the lifting.
striding out with a long step A long stride drops the hips lower between the feet. The back heel peels up.
taking one careful step backwards Going backwards the toes touch first. The weight stays forward until the foot is sure.
wading through knee-deep water The legs swing out and round to clear the water. Every step is slow and high.
walking a straight line heel to toe Feet in single file. The base is one foot wide, so the balance is always in doubt.
walking up a steep slope Steps shorten and the front knee bends more. The ankles flex to match the ground.
walking with one leg passing under the body The passing pose of a walk cycle. One foot carries everything as the other swings by.
walking with the front heel just striking The contact pose of a walk cycle. Both feet touch the ground and the stride is widest.

Sitting, kneeling and crouching 26

crouching low with one knee nearly on the ground A sprinter's crouch without the hands. The back heel is up.
crouching on the balls of the feet Heels up and knees forward. A small wobbly base that cannot be held for long.
kneeling and sitting back on the heels Shins flat on the ground. The thighs rest on the calves and hide them.
kneeling on one knee One shin on the ground and one foot planted. The front thigh is level.
kneeling up on the seat of a chair Shins across the seat and feet hanging off the edge. The chair sets the scale.
kneeling upright on both knees Thighs vertical with the shins behind. The base is long front to back and narrow across.
perched on a table edge with one foot down Half sitting. One leg is a prop to the floor and the other swings free.
perched on the arm of a sofa One foot takes weight on the floor and the other hangs. The seat is higher than a chair.
sitting astride a chair turned backwards Knees wide either side of the chair back. Draw the chair first.
sitting cross-legged on the floor The knees drop out to the sides and the shins cross. The base is a wide triangle.
sitting on a bench with ankles crossed out front Legs long and relaxed. The heels rest on the ground and the toes fall apart.
sitting on a chair with one leg tucked under One foot disappears under the opposite thigh. That hip sits a little higher.
sitting on a fence rail with heels hooked below A thin seat. The hooked heels are what stop the figure sliding off.
sitting on a high stool with feet on the rung Knees bent sharply and heels hooked. The feet are well off the floor.
sitting on a low stool with knees wide Knees higher than the hips. The feet are flat and the thighs slope upwards.
sitting on a stair with feet two steps below The stairs set the knee angle. Draw the steps first and sit the figure into them.
sitting on a wall with legs dangling Nothing under the feet. The lower legs hang straight down from the knees.
sitting on the edge of a bed with feet flat A soft seat sinks under the hips, so the knees end up a little higher.
sitting on the floor with both knees drawn up Thighs close to the chest and feet flat. The legs fold into a compact shape.
sitting on the floor with legs folded to one side Both knees point the same way. One hip takes more of the weight than the other.
sitting on the floor with legs straight out Harder to hold than it looks. The feet fall outwards.
sitting on the ground with one knee up One leg lies flat and the other makes a triangle. Easy to hold for a long time.
sitting sideways on a windowsill with one leg up One leg lies along the sill and the other hangs down. The knee angles differ.
sitting with legs crossed at the knee The top leg hangs with a relaxed foot. The thighs overlap and hide each other.
sitting with one ankle resting on the other knee The raised shin lies almost level. From the front the legs make a figure four.
squatting flat-footed with knees apart Heels down and hips between the ankles. Far steadier than a crouch on the toes.

Take-offs, landings and bracing 23

balancing on one leg with the other held behind The raised leg is a counterweight. Something higher up has to go the other way.
balancing on one leg with the other out sideways The standing hip pushes out to the side to keep the mass over the foot.
bouncing lightly on the balls of the feet The heels never quite land. Knees and ankles work like springs.
braced against a strong wind with feet wide One foot forward and one back. The back leg is a prop against the push.
bursting out of a standing start The push leg is a straight line into the ground and the front knee drives up.
catching a stumble on the front foot The front foot has shot out to save the fall. The back foot is still where it tripped.
crossing a tightrope one foot ahead of the other The feet turn out along the rope. The knees stay soft so the rope can move.
digging in both heels against a pull Legs straight and angled forward like a tug of war. The feet are ahead of the hips.
dropping into a crouch just before a jump Anticipation. A jump reads better when the knees bend first, like a dancer's preparation.
halfway through getting up from a chair Feet pulled back under the seat and thighs just lifting. The legs do the work.
keeping their feet on a rocking boat deck Feet wide and knees soft. One knee bends more than the other as the deck tilts.
kicking high with the standing heel lifted The kicking leg swings in an arc from the hip. The standing foot rises onto its toes.
landing a hop on one foot One bent leg takes the whole landing. The free leg is still in the air.
landing from a jump with knees bending The balls of the feet touch first and the knees fold to soak up the drop.
lowering onto a seat with knees bending The hips reach back for a seat that is not there yet. The thighs take the strain.
lunging forward onto a deeply bent front knee The front knee stays over the foot. The back leg is one long straight line.
pushing off for a jump with heels lifting Ankles, knees and hips straighten together. The toes are the last thing to leave.
pushing off sideways from one foot The push leg straightens out to the side. The other foot reaches for the landing.
rising from the floor with one foot planted One knee down and one foot flat. The planted leg is about to push the body up.
slipping on ice with the feet going separate ways The base has gone. Both legs are straight and sliding apart.
stamping one foot down Draw the moment of impact: the stamping knee still bent, the other leg straight.
standing on a moving bus with feet braced wide A wide stance set across the direction of travel. The knees give with each jolt.
teetering on the edge of a step Toes over the edge and heels holding on. The ankles do all the correcting.

