Now that we have two out of the five, let's go ahead and continue on with John, the rest of these.
So let's go with the more sitting POWs now.
This one is a little bit different.
It's not really sitting.
It's more like kneeling.
But I still think it's kind of interesting pose and it's quite different.
So let's get started.
Add another layer, and I'm just going to once again start off with the gesture, that's when I'm leaning
a little bit a little bit lower to the ground or a little bit lower than appear just because it's kind
of in a crouching position.
Her head is facing more this way, just roughly block it.
And this is a bit of an interesting position because you can't really see the neck.
We can kind of understand where it goes.
It goes a little bit downward because you can see the shoulder kind of hovering over
and they can see that the ribcage is a little bit on the side here.
Leaning towards the side, and that was since we can't really see much of the pelvis area here, I can
sort of have a hint on where the seam line or the waistband is going.
So it looks like it's and we can also see a little bit of the glutes here.
So it looks more it probably has a bit of a upward look.
Due to that, we can have this leg more bent.
And the other one goes upward, straight down, and then here we have her arm covering her neck.
So that is our basic sketch.
Once you have a gesture, then we can continue on with.
The rest of it, so it's going to be refining at this time, erased most of it enough to see.
Now I'm just going to go ahead and refine the face and the rest of them.
So I'm just going to find out more by sharpening some edges and kind of protruding out the eyebrow ridge
just a bit.
We can't see her neck or anything like that, but we can see that her hand is covering it, so we can
just kind of indicate where her hand is.
Then we can also draw in her arm in relation to the hand.
Her shoulders covered, but we can tell that the trapezius muscle is kind of more flowing over the side
and then the shoulders here, as you can see, a little bit of the other arm here.
Her rib cage, she seems to be a bit more forward than I thought, but we're just going to add her breast
area here for a chest area and then a shoulder goes in front.
Here we have her elbow area.
ARM is quite long.
Here we have her hand always indicate the cylinder.
You don't have to draw it all the time, but once you start getting that, you can just start indicating
which direction it goes.
And doesn't it just make sure doesn't look too outlining meaning make sure it just doesn't look like.
You know, you want to make sure that want to make it not so fluid as to make it less stiff, you want
to overlap forms around each other to make it less aulani and more form based.
So it looks like her chest area.
This is her back area, her chest area kind of is hidden from from here.
So it looks like your chest areas here and the rest of her abdominal area.
We have their waistband up here and we have the buttock area to simplify it by, actually what I'm going
to do is move.
As part and just move it more.
Like that, so it looks more like it's going to be resting on the knee, so it's not too short knee,
which is about where her arm is.
Can see this big increase coming in, and that's where her kav the rest of her leg goes behind.
She has quite big shoes there, like platform shoes or something or platform sneakers.
So I'm just going to draw a big box in this direction.
Just kind of estimating the shape of it, then we have the other leg going across.
Should be a little bit thinner and on the same wave or on the same length, so it's kind of put it down
here and if any they need any fixings, I will do that.
Mace, make this a little bit smaller.
So it fits.
There and now let's go ahead and refine this, as always, so I'm going to erase most of this and the
cycle repeats itself, right?
I'm actually going to make the head just a little bit bigger just because it's supposed to be bigger.
I always make it smaller than usual.
But sometimes when I make it too big, it gets really weird and obvious.
So let's continue drawing.
Let's just remap this.
And in fact, I'd actually make the chin just a little bit sharper just for the sake of dramatic effect
and because she looks really serious and really cool, I want to give her a sharper look.
So I want to also give her some nice, like, sharp bangs, not bangs, but like kind of like the sharp
peaks around the bangs where parts.
So rather than round have it sharper, so it looks cooler.
And have it cover over her scalp.
And her hair covers and most of her body here, so I'm just going to draw the basic shape on top.
Could even simplify it.
Covers your hand, simplify it to one large Drennen to substance.
Same thing with her other hair as well, or her other strands just make it bigger and put less detail
on them.
It may look like it needs more detail, but it really doesn't, it does because I don't want I just
don't want it to take away from the whole figure.
