Character Design: Posing Women for Greater Appeal with Tom Bancroft | Tom Bancroft | Skillshare

Character Design: Posing Women for Greater Appeal with Tom Bancroft

Tom Bancroft, Author/ Character Designer/ Animator/ Director

Character Design: Posing Women for Greater Appeal with Tom Bancroft

Tom Bancroft, Author/ Character Designer/ Animator/ Director

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5 Lessons (58m)
    • 1. Introduction

      4:16
    • 2. Lesson 1 part A

      15:12
    • 3. Lesson 1 part B

      22:12
    • 4. Your Assignment

      1:40
    • 5. Lesson 2

      14:38
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About This Class

This character design and animation course is an extension of the Designing Animated Women by Tom Bancroft course where you learned the basics of how to create an attractive “animation style” woman with greater appeal. With Posing Animated Women, Tom Bancroft explores the dynamics involved in making attractive poses for those designs.

  • How do Opposing Angles help make a more interesting pose?
  • What is the difference between Rhythm and Flow in a drawing?
  • How do I create more flow in my poses/drawings- even in the most basic phase of thumbnailing out my thoughts?

These concepts and more will be taught and you will put them to play in a fun assignment that Bancroft will also draw.

Suggested Prerequisite Course: Designing Animated Women by Tom Bancroft

Video Lesson 1
Introduction to the subject of POSING attractive women.

Where to start? Ask the questions first

Get reference together! Answer the questions with as much photo reference and research as you can.

General thoughts on posing appealing women and the three most important elements of a female pose: TILTS/ TWISTS, FLOW & RYTHMN

Exaggerate your pose. (But don’t over do it!)

Use the shoulders! Its an often overlooked part of the anatomy, but can really improve the body language and weight of your pose.

Soft and rounded shapes and corners

Remember silhouette in all the elements of your pose!

Character Design Assignment
Draw your own female character sitting on a beach ball in a fun, feminine pose.

Video Lesson 2
Tom creates a drawing showing how he would accomplish the assignment. The student should consider if there are elements to their drawing they should change to improve it and then (optionally) continue the drawing to final ink and color possible portfolio piece.

Meet Your Teacher

Teacher Profile Image

Tom Bancroft

Author/ Character Designer/ Animator/ Director

Teacher

Tom Bancroft has almost 25 years of experience in the animation industry, most of which was for Walt Disney Feature Animation where he was an animator for 11 years. He has been nominated for Annie and Rueben awards, spoken at the Kennedy Center and awarded an entry into the Chicago Children's Film Festival.

While at Disney, Bancroft had the opportunity to contribute his talents to 10 animated feature films, five animated shorts, and numerous special projects and commercials. Among the classic films on which he worked are, "Beauty and the Beast," "The Lion King," "Aladdin," "Mulan" and "Brother Bear." He was also a character designer and director for Big Idea Productions, makers of the family-friendly "Veggietales" video series.