How this list was compiled: Original list written for Draw This Next, September 2026. Every action describes the legs and the base only, keeps a foot, a knee or a seat on a surface and leaves the hands free, so it can sit beside any entry from the other four lists. The contrapposto terms (engaged leg, free leg) were checked on 2026-09-18 against https://en.wikipedia.org/wiki/Contrapposto, the aerial phase of a run against https://en.wikipedia.org/wiki/Running, and anticipation and arcs against https://en.wikipedia.org/wiki/Twelve_basic_principles_of_animation. The contact and passing poses of a walk are named in https://en.wikipedia.org/wiki/Walk_cycle, which does not describe them, so what the hints say about those two poses is our own. The other hints are also our own suggestions from ordinary figure-drawing practice, and a pose can always be drawn another way. Licence: own work

Weight and balance: all 82 weight shifts

Leans 16

bolt upright with the spine stacked straight Head over ribcage over hips. A vertical torso is the calm before any lean.
bowed forward from the waist A hinge at the hips with the back fairly flat. The head ends up ahead of the base.
hips pushed back and chest forward to balance The hips and the chest counterweight each other either side of the base.

Show all 82 weight shifts (79 more)

Leans, continued

hips pushed forward and shoulders hanging back The slouch of someone waiting. The spine leans back to balance the hips.
leaning as if into a headwind The whole torso angles forward as one piece. Without wind the figure would fall.
leaning back from the waist The ribcage moves behind the hips. The front of the torso stretches and the back pinches.
leaning far back with the chest to the sky A lean this big needs a counterweight. Decide what is stopping the fall.
leaning slightly forward with a straight back A runner's posture is upright and slightly tilted forward. A small lean reads as intent.
leaning to their left from the waist Their left side pinches and their right side stretches. Draw the two sides differently.
leaning to their right from the waist Mark the folds at the waist on the short side first. The long side is one clean curve from armpit to hip.
leaning well forward from the hips The hips move back as the chest goes forward, or the figure falls. Find the counterweight.
pitched forward in one straight line No bend at the waist. The straight line is what makes it look like a fall or a launch.
ribcage pushed out ahead of the hips The chest leads and the hips follow. It reads as eager before any limb is drawn.
rocking back out of the way of something The chest pulls away first and the hips are late. The delay is the expression.
sagging towards their left side Less a lean than a collapse. The ribs sink towards the hip on that side.
upright with the chest lifted The ribcage rises off the hips and the neck lengthens. Height without stiffness.

Hips and shoulders 16

both shoulders dropped and the neck long The slope from neck to shoulder gets steeper. It reads as ease or as poise.
both shoulders up around the ears The neck disappears. The collarbones make a shallow V.
hips square and shoulders wildly tilted All the bend is in the waist. One side of the ribs nearly meets the hip.
hips tilted and shoulders held level The spine has to curve sideways to join a tilted pelvis to level shoulders.
left hip high and left shoulder low Their left side squeezes short and their right side stretches long.
one hip cocked out to the side The hip swings out over the supporting side and the waist pinches above it.
one shoulder hiked up towards the ear The raised shoulder shortens the neck on that side. The collarbones make a slope.
ribcage shifted sideways over the hips The ribcage slides across without tilting, like a drawer. The waist shows a step on one side.
right hip high and right shoulder low The hip line and the shoulder line slope towards each other. Carried on, they would meet off to their right.
shoulders and hips tilted the same way A side bend with no counter-tilt. It looks like a slope and tends to read as unstable.
shoulders dead level over level hips Animators call mirrored halves twins and avoid them as lifeless. Here stiffness is the point.
shoulders pulled back and chest wide The shoulder blades pinch together. The front of the torso is one open plane.
shoulders rolled forward and chest hollowed The shoulder blades spread apart and the chest caves in. The back looks wider than the front.
shoulders tilted steeply down to their left Draw the line through both shoulders first. Everything above the ribs hangs from it.
shoulders tilted steeply down to their right A steep shoulder line wants an answer. Tilt the head back towards upright or let it follow, and choose on purpose.
shoulders tipped one way and hips the other The rule of contrapposto: if the right hip is higher, the right shoulder is lower.

