Hey, everyone, now let's get on to drawing some girls right standing poses have for the, I would
say, very nice looking standing pose, as you guys can do for your characters.
Granted, these are this is the standard kind of pose that has a nice line.
This is a more cuter, more elegant kind of pose.
And this has a more of a twist to it.
And this one is definitely more on the Lolita kind of side.
So let's get started drawing this, shall we?
Let's go one by one, starting with this one here.
And we're going to draw the clothes as well as well.
I don't know if I'll draw the face exactly.
Maybe I will, but I think I'll think about it for a second.
But it was let's first start drawing our first one here.
I will first start off by drawing the pose.
Draw this very, very lightly.
You have your face crosshairs.
Enjoy your neck, which is facing forward, and then her chest is a little bit tilted up where you can
see a little bit of the underside of her.
The underside of or the underside of her breast here, so I can just map that out here, it looks more
like that.
So you want to make sure that our rib cage is facing a little bit upward.
Because of that, she also has a little bit of a waist tilt, so this one her for this one, in order
to have this kind of nice contrast, you want the rib cage facing up and then the pelvis be facing a
little bit more downward.
Just for some nice damit dynamic flow.
And draw the inside of the pelvis.
And we can draw them blocking out of the legs.
And to have a nice contrapositive meeting, its opposite sides of this way, children are this way,
pelvises this way, so that gives a more dynamic feel.
And of course, when you reach the elbow, you want to make sure that it's within that the elbow or
you reach the ribcage, the elbow lands here.
You want to mark that.
And then his her hands are around the thigh area.
If you mark your knees to this area, your hand will be here and notice that the other arm has more
kind of leaning in.
So here's our big sketch now we can start.
Go ahead and just draw on top, so just shade in or erase most of these lines here and think I will
draw that maybe a little bit of the face so I can draw the face just a little bit more simplified.
Retracing on top during the ears and for the neck, it's more straight.
You have a trapezius kind of going straightforward and then her shoulder going in here for here, the
shoulder ends about here.
And based on this measurement, we can see that her chest or peck area or breast area is a little bit
above and her breast is a little bit small.
So I'm not going to make it like this one.
Tiny from here, we can just drag it over to the other side.
And this is the other side of the body.
Kind of wanted to connect the peck down to the breast area and can even draw the clavicle at this point.
Well, the shoulder to kind of reach a little bit out of out from the.
The skeleton actually just maybe just going to raise this area and just redo this shoulder, reaches
out from here.
And then her forearm or her top part of the arm is a four cylinder lands right at the rib cage area.
And you want to kicking it around the elbow and then back down to the wrist.
And then we could just draw a basic part of the hand here.
For the pelvic area or the waist area, you can connect this area like a little pillowcase
to the pillowcase, kind of like kind of pinches right in this area, and then right out comes the hip.
He had this little bulge here because this kind of part is your glutes, which is your butt area, and
from here we have the area here.
We have the crotch area and then just separate that little bit and here we have the thigh.
Now, I drew her legs a little bit too long, so I'm just going to lasso this and drag it up just a
little bit.
And notice, when I'm drawing this, I'm making sure that my sketch, my base sketch is pretty much
there, but I can always correct it.
So this leg may not be in the same in the correct position.
So I'm going to have to draw this more in the center.
Notice how in the kneecap area we're going to draw a cylinder in this area here.
This car gets a little bit wider from the bone and this also gets a little bit of a bulge.
And then for the calf area, it gets thicker and thinner as it gets down to the feet.
And the feet are like this because she's wearing high heels, therefore look makes her legs look longer.
Now, let's do the other leg here.
I'm going to just raise this more a little bit towards the right.
And we can drop the first cylinder control story on Lipps and then near the end of the second one.
Notice in the kneecap area, it's a little bit on the side here, so we see this little bulge out here.
You want to draw that top?
And then for the Cavs want to stick in this top Partons and then send it down and then for the feed,
you want it to be a little bit inward just to give it some nice.
Some nice.
Kind of differentiation in different directions, so he is going out here.
It makes more sense to go this way rather than just go out like that.
So it makes it makes her look a little bit more taller, not taller, more dynamic.
And.
So I'm just going to waste all the most of the inner construction of the body here, because we have
most of our drawing intact because we're going to be drawing clothes now.