In 2005, Bancroft had his popular art instruc... See full profile

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Transcripts

1. Introduction: Hi, I'm Tom Bancroft. And today we're gonna talk about posing animated women. I've kind of made a differentiation between just posing women or posing sexy women or whatever we will get into Sexy. Obviously, that's gonna be a part of the appeal factor. Hopefully get into some acting. I like to tell a story with a pose as much as possible whenever possible. I don't like to just do a sexy pose. It just seems a natural. So a little bit of what we're gonna be talking about is gonna be on the sexy side. Even that shows a little more appeal. And then of the other things that are being more about playing up acting while we won't get into expressions as much because that'll be another lesson. We will definitely be talking about trying to tell a story in your post. But yeah, posing is what we're concentrating on a little bit about me. My background is Disney animation primarily. I went to California to the arts many years ago. I worked at Disney feature animation for about 11 years on films like Beating the Beast, Lying King, Aladdin, Pocahontas, Milan. I was a supervising animator of Mu shu for Milan, the Dragon Character, Um, and a bunch of other movies on. Then I worked at big idea. VeggieTales did some computer animation and story boarding and directing there. I've also done the second half of my career. A lot of comic books and Children's book have illustrated about 50 different Children's books, all kinds of things, and also did, creating characters with personality and character mentor, my two character design kind of how to books. So look for those. But today, like I said, we're gonna be talking about posing animated women. So hopefully you've already seen my other video, the 1st 1 I did, which was designing animated women. In that video, I talked about him and do a little review. Right now, I talked about kind of how to break down the character into different, simple shapes. I talked about a little bit about flow. We're gonna talk about more of that in the posing this lecture. But that one was really about just a little bit about expression, but mostly about just how to play with this. Shapes of that could make up an animated character, and we also talked about style a little bit and things like that. Um, and I started to say on that one, just like this one. You know, there's an old saying that I don't know who said it, but I'm gonna say Montgomery Flagg or Charles Dana Gibson people in the twenties or early 1900 illustrators that were really known for drawing beautiful women. And they said that if you hear when trying quote it, if you could draw a pretty girl, you never go hungry. And I mention that in the first video. But I love that, and I'm paraphrasing it. But I love that that phrase because you know what it basically says is that if you, you know, drawing if you could draw a woman really well and you know the anatomy, you know everything that goes into that all these elements and secrets that that's going to be something that you can hopefully make a live on living on the rest of your lives. And I know those guys did plenty of illustrators and artists. Even nowadays. Adam Hughes, Frank Chou Arthur Adams was a real conflict artists that are really well known for drawing women J. Scott Campbell and there's just a many on. And then there was an animator that I'm gonna back up into a little story here. An animator named Freddy Moore. He was an early Disney animator, and he's somebody that influenced me quite a bit, and that's kind of where my journey began. I started it during the Disney Days. I wasn't very good at drawing women at all. And I started. I guess I started looking at frame Ors drawings and and he had a very animated, cartoony style of drawing women a lot of flowed and to his drawings. And that really influenced me early on to say I'm going to start learning. I'm gonna go down this path of trying to get better at drawing women so I'm still on that path. But this lecture is a little bit about where I'm at right now and how some of the things I've learned that I want to pass on to you 2. Lesson 1 part A: this lecture is a little bit about where I'm at right now and how some of the things I've learned that I want to pass on to you. So let's get into it. What is your character's personality? This is kind of where I started, where I start asking questions. Okay, what am I drawing? I don't like to sit down and not have a goal. What I'm doing. So obviously, the goal today is to draw poses and to learn about how to draw women's poses and what makes them stronger or weaker. Um, but I like to get into what's the personality? What is the character of drawing? I'm gonna put that aside like we did in the less lecture, because really, this is just the generalities. But that would be one of the very first things I would say. What specific character? My drawing. We're not talking specifics today. It will be general, So we're gonna throw that one out a little bit of what the personality is, but I always think it when you are getting into the actual design work. But what kind of action or attitude my trying to express? That's an important one uh, what's her age? Make sure that you can, because that might influence the kind of pose you put her in. You know, you don't want to go too sexy with a younger character. Um, again, these air care, because we're gonna be general, We're not gonna get into ages, races, things like that. I'm gonna just use my what I call a Tom Bancroft girl. And that's gonna be thes air proportions and things that I use for my general. Just how I like to draw a girl. So let's talk about that. Um o first, let's get into here from this angle. Hopefully, you could see this. This is sort of I've found a lot of picture. He's reference. So I looked in and found a lot of reference on Just pin up girls put in swimsuit pin ups and things like that, and to me, this this right across going this way. Uh, this one looks that kind of the evolution of what pinups look like. And this one is kind of more from the fifties. Will say this is early fifties. This is probably more like late fifties