Twists 16

a slight twist between ribcage and hips Even a few degrees stops the torso looking like a plank. Offset the centre line.
chest twisted to their left over still hips Draw the hips as one box and the ribs as another, then turn the top box.
chest twisted to their right over still hips Follow the centre line of the chest. Over still hips it swings to one side and the belly wraps between the two.
head and chest turned over their left shoulder The twist starts at the head and works down. The hips are the last to follow.
head and chest turned over their right shoulder Looking back stretches one side of the neck into a long line from ear to collarbone. Draw that line first.
hips angled away under a square chest The chest holds its direction while the base has already moved on.
hips facing one way and chest the other The viewer sees two fronts at once. This is what makes a figure look mid-turn.
one shoulder leading and the other trailing The leading shoulder overlaps the chest. Overlap is what gives the twist depth.
ribcage turned left and head turned right A double take. The neck shows the opposition between the two turns.
ribcage turned right and head turned left Chest one way, face the other. Find the pit of the neck, then hang the jaw line off it at the new angle.
shoulders a quarter turn away from the hips A quarter turn is a big twist. The waist shows the spiral.
torso wrung like a towel Wrap the folds of the clothing round the waist in a spiral to show the twist.
twisted and leaning to the same side Two movements stacked. The near side of the waist crumples and the far side stretches.
twisted at the waist as far as the spine allows At the limit the far shoulder comes into view. The neck takes the last of the turn.
twisted one way and leaning the other The torso argues with itself. Draw the centre line of the chest as a curve.
upper body turned round to face behind Most of the turn comes from the ribs and neck. The hips give a little to help.

Line of the spine 16

chin tucked and the back of the neck long The head draws back over the spine. The back of the neck becomes a straight line.
curled in around the stomach The shoulders and hips close towards each other. The torso becomes a bean shape.
head tipped against the line of the shoulders If the shoulders slope one way, tilt the head the other. It finishes the zigzag.
head tipped right back The back of the skull nearly meets the shoulders. From the front the jaw hides the face.
neck bent one way and waist bent the other Two of the three bends of tribhanga, a stance in Indian art that adds a third at the knee.
neck stretched forward ahead of the chest The head leaves the line of the spine and goes first. Curiosity or a screen habit.
one side of the torso pinched and one stretched A bent torso is never two matching curves. Pair a crumpled side with a smooth one.
one whole side stretched long like a drawn bow The stretched side is one clean curve. The other side is where all the folds go.
ribcage pushed forward and lower back arched The arch sits low in the back. The ribs tip up and the pelvis tips forward.
ribcage sunk down towards the hips The gap between ribs and pelvis closes. The stomach pushes forward to make room.
spine arched back in a long C curve The reverse C. The front of the torso becomes the long stretched side.
spine curled forward in a long C curve One curve from the head to the base of the spine. The front folds and the back stretches.
spine held as straight as a plank No curve at all is a statement. Save it for robots, soldiers and the very nervous.
spine in a gentle S curve The S curve bends one way, then back the other way. It takes contrapposto further up the body.
stretched tall with the ribs lifted off the hips The waist lengthens and narrows. Everything between hips and ribs pulls taut.
upper back rounded and head hanging forward The curve is high, between the shoulder blades. The head hangs in front of the chest.