In general.
You can add more strands if you want some.
Actually, some artists have a very, very simple style on drawing here, and it looks totally fine.
Now, I'm just going to be drawing in her tank top on top.
Notice her rose over the shoulder.
Because he kind of rolled back.
I'm going to draw in her hand.
Looks like her hand kind of reaches back into the hair.
In fact, I want to add a little bit of muscle by just simply adding a little bit of a deltoid definition.
And then even a little bit at the elbow.
So by redefining or just defining the muscles a little bit, it shows a lot more a lot more depth into
the body.
And for the sake of simplicity, I'm not going to draw the entire hand because I don't want to.
Now, I'm going to extend the arm down here.
And her hair kind of covers her elbows.
I'm just going to show you that I want to show the her chest ends this way, too.
So it looks like she has a little mesh or this little shirt up top that is really tight, tight on her
upper part of the body and doesn't really have much.
And it doesn't really have much ruffle or fold other than just a tight fit.
So I'm not going to draw any folds in this kind, but I'm going to draw the pattern.
So it looks like the pattern goes here.
It kind of has this, like, cheerleader pattern.
And then we can draw the little mesh around her body and to do a mesh, you can simply just do custom
crisscrosses or you can even do some square ellipses like this, although that takes too long.
So what I'm just going to do is I'm going to draw a waistband around.
Then when I'm going to do so, I'm just going to draw some cross crosses over, make them light so doesn't
you know, it doesn't take away from the other details.
So just draw very simply.
In fact, it's best to do simply rather than overcomplicate it, says the one who also draws a lot of
Lolita dresses and loves ruffles and stuff.
Yeah, a hypocrite sometimes when it comes to that stuff.
But most of the time you want to draw simplified because when you're drawing manga, for example, and
you're making comics, you want something simpler to draw.
You don't want to take so much time, especially if you're like an actual manga artist or manga artist.
You have a deadline.
So drawing characters the simplest way is the best way.
So anyways, I'm going to draw the waistband or this little elastic band going around.
And I think this texture here just to show the kind of type of elastic it is, it's the kind words like
it has this kind of elastic around it and it feels a little bit bumpy, like I have one on my sleeve
right here.
This pant, these pants also have a lot of pockets.
I'm just going to be dry so pockets around will follow in the form of the of the.
Basically, the pants.
So there's another kind of flap right here, it's quite thick, so I'm going to just loop mark out these
forms here and make sure that the ruffles are rather or the folds are rather crinkly.
So not very fluid.
They're just kind of crackly, I would say, and some buttons here and there.
And you can see that it's quite squashed as it gets as it gets lower and lower down the crotch area.
There's another section that's quite confusing.
And we have her other leg and then we have the half block folds which crinkle in and notice how the
pants kind of fold outward, as if they're kind of turning along with the leg and it becomes a lot it
becomes a lot more expanded.
So it's not as thin as you think.
It's actually kind of baggy as well.
I have a lot of there's a lot of baggy pants in this in this section, a lot more to learn.
Right.
So here I feel want to do the straps.
I just simply draw straps on top, not worrying too much about about if it's going over the line or
not.
In fact, I do it wrong.
So it's supposed to be kind of thin in the middle and the twists
and the connects to other strips.
It's kind of confusing pants.
Look, but you don't have to worry about the lines that it crosses because we'll be shading those in
any way and those kind of circle around.
And we had this one here that goes around straight down.
Can draw the girls or not?
Should we call girls, but just basically the soles of the feet kind of like gridded.
Kind of like a gridded texture.
I forgot what she calls my vocabulary unclosed is a very good and more visual anyway, but her shoes
are quite thick.
Looks like the base of it kind of goes a little bit higher and there's like multiple layers on it.
But I think I'll just simplify it to just.
It does make it very simple, but still make sure that the forms read well.
And here, I'm just going to draw a strap and notice that I'm kind of twisting it a little bit.
This is the front and this is the back or vice versa.
Both can work out.
Just make sure that there's a nice turning point.
And here's her leg, her other leg.
And kind of poofs out.