early sixties than this. See Sports Illustrated, But this is probably more present day, although kind of retro. It looks like they're trying to be a lot more seventies. But for present day, Um, but look at the post. I mean, this is so straight up and down, and this is her showing off her wonderful sexy swimsuit. But just in a straight up in now pose, you know, it's still attractive. But then we get into the sixties were really pinups, really took off, and you start getting real curvy models. Of course, Now we have a two piece rather than one piece, and she's really showing off her shape quite a bit, not just the swimsuit. This is more like Here's a swimsuit on the Sears Roebuck catalog, and then here we get into really kind of going even further. Where look, we hardly even see these bottoms because it's all about the pose on, then here beginning even further, where now we're really getting into torso twists and really throwing out the bottom and thrown out the chest Very dramatic. I mean, this is kind of very more high fashion kind of modeling, and you know, this, I think, is very nice pose because there's a lot more going on to it. I just thought that was interesting. Especially these to see kind of a transition that we've gone through. But let's start talking about where do we start? Um, and like in the 1st 1 I were some sketches I've already done to save time. Let's talk about how our simplification of the female form generally what I'm gonna be drawing today are gonna be about teen aged or late early twenties, late, teenage. Probably. That's about the proportions that it's gonna look like. So I'm just going to stick with that just because it's easy Not, you know, I just want to keep one basic proportions. So as we go through our poses, it's gonna be generally this. Now, some people will start with very straight everything straight. And this is kind of the point I want to make with. This is if this is where we're going to start, we're gonna have a chest oval. We're gonna have another over and again. I'm going very simplified here, Um, and then straight arm, straight arm, you know, little shoulder circles and then straight leg straight leg, You know, a little indication where the knees are little ovals for here for that for the hands again . Very simple fight and kind of triangular feet shapes. Okay, you could use that. And that's what a lot of your fellow here. And that's what a lot of these little dummies you see where you compose them into poses. I hate those things. You think they can't do anything natural. Only thing they're slightly good at is showing you some lighting. But even that's there's no contours that are really that natural. Throw this way. Don't Don't get those little wooden models. Uh, now let's talk about this. This, I think, is what we're gonna use. Let's just give this a check. This is what is gonna work for us, I think because we're gonna automatically get a little more flow out of this one. I usually do a circle shape. I've talked about this in my last, um, last video about our proportions is I do a circle shape. I put the the bottom line lower on that on the on the circle so I can have real big guys. That's kind of a big element to our animated women is that we're gonna have big eyes gives us lots of room on the forehead for expression with the eyebrows, and it gives us a chance to do, you know, big hair up here, okay? And usually right around the bottom. That circle is where I put a little oval for a tiny little nose in a little tiny mouth. This beer, general proportions for cute girl. Right that then So to make up are what we're gonna use for very simplified posing. You know, I add a little kind of a curved line here for shoulders underneath. That with a little gap in between is where we're gonna put a rib cage. Is there is sort of a gap in between. We have the clavicle in here. Um, so give a little space for that. I want to get things to crunch, you know, little balls here for our shoulders, just like here. But I know that I'm gonna do, Even though we're in a very straight pose, I'm gonna show you how to kind of get a little bit of flow even from your very just very simplified standing position. And that's by not drawing straight lines were going to get rid of this theory and go, OK, there's a little bit of a curve here, and we're gonna draw our arms even in a straight resting pose as having this flow to it. Okay, we still have elbows here. What about their on our hands here, But automatically, there's a little flow to this. It's not a straight, it's a curve. This Now I got a little her going this way from about where the elbows hit and that's our natural post. Men in there just straight are imposed. It looks more manual manly and a little more correct. If you do the curved this way, they're gonna curve their arms from the shoulder inward. And that's because later on, with superheroes, especially at the big biceps that make it kind of push out. But that are general stance. To look a little more manly is gonna be elbow out. I'm gonna throw the elbow in a little bit for more feminine look back. Is this a nice flow even in a standing position and other more feminine look, now our little simplified over here for the hips works good because it pushes out our widest point on a female is the upper upper hips. Okay. On a man. Yeah. You know, especially, you know, common man. I don't know. I'm making this new man. It probably appear in the chest, but we're gonna go wider on the hips, so our connection point is appear. It's not down here on a man. You want to have a kind of go out here a little bit. It's a lot higher up here on a woman. You have hips. Kind of because they Trude out up here and then I put a little little bathing suit. Kind of a shape here, a little triangle, and that gives me really good connection spot. Just below are over here, uh, for where? The legs we're gonna attach. Let's go back to our just simplified skeleton rather than having the legs go straight down here. Have your hit points be out further our little ball sockets here. And then we're gonna have this a nice flowing line that kind of curves in to the knee, and then our curve is very slight here. But see, now we got this nice s curve. Gorgon. And