We're also going to draw this arm here.
And her hands of her thumb and then her fingers, so so now let's draw her clothes and her clothes are
pretty much easy.
You just want to make sure that when you're drawing clothes that they are, but they overlap the body.
So I'm just going to double this and I'm going to just draw on top.
So this is our naked version here and this is our clothes version.
So here we have a caller that drags along the chest area, make sure it's rounded and notice these little
ruffles up here or these little folds up here.
You want to in order to make it not look like it's sticking onto your body, you want to make sure that
you're pulling up a fold up here.
You know, over here, the shoulder seam do the same thing on the other side.
And for the chest area here, we have this little corset looking pattern and the clothes overlap on
top.
So notice how my brush stroke is going around the form, not straight or not like this.
It's going like this because of the direction of the ribcage.
Get a little bit of detail here and there.
Can I just read little lines, just indicate the details in the middle name a little seam on top.
And we noticed there's not many there's not much folds in this in this shirt here, and that's because
it's more tight.
So the folds are less common, and especially since this is also a form fitting material, you don't
really see many you don't see much folds in this area, but you see more folds towards the sleeve area
like this little Hyflux one here.
So you just want to add some tension along this area.
I see folds along the sleeve as well, making sure that all the folds are curving around.
The form it wanted sticking to the area or you don't want sticking to the skin, you want to look like
she's wearing it and there's a little fold on top that kind of has a little pipe in it.
So not as how these folds make it look a lot more realistic, makes it look a lot more like she's actually
wearing the clothing.
Now, here we have a little bit of some fabric over the wrist and then we have this little zigzag kind
of folds.
So we want to draw fold over and overlay on top.
And kind of change the form of the sleeve and just, you know, that little movement makes it a lot
different.
And for the pants, you have a pants kind of just more like going around your waist.
They're both going in a different direction here because it's kind of connected this way.
It's connected in more of like a point.
And notice how I'm not going to leave this mark here like that.
I'm going to bring it over and just kind of show that there's an indentation.
And that's just to show the depth of your clothing.
Some guys might brush here because I don't like it, so I'm just going to make it more thinner.
That's not the right brush.
This one.
There, that's better, I'm going to add a little button, made some straps here and notice these little
zigzag folds here that happens when there's a lot of tightening in this area, when there's a lot more
tighter clothes, the clothes get a little bit more stretched out.
So there ruffles are their wrinkles look a little bit more stretchy and also just more frequent, more
tight and more straight.
So the straighter you fold are, the tighter your clothing is.
Can add some steam lines from here.
And then you have some Strader photos that show the tension between the legs, seen what the bottom
area here.
We can even draw a little bit of the rips by making this outline a little bit bolder.
We can even draw some wear and tear by adding some little strings here.
Can I even add some strings here as well, just these little details, give us some nice texture that's
really important when you're drawing close.
And however, stocks and these stocks are more like spiral folds because they're kind of spiraling around.
You can see here they're going around around surface and they're kind of very bunched up.
So you want to draw that drop like that, make sure that your lines are very spiral like.
And when you join shoes, you want to block out the shape as well.
So once we are the shoes, as are once we draw the socks and the shoes, the shoes, she's wearing this
kind of heeled sneaker kind of like platform sneakers.
Oh, not to mention we want to draw some detail in the legs.
So when we draw the foot, we want to make sure that we put this in perspective.
This is more like a toe or this is more like a form that looks like this.
So you can see if you look at our shoe box ify it.
So this looks like a box that's facing down in a box is kind of facing it to the side.
You see the bottom part and we just.
It looks more like that, and then the same thing goes with the platform, so I want to see it like
that.
And once we see it like that, it becomes easier to simplify the form and make it how it will shape
you want.
So I'm just going to draw a cylinder.
And then a box that's facing down.
And the feet and then platform underneath as well.
So once we have that blocked out and we can get started on drawing in the shoes, let me do the other
side here.
So this shoe is facing more inward.
Yes, your toe box is a little bit near.
So it looks more like that now let's kind of just start simplifying the forms here, we're going to
be racist once more and based on the basic shapes, we can just build on top.
So we have our we have our two sleeved.
I don't know how to say this.