There's just seem one in the middle, which is a little bit like kind of poofy, so I just want to draw
a line here and that ruffles that kind of curl into it and make it seem kind of elastic.
And there's also these little these little strands out here.
I'm not sure what they're for and probably for attaching some pockets or whatever.
And I once again, don't don't worry too much about the lines right now.
We'll clean them up later.
Just kind of simplify them a bit and then here we have the other foot so you can almost see the platform
spiked to the platform, spiked sneaker.
I'd like to draw the platform first so we can get the main ground and draw what's on top and it.
You have the tongue of the.
Of the sneaker net, we have the spikes coming out of it.
So now let's get on to the stress, let's just shade the sun real quick, let's just watch it or even
just fill it all in black.
That's why I tell you guys not to worry too much about the lines inside, because we're just going to
cover these.
And these could be rather rough to.
Notice how the hatches are kind of going in one direction that makes a more uniform and just more consistent
even with the flow of this as well.
You want to make sure that goes along with the rest of the direction of the cloth, because a lot more
cohesive, not just do your best.
You can even shade it or hatch a little bit of what's going on inside here because we don't see it as
much and this could be a good way to introduce some values into your linework.
Now to her face, she has a bit of a serious and kind of aggressive, not aggressive, but kind of very
cool looking face, so I want her to look very like she's not sassy, but more just like really cold
and cool.
So we're going to have her have slanted eyes.
And a highlight.
And the other eye on top.
Notice how the cat like or just kind of the slanted eye gives a really nice, serious, cool effect.
A little bit like this is just a little bit too far, and I'm going to just tilt it a little bit and
then draw just a little bit closer.
Not for her mouth.
Can have a little bit of lip gloss towards the bottom lip, and that is the more cooler looking pose
of this batch, in fact, I kind of want to shade in the sneakers real quick just so it doesn't look
too messy compared to the pants.
Oh, now that one's done.
Now let's go on to our fourth one.
Either one is more of a partial post, not a full body pose, unfortunately, I wish I could find a
full body pose of this, but oh well, I like the curvature of this and the kind of variety of clothes
that she has on with the pleated skirt and everything.
So I chose this one as well.
Now, once again, let's draw in the gesture, the gesture is kind of you want to find us curve or just
the line of action, understand where the face is going.
She looks very confident in her abilities to dance and her confidence in her visual.
So I want her to look very, very I want her to have that kind of pack, like really
this really confident pose.
So to do that, I want to lift her chest up really high, as she does here.
So the rib cage should be more riding towards up the sky where it's really, really curved.
It looks like she's just really, like flexing her back.
But not only that, but the shoulder width really contributes to that.
So her shoulder mixed with her hip, we're all focusing upward.
So it looks like her hip is like going way up like that as connected to the and of course, it's connected
to the waistline area.
Her legs are very structured so that it gives a more like the reason why the legs aren't doing as much
action is just because it pulls the gesture into a more of a grander focus.
So because these are straight this appears even more curved and this is what it is, curve, it looks
like that.
So now once we have that done, let's just erase most of it.
Just refine it this make a little bit faster now, because I've just been explaining the whole thing
over and over now.
But, yeah, I hope you guys don't mind that we're finding the face, of course, understanding where
the head is facing.
She looks like she's kind of facing front.
Her neck is a bit low.
We're kind of just tucked in a bit.
And then her collarbone locks the neck a little bit, the blocks, the length of the neck, sorry.
And then it connects to the shoulder.
And it's very confident looking because it's very upward.
It's not shaky or anything.
It's not loose.
It's very confident, as I mentioned earlier here with underarm, that also gives a little leeway to
the ribcage area.
Her breasts or her chest isn't that big.
So I would probably just put a little bulge over on top.
But we can see most of the bottom of her chest area because we can see these lines going this way because
and also because we don't see the top of it.
So I understand also the perspective of where it goes.
Another thing is to understand the twists and how the body twists when it's very and I want to put in
this kind of constraint we want to do is you want to understand that this is almost like a little pillow
and it constricts like a pillow.
So this is more like the obliques.