again, this is just a simple standing position. But just doing this little slight curve even in your in your posing of your very simplified skeletal structure here is gonna get you a step further to already having more animated. Look, a little more floats that bodies. This is gonna be what we're gonna use in general throughout this. So in order that weren't let's get rid of that. Let's think curves to get some automatic flow. Let me show you that I'm gonna cover this up. But before I did this lesson, a nice kid by the name of Josh Phillips sent me drawing. Is this one of his characters? And he basically sent to me saying, Hey, what do you think? And you kind of lead into me doing this lecture because I started looking at going Well, it's a fun, uh, five looking character. But the pose was the thing that kind of stuck out for me the most. There's a lot on here. I knew what he was trying for, but I felt like, Well, there's a lot and he's got a little tilt to his head here. Um, but what was missing? Waas was really feeling of weight. There's no reason for her legs that kind of stick out here. She has a nice shape here and the hips out, but everything straight on this is still street on. This is still straight on its There was some things that he was kind of missing. And so I did a drawing back to him. Very rough, as you can see. And I said, Okay, well, what's missing to me? Isn't that your character? There's anything wrong with that. It's more of the post, you know, Let's really think about one. This. The idea is that she's leaning on a sword. That's the story that's going on. And so I want to push that story and really feel like, yes, she's really doing that. Then, yes, he has the soldier up. But then he threw the arm out here, and the short sword is even more on the slant. The sword has to be almost straight for it to really feel like she's putting weight on it. Her arm needs to be almost straight, so there needs to be like a very much of a connection between that sword and her arm. And so having a little tilt up here on that tilted angle here makes it feel like she's putting weight on that sword a little bit more. And of course, that's got to go through the whole body. So that shoulder needs to be kind of the highest point. Really? And there should be a little till here, So officials lower, Um, like, because here, there, straight across. Almost. And then likewise, We need to have more of a push on the tilt of this tangle over hips. So that leads me up. And then that gives me a nice flow through here. And it gives me a reason to throw her leg out here. Is she her stances? Worried like he has here. But now we have a reason that all the weight is on this this hip and and here, So I spot like that by saying, Wait is here and here. So that makes us give us a nice flow through here. Then I tilted. They had a little bit more this way to cut, opposed this hit. So that's kind of what I did with that. To try and help him go. Okay, Now, really think about what story you're trying to tell why you're having to me. He's just sort of drawing everything and not really realizing why he's drawing it. You know that there's some weight here, and there's mechanics and actual real life Wait, being distributed that you need to really nail down. So we're gonna talk about that a little bit more as we get into this example This Now what I'm doing here in this drawing is trying to show in steps. Okay, if this is just a straight on pose and a lot of modeling poses, air still is very straight on you see, that a lot. A lot of the reasons is because they're either showing out the hair or the swimsuit or whatever, and and that works for for that. A lot of times and drawings, though in we have the character doing something or whatever. We're not going to just have him straight up it down like that. So we want to introduce tilts. So this always strengthens. Your drawing, especially of an attractive woman, is having really opposing tilts. We're not tilting this one this way. And this one this way you know where that would be high. And this would be high. We have. This is the opposing is this is Hi. This is low, This is low, This is high and so we get What we get is more dynamic shape. We get a nice crunch here, and a stretch here on more was straight. Now, if we add to that, we go. Okay, Now let's do tilt and twists. And this is where you get even more interest visual interest in your drawing. And that's because now we have this character. Not only is her head tilted down, but it's tilted away from us. Um and then likewise that this shoulder is still up and this one is still there. We still have the same tilt. But now what we did is reactive twists that the torso of the top is pointing more that way . This is pointing more toward us. This ways actually kept the same. But now we twisted her torso That way. Now we get more rhythm throughout the whole drawing. We get to see this arm coming forward forward toward us. Began a more dynamic Look, Here is this hand is going away from us. This leg is still coming toward us. More like we had here. Um but now we have even more successful dry because it's got a lot more visual interest to it. I mean all three. You could say our attractive but calm pounding and taking your drives to the next level really involved doing the tilt twist. That's what's gonna give me the most attractive drawing that you can get from opposed. 