We have these little folds that kind of cover the front foot part of the foot where the laces are.
So I want to just draw those two layers on top and then draw the cross, just draw the corset area where
the toolbox leads into it.
You want to a around for.
And point it and then draw a little bit of an indication of a box here.
So it looks like that and downward dog for those around it, kind of like a cylinder and then draw these
little nooks and crannies, you know, cylindrical form.
So that's how your shoes are, the size of the shoes, where the laces kind of attach to each other.
Make sure that the shoe is overlapping the foot.
Now, on the inside of this Autobytel area, you want to sharpen and draw the wedges of the platforms.
That's your outfit.
And for the hair and the face, you know, her hair is her hair line starts up here.
You can see there that you can see the top of her head here, so you want to just draw that on top,
making sure it's not sticking to the scalp, and then we can draw simple shapes of her hair where the
direction is.
You know, if it's kind of wavy, you know, we want to try to draw some ways to a hair.
Can draw some hair over the body as well.
It becomes they can just erase the inside, so notice how light and loose the lines are.
So even if it's a kind of even if it's like here, it has a lot of strands in it, you don't want to
draw all the strands, you want to keep it simple so it doesn't take away from the rest of the body.
Maybe for the face, I can zoom in, look at her expression first, Yoda's with covid, smirking, confident
look so we can erase this thing here.
I can draw knows the middle from the eyes her she has a more serious look, so she has a probably more
narrow eyes.
Which are the bottom part, which to the other side?
Make sure they end at the same area I lived.
I borrow.
And the eyes, the people's.
Just kind of shaded in.
And draw a little bit of the math as well.
And for this expression, we want the centerpiece to be a little or the teeth part to be a little bit
more open, and we can even draw at the bottom lip and shade it in just a little bit really lightly.
That was a character, so no, move the eyes just a little bit lower because it looks a little bit higher
right now.
I can just refine this just a little bit more.
There we go.
So that is our first one.
Now let's move on to our second, which is this cute one here.
Now, for this one, we do the same process, you know, we can just draw our head real quick.
She's facing more front.
It's going to draw in the whole thing really loosely, she has kind of a long neck here, so her rib
cage will start about here.
And this one's very straightforward.
This one does have much, much dynamic rib cage or pelvis movements.
Even the shoulder movements are really straight.
But we can also just to make the best of it somewhat, to have a rib cage, we want to make sure that
our elbows are at this point.
And that's where you want to make sure that your elbow is bent in this case, the really basic hand.
From here, we want to draw just your line at this point.
So from here you can see that.
She's kind of going through this like a ship.
Where her front leg is over here and then her back leg is going straight down and her pelvis is a little
bit more straight.
It's kind of facing down a little bit.
You don't see in the dress, but if you look at the legs here, you can see the side of the legs.
So that means you could see a little bit more of the legs from here.
That's what the pelvis is this way.
When we have our basic sketch, we could just erase most of this or you raise a good amount and then
start drawing over on top.
So here we have the top part of her head.
Being a little bit rounder this time, because she's her features are rounder.
For a neck, it's a little bit thinner.
Her trapezius.
On both sides and her shoulders are very relaxed, so you don't get arch them up or anything.
So for here, I'm going to destroy underbody, she looks like she has smaller, smaller bust size.
I'm just going to make it very small across the ribcage.
And from here on, looks like her waist is kind of turning a little bit.
We're kind of just making a little bit of a kind of an upper movement up here.
And then we have her glued, glued area.
So this is what I would imagine on the inside.
She said she has her legs crossed over on one side.
It will kind of give this kind of feel to it, or you have the crotch area being blocked by the leg.
From here, we can draw in our cylinder, which is facing upward, actually, because you can see that
this motion is more going up.
Kathy is going downward.
We draw the base of a foot and this one can just draw underneath.
The calf inside the cylinder.
We can draw the remaining foot, so it's very structural and in very looks just standing straight.
So I'm just going to tilt this just a little bit just to give us a more dynamic look.
Actually, I think this looks fine.
So now when it comes to the arms, her arm from here is not blocked unless it's to here.
I want to draw the elbow bent.
Raise it up a little bit more until the rest area.
And then we can just draw the face of the hand here.
So it looks like her thumb is more upward because she's holding her hair, Pinky.