And then we have the butt.
And then we have the pubic area or the abdominal area, but it's also kind of like what they've done,
malerie ends and even though we don't see it, we can see the motion that it causes.
So we can kind of also assume where it ends.
And here we have the other leg.
This is very straight.
This is what it looks like so far.
And here we have our elbow being in front of the other of the top arm, upper arm, and then running
nice and snug on the hip.
And then we have our other arm and then her other elbow being quite dominant elbow is quite dominant
in this one.
A lot of it is in front, but that's also just because of the direction of the elbow.
So if the elbow is more forward, it's in front.
But if her hand is going this way and it's going back, this arm prevails over this one.
I don't know if that just made sense, but that's how I like to view it.
So, yeah, that's our basic body now, of course, let's just go ahead and refine it once more, make
sure not to lose any of your drawing, because that's really critical.
So here, let's draw her face.
We noticed that the ear is facing this way and the other ear isn't because she's sort of facing like
a frontal front of you.
I'd like to draw the Brigidine noses for these characters just because it gives a bit more, it kind
of shows a little bit more realism and I like to do it the style just because I'm kind of referencing
and kind of making them more animated version.
So let's draw the face or the hair first we measure out the one that measured, we can estimate where
the hairline is and then draw the parting and then we draw the hair on top and it fluffs over the scalp.
Once again, I cannot stress enough how many people make this mistake where their hair is just covering
the scalp.
And this is not just like I just mean in general, like even I did the same thing.
I was the hair was stuck to the head.
So it always made it look really stiff.
But until I realized that there's a bit of spacing between the scalp and the hair, I got really it
got a lot clearer and my hair looks a lot better.
So here we have a front part that flows out.
That's the come out, the first upper layer, and then we have the bottom layer that's more straight.
In fact, I kind of want to make it really long, but here we have some more towards the back and then
we can indicate a little bit more towards this area as well.
And then we can also draw on her face.
She looks also very confident.
I would actually say she looks a little bit cuter.
I would actually make her eyes more medium sized, probably more like boxy.
Not too sharp.
So this is more of a different eye shape than I usually draw.
I just heard the other side make sure it's a little bit more contorted and fits in the in the eye or
in the head, make sure it's rather thick.
And then her eyebrows are kind of thick, so.
And it's also because she has a more confident look, I would put them a lot lower than I would a cheerful,
kind of cheerful kind of expression.
And it made the eyes looking up.
Because usually when it's more full becomes a little bit more sweeter.
But the smaller the people is compared to the the and sweet kind, the more cooler and chic she looks.
That's why girls with bigger eyes look very innocent and girls with smaller eyes look a lot more mature.
And her smile is more like an open teeth smile, so I would lift it up here.
And parked in the middle, of course, at some lipgloss, because why not see the pop star?
That's what her face would look like.
Now, let's try and her color, which is kind of an interesting perspective.
We see the underside here and then we see the side of the color.
It almost looks like a school uniform, but kind of cropped.
We see the button on this side.
And the underside of the collar.
And here we have our her vest, which surrounds the body, and it kind of overlaps on top of the ribcage
and forms these little folds because it's stretched across.
Make sure the direction goes in the same direction as the rib cage in the direction of the body.
Looks like your hair is also overlapping on top, so hair is really long.
Make sure the gravity is pulling it so you don't want it to go all over the place, you want to make
sure it goes in a nice flowing direction.
Notice how there's a there is these fools that kind of stretch across that kind of shows that it's a
little bit tight and tightly wrapped around in these photos, just show that to show the motion of where
the ribcage is going as well as her chest and the sleeves are what I'm interested in, so I can't wait
to draw that.
So her sleeves are downright puffy.
So I'm just going to draw a sleeve and kind of a puffed sleeve over top and draw the seam right on the
bottom towards the bottom, I would say.
And then you see that that stretch of folds coming through from the underside, because this is a loose
kind of material.
There's a lot more bagginess going along.
It also a different kind of fabric as well.
I think this is I don't know what kind of fabric it is, honestly, but it gives us it doesn't give
this kind of like soopers soft look.