Steady or tipping 18

braced as if expecting a shove The torso tightens and drops a little. The mass settles over the middle of the base.
caught in the middle of a wobble Nothing lines up. Put the head, the ribs and the hips each a little off the last.
frozen halfway through a movement Pick the frame where the torso has started to go and the rest has not caught up.
hanging in the still moment before a movement Animators call the wind-up anticipation. The torso gathers the opposite way first.
just off balance and about to tip backwards Move the mass a little behind the base. It reads as surprise before any face is drawn.
just off balance and about to tip forward Move the mass a little ahead of the base. The viewer's eye finishes the fall.
rock steady with the weight dead centre A figure is steady while its mass stays over its base. Put the middle of the hips over the support.
settling in the moment just after a movement The torso arrives last and sinks a little as it lands.
swaying gently from side to side Draw the far end of the sway. The pose is the turning point and not the middle.
tipping sideways and only just saving it The torso is past the edge of the base. Something is about to fling out to save it.
torso as lopsided as it will go Push every tilt further than feels polite. Gesture sketches are for finding that limit.
weight carried high and light Lift the chest and the figure seems to weigh less, whatever its size.
weight held back as if on the brakes The torso stays behind the base. It reads as doubt before anything else is drawn.
weight pouring forward into the next movement The torso has already left. Whatever is holding the figure up is about to let go.
weight settled low and heavy An adult's centre of mass sits a little above the hip joint. Sink it and the pose looks planted.
weight stacked directly over the support Head over ribs over hips over base. Drop one vertical line and hang the pose on it.
weight thrown well to their left The torso hangs out past the base on one side. Expect a counterweight on the other.
weight thrown well to their right Hang a plumb line from the pit of the neck. If it lands outside the feet, something else must hold them up.

How this list was compiled: Original list written for Draw This Next, September 2026. Every entry describes the torso and head only, with no arms, legs or camera in it, so it can sit beside any entry from the other four lists. The rule that hips and shoulders tilt in opposite directions was checked on 2026-09-18 against https://en.wikipedia.org/wiki/Contrapposto, the S curve against https://en.wikipedia.org/wiki/S-curve_(art), the three bends of tribhanga against https://en.wikipedia.org/wiki/Tribhanga, the height of an adult's centre of mass against https://en.wikipedia.org/wiki/Center_of_mass, a runner's forward tilt against https://en.wikipedia.org/wiki/Running, and the animators' terms twins and anticipation against https://en.wikipedia.org/wiki/Twelve_basic_principles_of_animation. The link between a figure's base and how stable it looks, and the other hints, are our own suggestions from ordinary figure-drawing practice, and a pose can always be drawn another way. Left and right versions of one shift are separate entries, each with its own hint. Licence: own work

Hands: all 100 hand positions

At rest 17

arms folded across the chest Decide which forearm is on top. One hand tucks under and one shows.
arms wrapped around their own ribs A self hug. The hands disappear round the sides and the shoulders round forward.
both clasped behind the back From the front the arms vanish at the elbow. The shoulders pull back a little.

Show all 100 hand positions (97 more)

At rest, continued

both deep in pockets The elbows still show the mood. Pushed forward is cold and pulled back is cocky.
both hanging loose at the sides Relaxed fingers curl. No two of them hang at quite the same angle.
both hidden inside long sleeves No hands to draw, which is its own problem. The cuffs have to suggest the fists.
both on the hips with elbows out Two triangles of empty space either side of the waist. Keep them clear in the silhouette.
both resting on top of the head Elbows wide and the ribcage lifted. The armpits and the sides of the torso open up.
both tucked into the back pockets The elbows point back and the chest opens. From the front the hands are gone.
fingers laced together at waist height The arms make a loop in front of the body. Shoulders usually drop with it.
laced behind the head with elbows wide Seen from the front the elbows make the widest point of the whole figure.
one gripping the opposite wrist behind the back From behind it is a clear shape. From the front only the shoulders give it away.
one hand holding the opposite elbow A half fold. One arm hangs and the other crosses the body to hold it.
one in a pocket and one hanging loose An easy way to break the symmetry of a standing figure.
one on the hip and one hanging One triangle of space and one straight arm. The asymmetry does the work.
palms pressed together in front of the chest The forearms make a level line or a steep one. Level reads formal and steep reads pleading.
thumbs hooked into belt loops The fingers hang outside and the elbows sit just off the body.

