(1) Pay attention to the whole. "Starting from the local, one step at a time" is the general method feature of sketch. Because it is partial, it is more necessary to emphasize the whole. Only by looking at the whole can we grasp it locally and accurately. For dynamic sketch, the so-called "whole" is the overall dynamics of the body. Adhere to the whole, that is, before starting from the local, we must first grasp the overall dynamic characteristics of the form, on this basis, seek the breakthrough point from the local, and then express the morphological dynamics from point to surface at one time.

(2) Grasp the key points. Don't cover everything in dynamic sketch, but emphasize distinguishing primary and secondary and grasping key points. What is the focus of dynamic sketch? It is not people's five senses, nor people's clothing, but the "three major parts" and "three major joints" that are most closely related to the overall dynamics, affecting and restricting the overall dynamics. The so-called "three major parts" refer to (neck), shoulders (chest) and buttocks; The so-called "three major joints" refer to the shoulder joint, elbow joint and knee joint. Grasping the "three major parts" and "three major joints" can not only accurately grasp the overall dynamics of the body, but also provide practical and credible basis for general selection including clothing lines.

(3) Pay attention to clothing patterns. Clothing lines are closely related to people's overall dynamics. Paying attention to clothing lines means paying attention to those lines that can fully express the overall dynamics. Therefore, the essence of paying attention to clothing lines is to pay attention to the dynamics of the body. We should grasp the relationship between body structure, body dynamics and clothing lines, and be good at grasping the key clothing lines that can fully express the dynamic characteristics, rather than being confused by trivial clothing lines that have nothing to do with dynamics. We should be good at strengthening the dynamic performance of the body through structural relations and changes in clothing lines, starting from beginning to end, consistently, clockwise and counterclockwise.