It kind of gives it a there the, um, I wouldn't say, like you say, papery, but that's really the
only kind of texture that I can think of.
It's not paper is just more like just regular like dress clothing, like, like a dress shirt or something,
because that kind of has those very sharp edges.
And also has more folds because it's also a looser kind of fold here we have a ruffle.
What you can layer on top like this.
And then have it overcome with the balloon like sleeve, so just think of it as like a big balloon and
it constricts towards the end.
Can you raise the armor beneath?
And then we can draw these photos that kind of loop around towards the center, because that's where
it originates and we have the other fools that kind of just go through from go through the motions of
going across.
So like her, her arm is moving this way.
So then it's only natural that her that the folds of her clothes would do the same thing.
Now, this is really puffy.
So I'm going to draw the collar here just so I can understand where my landing space is.
And then this big balloon that appears.
And notice that it's not flowing or kind of attached to the skin, it's very it leaves a lot of space
in a room for the arm to move around it.
Now, here we have the vault connecting to this center of the cups and then some other other folds to
kind of show that more of the shape of this.
Well, the nature of this cloth.
Can even draw the badge, which is more elliptical rather than circular.
In fact, I kind of want to draw a longer hair on her.
There, that's better, so it looks like she has this kind of strap in towards the center of her shirt.
I think it's probably like a ribbon to tie the back, but they get loosened.
Notice that there's nice kind of ribbon texture.
There's a back or there's a front part of her ribbon.
It flips up and then it flips down.
And it burns down.
And here, the side.
Just shows the underside of the ribbon.
It's an interesting costume look under layer and on the bottom than the last layer.
Now we see this foldes coming through under a skirt, and that's where the skirts, waistline or waistband
is their.
And it's good to also note where the billy or the belly just shows, but notice how it kind of wraps
around a tux on top of the waistband, that just because that's just how flesh works, really, if there's
a little bit of fat, mostly Tammy kind of loops over.
So it kind of looks like this.
Have a dark strap around her waist.
Well, I forgot to draw her hand, too, so we can just draw her some.
Then her finger, just to simplify it.
Same thing with the other hand here, I don't want to just make it like a stick, so I'm just going
to indicate where the hand starts there enough for a pleated skirt.
You kind of want to draw like a little upside down cone, not really upside down, but more like a flat
topped cone and then draw the ruffles.
So I want to I want you guys to practice by dry one portion and then draw on the curve on top.
Just drop off sections one by one, so that doesn't become so confusing.
So this is the back part of the plate.
This is in front of it.
Then we have another plate underneath that connect to the top, so it's not really that hard because
you start from the beginning and end, it becomes a lot easier.
So it looks like her shorts are kind of peeking through, so I'm just going to be drawing that on top
or underneath.
Notice how there's also little more pleats at the back can just draw that as well.
Here we have her thigh area and as you can see, which is what some people would call absolute territory.
I only figured that out just now because I've just seen it so many times, like, oh, so that's absolute
territory.
I guess it's just some kind of interesting way of calling thigh high socks.
But anyways, you can see that there's like this kind of flap going not flap, this kind of boat kind
of going through.
That's a thigh.
And because it's the sock is quite tight, skin tight, it kind of creates is kind of shapely, kind
of bulge on top.
And I think it's just it does look really aesthetic, I have to say, but it's kind of also satisfying
to draw.
So.
And then we can draw the bottom part, just the same thing, kind of draw a loop around almost like
a cylinder and then the sock underneath.
So that is our second pose.
Let's see how much time we have.
We're thirty two minutes.
So I think that should be a good time.
And since we have one more pose pose left, let's just do that here.
We have the last one, which is an ice skating figure.
And this one's going to be rather tricky because this is more of a back view, but we still want to
apply the same things.
So once again, we just want to understand the gesture.
First noticed that this is her head is facing almost like a three quarter side view.
You can just barely see the three quarters side.
And we see that the her ribcage is facing towards the back.
So we don't draw the front.
We just can't draw the back part.
Her neck is straight down and then we can draw the motions of her arms.