It's kind of more withdrawn.
Palm is facing up, so I'm just going to just race a little bit of this just because we're not focusing
on the hand too much or focusing on the gesture polls, but just want to put it in here.
And her hand is resting neatly on her side.
Control in the elbow area where it's ending from the rib cage.
I don't like this hand.
But once we have this all done, we can move on to the clothes.
Could you make this just a little bit thinner?
And actually, that's that's just a little bit there.
For the hand, I think I'm just going to.
Some area here, then Pinki area, just draw the hand, really.
Steadily, I don't like this pose is awkward when it's like this.
I think actually looking upon closer inspection, it looks more straight.
So I'm just going to turn this around and look this up just a little bit.
They are just going to do this for now.
I'm actually going to turn this area just a little bit, this top part just rotated.
There looks more straight.
I'm going to move this up a little bit, and now I'm going to draw the clothes on top of her, so I'm
just going to duplicate this over on one side and I'm going to start drawing.
So far, her clothes know that this is kind of like a very loose kind of fabric.
I'm going to erase some of the base shape of this here in the arms because I'm just going to be drawing
sleeves on top as part.
I can just erase a little bit.
So when it comes to the clothes, I want to just map out the basic outline of the clothing, you know,
where the sleeves at, you know, sleeves are here and more puffy.
So I'm making sure that it is, you know.
Well, Balloon to the core has a balloon sleeve slightly on this side.
You know, I want this part to be wrapped around the wrap around a cylinder and then poof, out.
You can even draw the clothing or the body inside because it's kind of a transparent clothing, and
if we're here, we want to draw where the clothing answer ends right about here.
And then it also poofs out.
So you want to draw that?
It puts out and it could create some nice folds.
And from here, we want to show that this is a this is a nice, cute skirt.
The band, the waist band is here, and then we want to just.
Draw.
The basic shape of the skirt, so notice that this is kind of like almost like a resting like a drop
fold or a pipe of almost.
So I want to just draw.
Some if you want to try this kind of fall, you monster from the top and then curl it up.
And do the same thing on the other side, and then we can even overlap the clothing on top or underneath
the hand and said the other side, if you want to draw fold, you want to draw the top part and then
the inner part as well.
That is the basic
shape of the clothing.
Now, can you raise most of this leg area here?
Because I don't need it.
Now, let's go into the details of the clothing, the clothing.
I'm going to start with Ruffles.
I'm just going to grace these inner parts here.
It looks like that her collar is fastened by a by a string or black string bow tie belt thing, so can
I just want to draw the shape of that?
I don't know why it's like this.
And I can see here that this area kind of gives a nice little gap and it has this nice pattern.
So I'm going to draw with the pattern is on it, you know, kind of where there's no pattern.
So it looks like this area doesn't have a pattern.
And from here, I'm going to draw some ruffles going downward to kind of like, you know, zigzags,
folder of boards.
I'm going to just go draw them in the direction where they're kind of centered.
So since her skirt is tucked in, I want to make sure that those folds are showing that it's being tucked
in.
So stuff like, I'm going to erase this band here.
To show that this is overlapping on top of this band and that all these folks are going downward and
from here we can show that this is kind of like a balloon kind of fold.
So it's like a very puffy and therefore kind of gives us this like, you know, really floaty and very
nice texture.
From here, I can also draw Ford's facing downward, a lot of the fools just tend to mimic on what direction
the gravity is pulling it.
So if it's going downward, if you're if you're it's like a dress or something like that, the folds
go down.
It's not going to go up.
Almost a win's catching it.
We can darken these or Boldon, these lines appear.
So that's it for a photo now we can just draw the shoes.
The shoes will be quite easy because it's just a box to draw in the inner parts of the foot.
You know, that's her that's her toe area.
And underneath it is a platform and it's a little bit wider.
What can I draw a little bit of a cylinder in this and we draw for buckles top, middle and bottom,
and these buckles here show nicely the forms of the foot.
This is actually more like a top topic.
Show the peekaboo kind of shoe style.
So it's around and you see the toes kind of just peeking out right there.
Even the buckles.
We can emphasize.
So her foot is facing downward and on top are the forms of the peekaboo kind of style.
Here we had the buckle up here.
Buckle up their.