Reaching and pointing 19

both held out in front with palms down Two level arms. From the side they overlap into one.
both out in front feeling the way in the dark The arms are at different heights and the fingers are spread and soft.
both pushing against something that will not move Arms straight and the heels of the hands leading. The effort shows in the shoulders.
both reaching out to the same side The nearer arm is shorter on the page and the farther one crosses the chest.
both reaching straight up The ribcage lifts and the waist narrows. The upper arms pass close by the ears.
both spread wide like a tightrope walker The arms become a balance pole. Tilt the line through them against the lean.
both swept back behind the body The chest goes forward as the arms go back. A wind-up for whatever comes next.
both thrown up overhead in a wide V Avoid a mirror image. Animators call matching left and right sides twins.
one held out palm up as if checking for rain Elbow bent and close to the body. The flat palm is the whole gesture.
one pointing at something in the distance The pointing arm is a straight line from shoulder to fingertip. The eye follows it.
one pressed flat against an invisible wall The mime's trick is a flat palm and a locked wrist. The fingers bend back slightly.
one raised in a wave with the fingers apart A wave swings in an arc from the elbow. Pick one end of the arc.
one reaching back behind the body The chest turns to follow the arm. The reaching shoulder drops back.
one reaching forward with the fingers spread Seen head-on the arm is foreshortened: lengths along the line of sight look shorter.
one reaching straight up at full stretch A full reach lifts that shoulder and stretches that whole side of the torso.
one straight up and one straight out to the side An L of arms, like a signaller. The angles are easy to read from far away.
one stretched down towards the ground That shoulder drops and the opposite one rises. The spine curves to help.
one swinging forward and one swinging back In a walk or run each leg pairs with the opposite arm.
wrists crossed high above the head The arms frame the head in a diamond. The shoulders rise to meet the ears.

Up at the head 20

both behind the head tying the hair back Both elbows up and wide. The head tips forward a little.
both clapped over the ears Elbows forward or elbows wide. Forward looks like flinching and wide looks like refusing.
both covering the face The fingertips reach the hairline and the heels of the hands meet at the chin.
both cupped around the mouth like a megaphone The elbows flare out. The hands hide the mouth, so the body has to do the shouting.
both pulling a hood forward Both elbows rise to ear height. The hands sit either side of the face.
chin resting on one fist The head tilts towards the fist. The forearm is a prop from the chin down.
fingertips pressed to both temples Elbows out level with the ears. The arms and head make one wide diamond.
one adjusting a pair of glasses A small precise gesture. One finger on the bridge or finger and thumb on the frame.
one clamping a hat to the head A flat palm on the crown and a raised elbow. The reason is usually wind.
one covering a yawn The back of the hand or a loose fist goes to the mouth. The other arm often stretches.
one covering the mouth The fingers lie across one cheek. The elbow stays close to the ribs.
one cupped around the chin with a finger up The thinker's hand. The finger lies along the cheek and the thumb hooks under the jaw.
one cupped behind an ear The head turns so that ear leads. The cupped hand makes the ear look bigger.
one finger held up to the lips The finger is vertical and the rest of the hand is a loose fist under the chin.
one pinching the bridge of the nose Finger and thumb between the eyes. The head dips into the hand.
one pushing the hair back off the forehead The forearm crosses in front of the face. Decide how much of the face it hides.
one rubbing the back of the neck The elbow points up and out. The head tips forward into the hand.
one scratching the top of the head The elbow is the highest point of the figure. The head tilts away from the hand.
one shading the eyes The flat hand throws a shadow across the top of the face. The elbow sticks out to the side.
one tipping the brim of a hat Finger and thumb on the brim. It barely moves, so keep the gesture small.

Holding something 22

both carrying a tall stack of books Hands under the bottom book with the arms long. The stack rests against the chest.
both cradling a small animal against the chest One forearm goes underneath as a shelf. The other hand covers the top.
both gripping the straps of a rucksack Fists at the collarbones and elbows down. The thumbs hook under the straps.
both hauling on a thick rope One hand ahead of the other with both arms pulling along the line of the rope.
both holding a book open Elbows bent and close in. The head tips down towards the pages.
both holding a camera up to the eye Elbows tucked in against the ribs to keep it steady. One hand cups the lens from below.
both holding a full bowl level Whatever the rest of the body does, the bowl stays level. That is the game.
both holding a map open wide The arms spread to the width of the sheet. The map hides the torso like a shield.
both hugging a large box to the chest The box hides the chest. The fingers curl round the far corners.
both wrapped around a warm mug The fingers overlap round the far side. The elbows tuck in and the shoulders drop.
one balancing a tray at shoulder height The palm is flat under the middle of the tray and the elbow points forward.
one carrying a heavy bucket A heavy load pulls that arm dead straight and drags its shoulder down.
one carrying a pair of shoes by the laces The shoes hang straight down and swing. Two fingers are enough to carry them.
one hiding a bunch of flowers behind the back From the front only the elbow shows. From behind the flowers are the focus.
one holding a lantern out at arm's length The arm is level and the lantern hangs straight down from the hand, whatever the arm does.
one holding a lead with a dog pulling on it The lead is a straight line under tension. The pull travels up the arm into the shoulder.
one holding a melting ice cream cone The cone is held away from the body. The wrist tilts to chase the drips.
one holding a paintbrush and one a palette The palette arm bends in close. The brush arm reaches out towards the work.
one holding a phone to the ear A sharp bend at the elbow. The head tilts towards the phone.
one holding an umbrella up The forearm is vertical and close to the body. The handle sits about chest height.
one hooking a jacket over the shoulder One finger through the loop, elbow forward. The jacket hangs down the back.
one planted on a tall walking stick The stick is a third point of contact with the ground. The grip sits about chest height.