And five, doing this a lot faster is probably a lot easier.
So we just want to understand the motions.
In fact, in this case, I think I would go for a little bit of a different method.
I still want to understand what the boxes, the boxes is more towards the back.
We see the complete side of of her leg here.
So it's more towards the side, I would say, back side.
So we see the side, we see the back, and then we have the weighted leg straight down.
We want to make sure she looks as if she's gliding.
The weight and the how to do that really well, just go a lot faster and make her more fluid, a more
graceful.
The faster your lines are and the faster you understand the gracefulness of her pose and her elegance,
the more struck looking more fluid and not so stiff.
So don't take your time on this one, because this is more about the gesture, even though you still
want to build it correctly.
So here, I'm going to once again go ahead and.
Make sure that this is all nice and refined so it looks like her head is going this direction almost
side view her nose.
Her nose kind of protrudes out from her.
Head here.
And then her mouth also protrudes out just a little bit.
They want to do a part of lips.
The bottom you can do this if you want, although I think it's probably pretty or without it.
Well, I started getting into a little bit too ahead of myself with the face, so I'm not going to do
that,
focuses on the gesture.
So here we can see that we had the back of the neck neck here, and then we could see this kind of flap
going through.
And that's basically like the trapezius and the other fat muscles at work when it comes to lifting the
arms.
Can see the shoulder just a little bit of distance away underneath the clavicle.
Well, straight ahead.
Going gracefully upward, just slightly.
And the back and then you have your hand, you have the pinky.
The back of the hand and then.
There's some kind of hidden hindsight, and in hindsight, that's your arm stretch outward like an eagle.
I would say I like to consider as an eagle you have the other arm, which is which makes her top torso
look more stretched out.
You have the scapula, which I didn't really teach much on back muscle because usually for us, we don't
draw back sides that much unless it's absolutely needed to.
In fact, if you want to draw back views, just look at some references.
So here we have the scapula and the scapula kind of moves on.
The arm moves.
It's kind of a floating bone here.
But, you know, the reason why can't always locate the scapula is just because it's always it's kind
of floating.
It's always moving.
You just got to understand where you are moves and that's where your scapula most mostly is reaching.
Here we have a breast.
And then her torso area, and I'd like to kind of squish this area here just because it gives this nice
fluidity and we have the external obliques.
And notice how I make sure that I pull the muscle in, because there's a I can't name all the muscles
here and there, but here's a trapezius where the neck muscle kind of goes and it kind of forms like
a trapezoid in a way.
And they have your back muscles that kind of go all the way down.
I forgot what they're called, so don't ask me.
And then there's lots which are kind of like from your kind of pull in across your elbow area and your
ribcage area that elbow your arm area like this area here.
We have the two dimples, usually when it comes to pelvic, kind of also telling the back of the pelvis
is because we can't really see.
Looks like it's going pretty straight for this one leg here.
So it looks like the buttock is facing upward.
And this is going straight, straight down side view, this is the back or the glutes, the thigh area
kind of formed two lumps.
What's interesting is that she kind of turned she kind of turns her other her leg to a more forward
pose, so it looks more so you can see this side of her leg here.
So it kind of somehow just turns, I guess, and it's more towards the side.
Here we have her foot.
This area here, then we have her and then let's go with her other leg, her buttock area, her glutes.
Carefully enveloping and below or on top of the quads and the hamstrings have a kneecap.
We were calves, this is more of a side view look, let me have.
Her foot.
So this kind of twisting motion that she has or that you draw really affects the motion of the pose
now is draw the back of the arm.
It's quite similar.
You have the elbow kind of twisted forward.
It's more kind of relaxed, straight, kind of like a relaxed straight pose, so it looks it doesn't
look super tense, it looks very graceful, and that is our basic pose, which is probably a little
bit difficult for you guys.
But don't worry, if you guys don't get it, it's fine.
So I'm probably gonna have to minimize this image here so I can sit.
The Posies side by side.
WAPs.
If I can layer some on top, that'll be great.
Let's look at that.
Not too bad.