3. Lesson 1 part B: All right, let's talk about flow. You know, I get a lot of emails and people asking me saying, I really love that animates style, especially in your human forms, because they have so much flow. How do I get that? And this isn't something that they generally teach in our schools a lot, because while although how lopsided because we were learning animation animators tend to learn the flow and that kind of a style of drawing, Um, quite a bit, especially when I was going to school because, uh, you use it in everything you do in animation. But now taking that into comic books and you're starting to seem or more artists use the feel of flow throughout their drawings because it really does give amore rhythmic look. So let's talk about that. I already mentioned it when we're making up our our torsos, um, are very simplified anatomy. We already have some flow. You know, I talked about having a little bit of flow to your skeletal structure so that your arm is this Now when when we put the meat on this, we want to continue that and know that you know, even though that elbows on the other side, or it's like right about here. We're gonna use that flow throughout her growing and get a nice arm like that. And even though all the lines are flowing, there's a difference. And we'll get to that in just a second. Be the difference between flow and rhythm are two different things, I I believe. But that flow works throughout the whole drawing, and I'm doing very simplified fingers here. Um, same with the leg, you know, here's the other keys, the key with especially the female form. But any kind of human form is we don't have straits. We don't have angles, we don't you can go that style source. Of course, the Bruce Timm style, like Superman and Batman, have hard angle shoulders. So I'm not really talking about that kind of thing. I'm talking about sort of naturalistic drawing and especially animated more. Disney s kind of drawings is that we don't have perfect straits. Everything I draw is is even if I do a straight, it's kind of a slight curve. So to me, I measure it, Maura and just levels of curve, you know, this was more curved and this one's a little less so you know what? I'm growing this this leg. I want to have more of a curve on this side and I call this a straight, but it is course not completely straight and then more of a curve on this side and see that again. It's also opposing is this will be more straight and go right into the foot, which is pointed. You'll see that a lot way saw that even in these photos, you know, point their foot, their foot even here. That's a nice appointed foot here, even here, she's doing it back in the whatever fifties, Um, and wise because it gives a nice flow even in the photos when they're posing themselves. They're thinking about having a nice flow. That point makes the calves look good, and it's just like having it kind of flexes their legs too. So it makes it more attractive. So I'm gonna add that whenever we can to it gives a nice flow through here. So I'm getting in a nice s curve here to all the way through here. Same with this arm here. If this is my skeletal structure, right, this one kind of curves slightly down this one curves. This wake is now that is being met toward us. You know, when I put meat on that, I want to think Okay, this certain is more curved. This is a little straighter. This might be a little straighter. And this has got the curve curving it in here. I'm getting a flow through here that flow through here. So look for that. Whenever you're drawing, you know, this is a little more straight on this side. Might be a little straighter. Okay, So really think about that as your as your designing your pose even. That's kind of what we're doing. I like to use reference as much as possible when you're seeing that already. But let's draw a few. Just Strong's using are very simple fighting an enemy. Let's see, let's draw a character that is just standing in a very casual pose. Right, So we start with our circle, Mrs. And I tend to start with the head. A lot of people, though, what would you start with that? Start with the head. That's kind of where my acting starts. Um, and if I do a show, I'm gonna automatically shift her body this way, knowing that I'm gonna then shift her. I have her shoulders going that way. Have torso going this way. Have her arm here or hips. What are you here? Okay, so notice that I'm trying to draw with sort of curved lines and stuff. And then as I I start to really flesh this out coming to add, then where I feel curbs, they're gonna go. But I already have it sort of indicating in my my skeletal structure, Have some guidance there because I have curved lines already have much of a twist, but I'll all maker for so more over here. This one, of course, is tilted this way slightly. So this is the most wonderful drawing or a pose meter to. But, I mean, you could see this is how I would kind of try and start figuring out a way to draw this character. And as I add to it, I can obviously be adding even more flow and, uh, and tilts and things like that as I go, Well, you know, tilted the head down here, make this more straight on this side. This curved here. So you get a nice. You know, I was looking for that design that's going to give me the most kind of wild factor from this and again. This isn't really telling a story, necessarily. Not this pose more, for example. But that's kind of how I would then, you know, and it same with, Because if I'm drawing a sort of a superhero woman, I'm gonna really be thinking about Yeah, this is her flying. Have to get some nice flow out of that, even in very simplified, you know, anatomy. Like what? What? What we're talking about. Always be thinking about the tilts and what I'm trying to do. Okay? So, like, maybe this one is character running at us. Kind of straight forward. Forget this. Still here. Tilted this way on the torso. Right. Because this arm is gonna go away from us. This one is coming toward us. This feeling is raising coming toward us. And this one's going away. So I automatically have nice stretches, tilts, pulls and all the things that I want. Maybe tilted head. Okay. Okay. Now let's talk about a little bit. Will talk about flow. We talked about, you know, and let's talk about Let's pushing the poses. We'll talk about simplified Anami. I did this sketch this again. It's like a superhero. Kind of a character, right? Um, I would do you know, the very simple fight anatomy, Right? Okay, that's all here. Still, and this has got a decent flow to it, right? You kind of see that. I could probably make this work. It would look OK, but again, we let's apply our our twists now, Aunt Ills. And so this has got, you know, pretty much straight street on this coming right at us is coming right at us. But if we now tilt this, we get a nice stretch here on that on this side. So that because again, these air cut a straight across these kind of straight across to now, its added till till here till here. And that's out of twist to So this is a lot more straight