Busy with each other 22

both brushing dust off the front of the clothes Flat hands sweeping downwards and outwards. Catch one high and one low.
both caught in the middle of a clap Draw the hands apart and about to meet. The gap has more energy than the contact.
both closed into fists at the sides A fist tightens the whole arm. The shoulders often rise with it.
both conducting an invisible orchestra One hand beats time and the other shapes the sound. They should not match.
both held up open to show they are empty Palms forward at shoulder height with the fingers spread. The elbows stay bent.
both juggling three small balls The hands stay about waist height and do little. The balls travel in arcs above them.
both making a frame with thumbs and forefingers Two L shapes make a rectangle at arm's length, a quick way to crop a view.
both patting pockets for lost keys The hands are flat and at two different pockets. Make them two different heights.
both rubbing together for warmth The palms are flat together and a little offset. The elbows tuck in.
both shaking water off the fingertips Wrists loose and fingers flung downwards. Draw the end of the flick.
both turned palms up in a shrug The elbows stay near the body and the forearms swing out. The shoulders lift.
both tying an apron behind the back The elbows stick out behind and the chest pushes forward. The hands work unseen.
both zipping a jacket up to the chin One hand holds the hem down and the other pulls up. The arms make a vertical line.
fingers interlocked and pushed out palms first A stretch before work. The arms straighten and the shoulders roll forward.
one arm raised to check a wristwatch The forearm is level across the chest with the wrist turned up towards the face.
one buttoning the opposite cuff The wrists meet in front of the stomach. The head tips down to watch.
one counting on the fingers of the other One hand is open and the other points at it. Both sit at chest height.
one drawing a big shape in the air The finger leads and the whole arm follows in an arc.
one flipping a coin into the air The thumb has just flicked and the hand is open underneath, waiting.
one pulling a glove onto the other The gloved hand points up with fingers spread. The other tugs at the cuff.
one pulling the other arm across the chest A shoulder stretch. The straight arm crosses the body and the bent one hooks it in.
one rolling up the opposite sleeve The arm being worked on is held out and bent. The other hand is at its elbow.

How this list was compiled: Original list written for Draw This Next, September 2026. Every entry describes the arms and hands only and carries no mood, weapon or legwork, so it can sit beside any entry from the other four lists. The definition of foreshortening was checked on 2026-09-18 against https://en.wikipedia.org/wiki/Perspective_(graphical), the pairing of each leg with the opposite arm against https://en.wikipedia.org/wiki/Running, and the animators' terms twins and arcs against https://en.wikipedia.org/wiki/Twelve_basic_principles_of_animation. The other hints are our own suggestions from ordinary figure-drawing practice, and a pose can always be drawn another way. Licence: own work

Mood: all 86 moods

Energy 20

bone tired after a long shift Everything hangs. Joints bend a little more than they need to and the head is heavy.
bursting with energy that has nowhere to go Angles open up and nothing rests. Even a held pose looks about to change.
buzzing after very good news The pose cannot contain it. Let the lines of rhythm run upwards and outwards.

Show all 86 moods (83 more)