Notice how they're not sticking onto the feet.
They're kind of hovering over it.
And actually indicate a little bit of the health back.
Platform.
That's how I would draw this part and we can draw a little bit of the kneecap area here.
In fact, I'm actually going to stick in this area because it looks a little bit thicker coming from
side here.
And it's actually looks smaller, so I'm going to shrink this command t and put it more behind this
foot, so it looks like she's kind of standing in the distance in this.
But now we can just draw indication of the kneecap.
Notice the roundness of the kneecap that's kind of bulging outward, I draw that up and then kind of
make sure that the forms of the leg are flowing down.
A lot of overlaps in this drawing.
Now we can just draw in her hair, which is sort of like sideswiped.
Can draw the hair over the scalp and draw the hair in front.
And for the nose, we can draw a little dot.
For the now 25.
We it upward.
And then her eyes are a little bit more gentler, so I wouldn't make them a little bit rounder.
And kind of narrower as well, because she's not opening her eyes fully, it's kind of like, you know,
since she has a smile on.
It's a little bit more like that.
Can I add a little blush to it as well?
Let's do the other side.
So now let's go with the little details in her shirt.
This is rather intricate and this looks a little bit more like lace.
So just to simplify it and just draw some little swirls here and there and kind of just indicate like
some little dots or some, like, nice detail of lace going around.
So you don't have to do much other than just kind of fill in the space with whatever you want.
You can do flowers, you can do little, you know, dots here and there.
You can do more swirls and anything that can kind of fill in that little space.
And sometimes you can do patterns, you know, maybe could be a web to kind of look or anything like
that.
But right now, I'm just going to go a little bit more intricate.
I just surrounding the area with this.
And there we have it, so I'm just going to go ahead and fix the hand again because I don't want to
leave that out, especially because it's a hard pose.
I don't want to just avoid it because it's hard.
So I'm going to just take a look at the wrist.
And this wrist looks like it's going upward.
And for the hand, I want to make sure that the hand is a good place.
So it looks like this is the bottom part of the hand and the further away it is goes further away from
here.
Another box.
We can just draw the basic shape of the hands here and the thumb.
So it looks a lot better now that we put in the basic shapes.
Now can just erase the basic shape here, most of it at least, just keep the base intact.
Then I can start with the thumb.
So thumb looks like it's kind of bending, beating back and going straight up.
For the Pinki muscle here, I'm going to go back from the box, I'm going to make sure that the back
of the palm is upright, then I go for the pinky basic shape, the pinky.
I'm just going to draw that in.
I'm going to go with the fourth finger or the ring finger, whichever you want to call it, I call fourth
thing because that's what my mom always called one of her practice piano.
Do whatever you want and then the middle finger and then looks like her.
It looks like her son actually covers most of the most of the hand here, so I'm just going to you and
just fix it.
And the.
Then the index finger kind of just blends in with the thumb because it's like kind of holding her hair.
So, yeah, now that's a lot better.
So that other way now we can kind of shade and maybe a little bits of her hair.
Bookishness has kind of black or it is black.
I'm just going to shade it in just for some differentiation.
You don't have to do this, but I recommend it just a little bit.
It's kind of a big brush and just brushing it across.
And even using a little bit of the darker areas to kind of put some texture into the hair as well,
and the same thing with the dress, I'm just going to show you that in one value real quick.
You notice that I can also do this with, like, a big brush.
So I don't have to worry too much about, you know, using just a small brush for everything.
It's small.
No worries, just make it smaller.
And notice, I'm not pressing hard, I'm just only pressing lightly, so it gives us a nice gradient.
And now what we can do is we could just say, listen, don't use a little bit darker.
Shade in this area here.
Notice I'm not using a hard edge, I'm just using quite soft edges, and those make it darker if I need
to, this darker area will show the form of the flap here.
I'm just going to shade that in.
Same with the back.
And they could do the same for the shoes as well.
I'm just going to do it very simply, leaving a little bit of highlight along the straps.
So notice I left a little highlight here, right here.
That's because I just want to, you know, give it some texture that way.
And I could add some dark areas here just to give us some nice sheen.
And here we are.
So that's going to be part one of this video, I'm going to continue the rest of the poses in the next
one now.
So you guys, the next one by.