up, but this is kind of going away from us. We get a little tilt here. So now we get a little more dimension to the pose we get now, more percents of off a nice flow through here. Now we also get a bring in this leg here and kind of have it coming toward us. This leg is pretty much the same, but it's now has your more visual interest cause we have overlapped. Now you know the one more dimension to dispose. We're gonna throw that out And now we also get a little more perspective here to see the flow here that we can kind of get through this arm. It's going away from us, so that gives it more visual interest to so the overall that you just have this one a little bit more looking up, you know where she's going. You were straight on this, but I think it actually looks. We're attracted to do that. I am push that proportions here are making this this little bit bigger. This are okay looking. That's kind of trying to push the post. Also, by gaining more the twists and working with that, we also get more rhythm. And let's start talking about rhythm. The hard part is that it's really hard to understand what the difference between flow and rhythm is. And Emma submit. I don't even totally know 100% but I can tell you my definition, and here it is flow is and see if I have written down here. Um, I think flow is the small things. It's in the arm and the leg, like we talked about with when I was drawing the leg and the arm. It's something that creates between a couple pieces. You get a nice flow. Rhythm is the big picture. It's how your flow is working within all the pieces. But now you're using it to, like in this Supergirl. Right now, we're getting rhythm through all that flow. It's kind of using that floated to create rhythm within your posts. The rhythm is really more the big picture pose, and it also includes the negative. Space is if you have a arm on hip or things like that, you're gonna get more rhythm throughout all those things. Let's talk about that in an example with reference. It's also kind of includes a little bit of how to use reference. So I love this pose, not just cause it's it's more than sexy. I don't like just swimsuit poses. I like it a lot when we have poses that have personality, too. So this one is a catalogue post, but it's got a lot of personality to it. She looks worried or nervous or kind of frustrated. But you get really, there's some really neat things coming out here with the perspective this coming toward us . Not only this is a really massive till she's very angled here. Then you get that the neck opposing that you got the nice till soldiers you can't see here . But there's definitely a tilted legs here as the hips a lot higher here than here, and you get real dynamic angle here on her leg. So I'm really like I look at these things on any kind of reference and go what works and what you know. Is there anything here that I want to push and make a little bit stronger? Or in this case, I just want to retain it. It's so nice. So only how nice angle here and Jenn doubt angle here, but because it's a blocky kind of address, I'm not seeing much of what's going on here, but what do you see? I like so, but it's got a nice flow to it already built in so that I might start going Okay, how do I and I've already drawn this. What's will show you the final? Just a second. But how I kind of retain that. I know that I'm start with a really tilted head and the next time I have a very tilted you know, the neck is going straight here. It's hard to tell here, but there's a tilt twist to the torso twist and these hips are tilted a little bit this way this torsos took to move it that way. So I know I want Oh, I don't want to lose that, that's for sure. So I'm gonna make sure that I have just a slight tilt here to my torso, my chest area so that so that this source actually going a little away from us, this was coming a little bit toward us. Okay, so just trying to do you are simplified anatomy here to try and get this pose. It's a great straight year in a great crunch year. So this I'm gonna tilt here. This is what we can't see underneath. Is that a little bit of tilt twist? Here? Try and play that out on this leg. That way, that paper you get, that's when it's got nice flow that way. It's got that great. Her hands really high up here. So that almost give me almost straits actually, kind of going down works. I'm gonna make sure that I put the really well perspectives right about here. There's a nice flow like that. Okay, so I feel like I'm getting close to something. I like the chest again. This is coming. This breast is coming a little more at us. This one's going just slightly away from us. So get a nice accent on that, and we want to keep this straight as much as we can. Did the swimsuit bottom Sierra be like that to that end? Up with something like this. Now what I did with this drawing the file version is I, of course added to it, and I'm already doing it right here. I'm making a bigger head doing animated proportions to this head. But when I did the final, I wanted to go even further. And this is my drawing for the final is that I tried to push the even more note that I threw this shoulder even out a little bit further. Um, I'm really mostly trying to just retain what's there. But I try to keep that straight here as much as possibly one of this capes cutting up. So I made it into, you know, Supergirl. I tried to push this this knee over, so it's a little more side view on this leg. This was still coming more straight at us, so I just I'm trying to watch for where Things a poignant. I'm trying to look at all the things, the rhythm throughout. All those things are important. You don't want to miss it. You know this straight here on a curve. Here s I have a lot of fun. I and of course, then added even more of the frustration with the hair. She's messed up her hair with fingers go through her hair and there's a little breeze here that I indicated with hair in Cape. But again, I couldn't see any of this is just a big void. I had to kind of making that up, But you can see I kind of accented twist here, too, which is probably even more so than what she has actually have. The hips kind of going away from a slightly too. You can see from the