Energy, continued

coiled and ready to bolt Joints bent and mass gathered. The pose is a spring, which animators call anticipation.
cold to the bone and saving heat Everything pulls in towards the middle. The outline gets as small as it can.
half asleep and running on habit The movements are right but small. Nothing lifts higher than it must.
heavy as if gravity has doubled Everything sags towards the ground. Whatever touches the ground spreads and flattens.
in a tearing hurry Straight lines and sharp angles. Something is always ahead of where it should be.
light as if gravity has halved Contact with the ground is small and brief. Everything lifts a little.
loose as a rag doll No joint is locked. Let each part trail a little behind the one before.
out of breath and winding down The ribcage is big and the shoulders rise and fall. The rest of the body droops.
perfectly still and listening hard The stillness is active. One part is cocked towards the sound.
quick and twitchy like a small bird Small sharp angles and sudden stops. Nothing is rounded off.
restless and unable to keep still Draw the pose as a stop on the way to another one. Nothing is settled.
slow like someone moving underwater Smooth curves with no sharp corners. Hair and clothes lag behind.
sluggish on a hot afternoon Everything spreads out to cool down. No part touches another if it can help it.
springy like the floor is a trampoline Every contact with the ground is a bounce. Curves are tight and ready to open.
stiff from sitting too long The joints open slowly and not all the way. Movements come in stages.
unhurried with all day to spare Long easy curves and nothing at full stretch.
warming up and testing each joint One part moves while the rest waits. A gesture sketch is a warm-up too.

Tension and control 19

braced for bad news The body narrows and holds. Whatever is touching something grips it.
controlled down to the fingertips Every angle is chosen. Finish each line cleanly right to its end.
crisp and exact with no wasted movement Every line goes straight to where it is going and stops.
every muscle wound tight Straight lines and hard corners. Nothing hangs.
gawky and all elbows and knees The joints stick out past the line of the limbs. Angles over curves.
graceful without any effort showing Long continuous curves that flow through the joints. Hide the effort.
holding it together by force of will Correct and a little too tidy. One small part gives the strain away.
hoping not to be noticed The pose gets smaller and quieter. Nothing sticks out that can be tucked in.
keeping a lid on a rising temper The pose is still but packed. Straight lines under pressure.
open with nothing to hide The front of the body is uncovered and turned towards whoever is there.
performing for an audience Everything opens towards the viewer and is pushed a little past natural.
relaxed with every joint soft Curves all the way through. No joint is locked or fully folded.
sloppy with every movement overshooting Each part swings a bit past where it meant to stop. Most natural movement follows arcs.
stiff and formal as if on parade Verticals and right angles. The two sides match, which here is the point.
taking up as little space as possible Pull everything towards the centre line. The silhouette is one narrow shape.
taking up as much space as possible Push everything away from the centre line. The silhouette has big holes in it.
tense up top and relaxed below Split the figure at the waist and give each half a different kind of line.
trembling with the effort of holding still Draw it firm, then break a few outlines into short doubled strokes.
working hard at looking casual A relaxed pose held a little too carefully. One part is stiffer than the rest.

Attitude 21

awestruck by something enormous overhead The body opens upwards and goes slack. Whatever it was doing has been forgotten.
beaten and not hiding it Everything hangs from the spine. The lines of rhythm run downwards.
bored and killing time The body finds things to lean on and fiddle with. Nothing is held up that can rest.
cocky and showing off for friends Bigger than the moment needs. Every angle is pushed a little past comfortable.
curious and drawn towards something One part of the body leads towards the thing. The rest has not decided yet.
defiant and refusing to budge Planted and squared up. The pose is a wall.
determined and already decided The whole body points one way. No part hangs back.
embarrassed and wishing to vanish The body turns partly away and makes itself small.
guarding something small and precious The body widens into a screen. Put the thing they guard in the picture.
impatient and watching the clock A still pose with one small part that keeps moving.
lost in thought and miles away The pose was set a while ago and then forgotten. Nothing is aimed at anything.
polite but wanting to leave The top half faces the conversation. The bottom half faces the door.
relieved that it is finally over A pose that has just let go. Everything has dropped an inch.
shy and folding in on themselves The front of the body closes. Whatever can cross in front of it does.
smug about a secret Contained and tilted. The body leans away while the attention stays on the viewer.
sneaking and proud of it Exaggerated care. Every movement is slow and rounded and a bit too big.
startled by a noise behind them Everything lifts and tightens at once. Part of the body has started to turn.
sulking and making sure it shows A droop that is performed. It is aimed at someone just out of frame.
sure of themselves without showing off Nothing is hurried and nothing is hidden. The pose takes the room it needs and no more.
triumphant after a narrow win Everything lifts and opens. Relief makes it looser than plain pride.
wary and ready to back away The body angles side on to the thing. Part of it is already leaving.

