I always start with the line of action. For this I think only about the emotion the character is feeling when in that pose. I know this sounds esoteric, but seriously, I'm not thinking of the individual body parts when I draw this line.
If I'm happy with the line of action I mark in a line for the hips and a line for the shoulders, thinking through how the orientation of both of these are related. Doing this helps establish how the torso will twist and bend. It's all in keeping with the line of action, which is true to the emotion and action.
I use spheres to block in the placement of the head and hips - at either end of the line of action.
It's pretty clear here that I use simple cylinders for limbs, but I've drawn them around my underlying stick figure lines for each limb. Again, these lines hang off the line of action.
So, constructing the poses this way keeps the process clear every step of the way as I'm constantly checking whether what I draw feels wight for the desired emotion I'm holding in my head as I build the body around that line of action.
I'm also concerned with getting movement in every drawing...
...and ideally a type of movement within the pose that works for the scene.
In the drawing below, the placement of the limbs happened very naturally, once I'd established how the placement of the hips related to the head/shoulder line.
Any sense of movement and force in a thumbnail is down to working to an established line of action.
I've found this method of construction - i.e. building spheres and cylinders onto a governing line to be the quickest way to figuring out poses and allows the freedom to experiment a lot.
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