courage of the belt. So there's so many things that we need to think about what we're looking at oppose. Even if we're using reference, you know, we're not making it up, that you don't want to lose or you want accent. So that's perspective and rhythm and flow. All those things you want to consider and not make it Steph, because that flow and the rhythm really gonna be what helps it from becoming. Now here's one other last tip. His shoulders. You don't think about it very much, and that's true of almost everybody. And you're seeing Whenever I look at computer animation, it's one of the weakest spots is the shoulders, and it's because they don't move them. They want to keep him there and just do all their acting with the arms, and maybe they'll do the tilts. But again, they're just keeping them. They're not Bring it forward. They're not bringing him back. Uh, this drawing here, they sketched out if I had, this isn't bad. I mean, there's a kind of A S curve here, and I like that. It ends and then the legs go out, but the shoulders air up and you can at least feel some weight and things. But what you end up with this kind of a slope in the torso here or in the chest area, And, uh, it just doesn't this part. It's a looks pretty good, but and I think this part looks very good, but this feels funny to me. So what I did, was it Certainly what if the soldier for push back and now I get it through the chest out and I end up with it, I think, and even more appealing pose. Now I have this kind of flow through here rather than this. That kind of clunky Esseker here. Now, get a nice boom and then out to there. And I think this works a whole lot better. Still get the feeling of weight she's pushing off from from her arms. Here, I still get this, but now I'm kind of impressed. Are improved on this and get a nice kind of stretch through here on a curve. Okay. Same pose. Just really concentrated on the shoulders. Likewise, I found this reference here, which I thought were Samy poses because you don't think about it. But she's really pushed back her shoulders here. You don't think about it because of the shirt and just how her arms hanging casually. But she's really pushed those soldiers back in here. She's, of course, really pushed back her shoulders, too, and is doing a really pushed out chest kind of a look. And to me, you know, you don't see that as much. That's something that that's a good tip to think about. It's really okay. Wait. Whenever my shoulders doing, Are they in? They straight across, so even opposed. You really need to concentrate on that, too. It will help your poses, okay? 4. Your Assignment: All right, so we are ready. Now, I think you get to the point where I give out an assignment. I think this would be a fun one. And really want to see what you guys come up with. Eso Let's see, What we're gonna do is I'm gonna I'm gonna read this, but, um, I want to draw a girl. Any character, like your character. I guess you're female. Character draw girl on the beach, and she's sitting on a beach ball. Okay, so how that poses. And, of course, of attractive, sexy look, poses kind of what I'm expecting. But there's gonna be some tough this year because she's sitting on the ball. You're gonna have some weight things that she's gonna have to do with. How is she distributing her weight on that ball? It's kind of look natural. You may want oppose this. Look, look in a mirror when you do this, but it's not gonna be something you could just find. Well, maybe you can, but it'll be a little harder to just to find some photo reference and copy it. You're gonna have to kind of think out of the box here. I think so be thinking about things we learned about opposing. Opposing tilts, twists and the torso are things tilts in the neck, the rhythm and the flow throughout the pose, and then also try and tell a story. If there's a way to do this, there's a little bit of story of what she's doing. Her attitude toward this. You could do just cheesecake, obviously, of her on this pose, like a swimsuit model sitting on this boat where you could tell a little story. And so I'm going to see what I do on in just a minute. So when you come right back, do you do your drawing and positives and and then come back and watch me do do the same assignment, so talk to him. 5. Lesson 2: Uh oh. All right, So we're back. Hopefully already did your assignment, but if not, that's fine if you just want to watch me. But, um, I'm gonna try and attack this, okay? Uh, obviously no photo reference, but I'm gonna try and figure out just a good way to do this. Let's see, I'm going to start with and notice. I'm drawing with just a red pencil. It could be blue anything, but I just want to sketch it out, and I'm drawing with this side of my pencil. And that's also so I can kind. I want to make sure I can fit. I dropped two big, usually. So I'm gonna try and fit everything on here. So when a lightly sketch out my ball notice, I'm squashing the ball. I'm not doing a perfect circle, cause there's gonna be weight on it. Um, so she's gonna be sitting her bottom on it. Here. Let's see. So that's gonna be where? Put that and then I'm gonna try and figure out kind of, ah, flow through here. I'm gonna Let's see. I'll put her chest kind of going out. Someone curve into the ball here. This is gonna be her torso. We'll have probably kind of Ah, So I'm stinking about the flow through the thing that I'm also trying to think. Okay, Now, where I'm are tilts she's gonna be supporting herself on this shoulder, so that was gonna be a little higher. That's gonna be where the weight is so that automatically push it up. That means this one's down a little bit lower. So, uh, it's helping me. I'm gonna do little torso to us to so this it's gonna be my angle for the the chest area. I'll have this one turned a little bit of weight more toward us, and that'll mean that I can then have this leg. Let's see. I'm gonna add a flow through these legs here. Well, let's see. And I'll probably ableto have this knee here. Maybe because this is tilted this way. I have this knee a little higher, so I get a little angle here. Don't see. Of course, this this foot couldn't be kind of over this foot. I don't want everything lining up. I don't