Played like someone else 26

like a bird deciding whether to fly off Alert and light, with quick changes of direction. Nothing is settled.
like a cartoon burglar Every movement is rounded, oversized and far too careful.
like a cat that meant to do that Total poise, a second too late. The recovery is the pose.
like a dancer marking through the steps The shapes are right but at half size and half effort.
like a ghost unused to having weight Nothing presses on anything. Contact with the ground looks optional.
like a giant trying not to break anything Big shapes moving with tiny care. Everything is held in close.
like a hero on a comic cover Heroic figures are often drawn 8.5 heads tall, against 7.5 for an average person.
like a mime trapped in a glass box Every surface is invented by the pose. Flat planes and locked angles sell it.
like a model at the end of a catwalk A pause built to be looked at. One long line from top to bottom.
like a monster pretending to be human Nearly right. One joint bends too far, or the stillness lasts a beat too long.
like a puppet with a few strings cut Some parts are held up from above and others just hang.
like a robot still learning to move One joint moves at a time and straight lines replace the arcs of natural movement.
like a scarecrow come down off its pole The joints are loose and a bit too long. Parts hang where a pole used to hold them.
like a silent film star overacting With no sound, the body says everything twice. Push the pose to its limit.
like a sleepwalker Upright but switched off. The pose has no idea what it is doing.
like a small creature acting bigger than it is Puffed up and spread out. The pose claims more room than the body needs.
like a spy failing to blend in An ordinary pose done slightly too correctly.
like a statue that has just woken up Contrapposto gives a still figure the look of past and future movement.
like a toddler in a padded snowsuit The limbs cannot fold all the way, so everything stays a little spread.
like a villain making an entrance Slow, upright and sure of the room. Try a low angle, which makes a figure look powerful.
like a wrestler playing to the crowd Everything is big, square and aimed at the back row.
like an astronaut in low gravity Slow and floating. Each contact with the ground is light and lasts too long.
like royalty who never carry their own bags Tall and unhurried. They expect the space around them to stay clear.
like someone a third of their age Bigger movements than the job needs and no thought for balance.
like someone in a full suit of armour Stiff in the middle, with the weight carried low. Turns happen as one piece.
like someone three times their age Age shows in how carefully weight is moved from one place to the next.

How this list was compiled: Original list written for Draw This Next, September 2026. Every mood is written for the body and not the face, and names no limb, so it can sit beside any entry from the other four lists. The lines of rhythm of a gesture drawing and its use as a warm-up were checked on 2026-09-18 against https://en.wikipedia.org/wiki/Gesture_drawing, anticipation and arcs against https://en.wikipedia.org/wiki/Twelve_basic_principles_of_animation, the effect of a low angle against https://en.wikipedia.org/wiki/Camera_angle, the figure heights of 7.5 and 8.5 heads against https://en.wikipedia.org/wiki/Figure_drawing, and the look of past and future movement in contrapposto against https://en.wikipedia.org/wiki/Contrapposto. The other hints are our own suggestions from ordinary figure-drawing practice, and a pose can always be drawn another way. Licence: own work

How it works

This pose prompt generator describes a pose in words, with no photos and no 3D mannequin. Five parts fill in: what the legs are doing, how the torso carries the weight, the hands, the camera angle and a mood.

Read the full guide

How the five parts split the body

Each list owns one part of the figure, so any entry can sit beside any other. The action is the legs and whatever holds the figure up. Weight and balance is the torso: leans, tilts, twists and the line of the spine. Hands covers the arms. Sketch in the same order: the action and lines of rhythm before any detail.

One leg carries the weight

Contrapposto, Italian for counterpoise, is a figure standing with most of its weight on one foot: the engaged leg is straight and the free leg relaxed. Hips and shoulders tilt in opposite directions: if the right hip is higher, the right shoulder is lower. The Kritios Boy, from about 480 BCE, is the earliest statue known to stand this way.

A low camera tends to make a figure look more in charge, a high one less. Reroll the camera alone.
The timer starts at 2 minutes, because a drawing given longer is not usually counted as a gesture.
Hard to picture? Act it out. A limb pointing at the viewer looks shorter than it is: that is foreshortening.

Questions and answers

Does this pose prompt generator show pictures or a 3D model?

No. It is text only. It picks one entry from each of five fixed lists: 98 actions, 82 weight shifts, 100 hand positions, 67 camera angles and 86 moods. That allows more than four billion different sentences.

Why are there no flying, swimming or lying-down poses?

A lean from the hips means little to a figure lying flat, and every entry has to fit beside every other. Each action keeps a foot, a knee or a seat on a surface. The crouch before a jump, which animators call anticipation, is in.

How do I use pose prompts for character art?

Lock the mood that suits your character and reroll until the body agrees. Moods such as like a villain making an entrance are acting notes for the whole figure. For a reference sheet, lock the camera on the front and side and back turnaround.