I would say I would put a little bit further away, probably even lower like this, even just for the
sake of convenience.
Well, I don't know.
I think I just put them side by side all extend the canvas just a little bit.
So I'm going to do it under the crop, make sure my background color is white and just drag.
And then what I'm going to do after is just move movies, since this is kind of a long, extensive pose
here.
That's great.
Perfect.
And then let's enlarge that photo just so we can get a clear look at a dress.
So let's start with drawing her hair here is kind of like in a nice little updo, once again, we want
to erase most of this.
Maybe at least the shoulder area in the leg area here.
We want to look at the hair and want to look at the face eyes.
Notice the eyes are kind of still within are still visible.
Make sure that when they're closed, they kind of look a little bit closed, at least make sure they're
in a nice downward direction.
She has a kind of a graceful look.
So I want to have her eyebrows a little bit gentler, not super sharp.
And why do I want to draw some nice eyelashes just to make her look a little bit more graceful and actually
I feel like her face needs a little bit of work.
I would probably round it out a little bit more.
There is probably a bit better, and I would separate this just a little bit more, so it looks no,
no, I'm not going to do that.
The reason being is because it's kind of like a more side view perspective here.
Looks like she has a part between an overhead, some bangs kind of covering over her face that kind
of overlap against her head.
She has a bit of a poof that comes out from her head, from her updo.
And she has a little bit of a clip in her hair, and then we want to draw her hair also flowing in the
wind as if she's like just kind of gliding through.
So want to do it according to the direction she's going and she looks so she's kind of gliding and twirling.
So I would go this way when it comes to the direction of her hair because the photo has it.
But aside from that, that's how I would make sure it's being seen or being portrayed as.
Now it's dry, her dress and her dress has some nice, very flowing,
nice, very flowing feel to it.
So notice how these sleeves kind of connect to the back, almost like wings, so it gets thinner towards
the back.
And then they both have, like, this kind of nice double layer towards the center.
So it gets a little bit thicker and it gets thinner as it connects to the back.
So we want to make sure it flows easily as also a little bit transparent.
So we want to leave some wine work of the body intact.
We don't want to erase it completely.
And here we have the dress underneath.
Notice how this is actually kept light, because I don't want this to be, like, totally dark like
this.
In fact, the fainter looks, the more transparent it looks.
So it's another thing.
And here we have our waist area and I want to draw some ruffles or so I keep saying, ruffle some folds
to show the wrapping around on our waist.
And then afterwards, the fun part comes where you draw the multiple layers of a dress.
So it looks like there's one layer.
There's like two layers of a dress, one layer that's very elegant, which is the decorative part.
And what you want to do is you want to just draw on top very smoothly, like Wavves.
Just have it flow naturally, you don't want to draw this slowly, you want to draw actually rather
fast because the faster you draw these, draw the stress, the more motion it brings and therefore the
less static you'll feel.
Here we have the underside.
Which mirrors almost exactly what's on the top layer, so you don't have to go all out or completely,
it's the same as the image.
Just make sure you capture the essence of it.
And now let's go on to her legs, her feet.
More specifically, let's talk in this edge here so it's easy to see.
Let's draw.
Her shoe, which are the base of the shoe to draw the heel back and then
blade of the ice skate, ice skating shoe.
So here we have the laces, the tongue and everything.
It's kind of indicated roughly.
That's pretty much that for this one last one.
It's more side of you actually want to make her look a little bit more slender.
So I didn't make too bulky.
I drew the base of the foot, just the base kind of shape of it.
I drew the tongue on top.
I drew the rest of the foot around or most of the show around it.
Overlapped on top of the foot.
Notice that there's a bit of a bump here.
In fact, I sort of looked a little bit choppy, so I'm going to do I'm going to make this more flowing.
And I'm going to arch this heel so it looks a little bit more natural, indicate a little bit of laces,
I'm going to draw the base of the foot.
Here are the base of the heel.
And then the blades, the bottom.
So that's how you draw the last pose.
Let me know what you guys think.
Hopefully this was really helpful for you guys and I'll see you guys in the next episode, Labi.