want the knees in a straight line. I don't want the feet in a straight line, so I'm trying to consider all those things is a tough one to do for sure, because everything that's going on with weight and tilts and, um, some to try and kind of work this out as we talk here. Um, this arm is gonna be below behind the torso and arrest the hand, maybe on her knee area here. But notice that I'm not doing straits sticking to what we talked about doing kind of curves , curved lines. That's where the weight's gonna be. This the ball is going to kind of push out this way from the weight we really squashed over here. We'll flatter on the bottom, okay? And then her head. A lot of times I start with the head, but because this is such a a tough one, I have to really figure out where the where the ball is and how she's sitting on it. I didn't start with the head in this case. Um, I'm gonna because this has gotta tilt this way. I'm actually gonna tilt her head this way, make it up bigger head. And there's a reason Teoh I'm thinking about actually because I want to tell a little bit of a story thinking about having her look this way at something that is over here kind of coming up from behind, sort of hiding behind this the speech bar. And I'm thinking it will be a cat. So I'm trying to start to figure out that the cattle be looking up better. Maybe the cat, actually, he's got a par on the beach ball. So that's what's got her. Worried is that he might pop it. Okay, so it's a little confusing, maybe as to what's going on, but hopefully I have an idea. I don't hopefully know what I'm doing here. And, uh, so now I'm started. Obviously, I'm turning my pain. My pencil. Well, about to you hold on because of the weight I'm gonna have. I'm thinking about the hair already, and where that shapes gonna be, it's gonna hang Somebody give a really big kind of stylized hair, but I want to hang over on that side curve under this shoulder. Okay, so now turning the pencil just tryingto for refine a little bit where my eye line is, I have a kind of nervous looking notice that I'm doing all of this fairly quick and doing it all out with much, You know of a rough pose as possible. I'm just still now, just working in a little bit more details. Remember, this is gonna be kind of a curve here. And as I refined things, trying to push things too. Okay. Where does this go? Uh, this hip kind of pushed out a little bit more. You're bigger bottom. I have a tendency sometimes to make kind of bony characters, So I'm tryingto picking her up a zai Go to, um Okay. Okay. Your eyes will be going that direction, you know. All right, Now, let's see. See if I can kind of work this out. Still rough, but work out a little bit more detail here. Let's see. I wanna I'm gonna put her eyelashes kind of pointing in this direction because it gives her some direction Her I direction a little bit rather than putting it over here, but again, they're kind of cartoony. So let's see. Um, so, yeah, I want to make her kind of nervous here. Someone up. Make sure you include that here with the eyebrows. All right, I'm not. I want to start throwing in the hair here. I might have that go over this arm. You know, I'm kind of asking questions as I go to myself. This might be fun. Have this go over her arm and not see all that. Still want to indicate that shoulder sticking up? Cute little. Who knows? Generally generally, that's what we do with anime characters. No noses, smaller mouths. A little bit about concerned. Look, keeping this little chunky. I guess you could say in my drawing s so that I can mostly so you can see it. I want you to be able to see it and also keeps me from getting a little too detailed. I don't have time for that right now. It's kind of thing about swimsuit a little bit over making up a new fashion here. I'm not using reference for for clothes, so I think I didn't make something up. Okay, I'm gonna have a little, you know, overlap here on the kind of important to show some overlap of the ball onto her. She's actually going into it, so that will help you get that field by having drawing at first. I see, - you know, kind of give it a little bit more of a floater that to the ankle here. Her knees were kind of coming in here. They're a little lower over here. A little more turned away from us. Remember, I said I probably wouldn't have this foot overlap the other foot, some of that. But this puts further away little longer, longer, so you can see I'm not drawing pretty feet right now because the knee is lower. That foot has to go further here, too. Okay. So again, we're feeling of weight here. Hopefully you'll take a lot more time and do you know, and even nicer drawing that I'm doing. But I just wanted to kind of say Okay, this generally, when I was thinking I would take much more time and refine it, uh, let's see. Let's just have him starting to put his his part. Not the prettiest design cat either. If this is going to find all I would then, of course, do some some research and find some cat drawings and our photos, I mean and, uh, really kind of figure out a design. So this is just a cat right now. Could it tell appear and then hopefully Let's see, Well knows What kind of a Give me a big smile being sly, Kind of saying, you know? Okay, What you gonna do? I think I'm drawing the Cheshire cat starting Look, like a little bit. Okay. Something like that. Uh, so we'll see. I think there's, you know, ways I could have improved this and made it a little more flow through here. But I think at least for the time I'm doing this, Hopefully you got the idea on the gasam shading stuff doing here. And but you know what? Hopefully what you can do isn't maybe adul background and things like that. And what I'd love to see you do is you know, not only show this to us and let us see it, but also, you know, hopefully refine it. And maybe after you've seen what some of things I've done, you might want to go back through and read dry or or or if you looked still like it, then go on and think it and color it digitally your nutritionally and get a portfolio piece out of it. You know, it could be a good portfolio piece, so consider that. And anyway, I thank you so much for coming to this lesson and let's do it again real soon