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All right.
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In this lecture we're going to be talking about dynamic actresses.
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So what is an axis.
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Well let's go ahead and let's have a look at some examples so we can start breaking this down.
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So there's two types of accesses.
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So the first one is going to be a horizontal axis.
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So that's going to be actresses that go straight across.
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So if you can think of an x y and z plane what you get is you get the horizontal axis like this and
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you get the vertical axis like this.
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And so everything has an axis like this.
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So when we draw the human face for example or the head of give him a jaw line the round part of the
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face and then we always give him a center line for the face.
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And usually an eyeliner or an eyebrow line whichever one you want to draw.
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And this is the horizontal axis for the eyes or you could even do it for the mouth.
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ANYTHING JUST GOING ACROSS HORIZONTALLY are your horizontal axis is and anything going up and down is
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going to be your vertical axis.
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And so every part of the body has these.
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So let's go ahead and let's break down this photograph that I have here.
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So first of all we can start breaking it down into simple axes like for example the line coming straight
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across through the eyes the lips.
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Right.
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Simple enough.
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And we could break that if we're drawing this as a Loomis head.
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Those would be the axis is that we'd be drawing then we can go ahead and do the same thing for the shoulder.
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So it's hard to see the shoulder but I can tell just by looking at this that a shoulder goes down.
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So from this shoulder to that one it has a very angled axis like that the same would probably go through
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the breast.
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So underneath the breast are properly angled up like that until we get down here to the next.
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You could say unit so we had the chest the head which are separate units and we get down to the pelvis
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and we get something different going on.
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So one hip it looks like right there and another one right there so now the hips kind of go a little
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bit more straight or they actually angled downwards just a tiny bit and you can do the same thing through
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the butt and then you can't see the other knee but it basically the other knew what kind of angle like
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this.
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So we get all these different angled accesses and that's what we want.
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This creates dynamics.
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Now these are horizontal axes so even though they're angled they're not just going horizontally straight.
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The reason why they're horizontal is because if any of these forms so for example let's say the upper
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chest form is kind of like a cube.
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If we were to see that straight on.
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These are just kind of horizontal straight axis is going across here.
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And so that's why these are considered horizontal.
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Let's go ahead undo these because it's kind of cluttering up our image because now we're gonna talk
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about the vertical ones so vertical would be things like the middle of the face so the middle of the
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face is kind of is a line like that.
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And then for the upper body it's just kind of like this and then for the pelvis area angles down like
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that right so we get all these really interesting looking dynamic actresses because they're all different
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so there's one to that leg of that leg.
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All right let's have a look at another example.
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So here's another good example.
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So you can see that the head if you go right through the eyes they're kind of a straight line straight
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through the mouth.
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So you have these straight actresses right there.
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And then for the neck or sorry let's just move on down to the chest you can see that the shoulders angle
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up the chest kind of angles like that as well.
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We could see the bottom of the rib cage they would also angle like that.
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Now when we get to his pelvis area if we want off this belt you can see that it basically just straightens
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out and it probably straightens out all the way across the bottom.
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And then when we look at his knees it's hard to see his other knee but I think his other knee is probably
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just a little bit lower like that.
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And this one's right about there.
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So we kind of get another axis that's angled like that and then for the feet the bottom of the feet
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is a good way to mark out the axis.
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And you can see that we can market like that.
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So we have all these different angles in our axis is and that's what creates a beautiful or a beautiful
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dynamic pose.
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There's more to it than that but this is part of it.
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So if we went ahead and we did the vertical ones you can see that the center of the face is kind of
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angled that way then the neck is kind of angled back that way.
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Then the whole upper body and pelvis area is kind of angled like this right through there.
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And then this part is just angled straight and then the legs are kind of angled at that angle right
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there.
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But you can see that there's all these dynamic looking actresses because they're all different they're
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all angled differently and they're switching back and forth and they're all at different angles.
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And so we want to try to create this as much as possible in our character designs.
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So just to really illustrate the point and bring it home for you.
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Let's go ahead and look at a bad example.
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So we wouldn't really want to draw a character like this.
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We'd want to kind of change it up a little bit but you can see that we draw all the Axis lines for this
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guy right here.
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So right through the mouth or through the eyes and I'll draw this on another layer because we can kind
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of redo this.
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So right through the eyes pretty the mouth.
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All right.
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So that's kind of the axis for the head and then the shoulders are also just straight across the bottom
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of the chest or the nipples are also straight across the hit to straight across the knees or probably
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straight or straight across.
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They're kind of off the page by another straight across.
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And so this is just incredibly boring and all of our vertical axis is are just straight as well.
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Just one big straight line going through and basically that's super boring.
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And so what we can do to change this up is let's go ahead and turn off our images so we can see better
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now.
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Let's switch over to a blue so we can see this a little bit better so we could kind of for example we
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could angle its head like that and then we could we could even keep the shoulders kind of straight like
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that if we wanted to in the bottom of the chest and then we could go ahead and angle the hips to make
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it much more interesting.
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So now if we were to go ahead and kind of draw him back out a little bit the vertical line could be
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more tilted like that the vertical line for his chest can be like that
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just kind of draw a ball like that for the hit for the waist and for the hips because of the way this
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is angled and we could do a bottom of the hips as well like that with the pelvis.
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And see now it's much more dynamic and we could even change that needs to be kind of more like this
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angled like that so we can kind of bring those legs back down like this
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right.
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That's that's much much more interesting because now we have all these different angles going on in
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our accesses.
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So now what we're going to do is almost switch over to paper and pencil and we're going to draw kind
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of a better character form than this and we're gonna really pay attention to the accesses.
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So let's go ahead and draw a character body form where the accesses are at different angles so we get
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that dynamic look so we can go ahead and just kind of start by sketching out about what we want it to
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look like.
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So we can start with the line of actions.
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The one who actually is just going to kind of go like that.
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So slight curve the head will be somewhere up here just do a circle to represent the head for now and
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we can come back and change the size of that.
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Then I'm gonna make the shoulders kind of angled like this.
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Same with the rest of the chest.
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So we get kind of an angle like that and we can go ahead and just kind of draw an
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the rib cage like this.
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We can do a circle for the hips or for the waist and then for the hips and the pelvis we can go ahead
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and kind of do sort of a trapezoid type shape
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kind of angle back this way
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looking at this.
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I think actually this all needs to kind of get shrunk so I'm gonna go ahead and just shrink the
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rib cage down a little bit of a whole new race this
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redo the hips or the waist and then redo the hips just kind of shorten that a little bit that then this
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leg will continue on the line of action
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I'll go ahead and do this leg so we'll get this nice curve going from the hips into this leg
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let's see and let's add a little bit more of a tilt to these hips so what I'm gonna do is we can keep
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this one right here but let's kind of tilt it more like that.
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So want to bring this five down a little bit this
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maybe bring this leg out just a little bit more
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something like that
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you'll see that the knees are at a kind of different angle as well go ahead put the shoulders in there
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so just do these two round sort of circles for the shoulders Nick
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the shoulder will just kind of go back behind the arm or go behind the body.
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And this arm right here can have it kind of angled out like that for the biceps and then for the fore
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arm it'll come down like this
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but some little fingers are on her hips
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some like that.
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And then forward the face.
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Let's go ahead and angle it down like this.
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So the front of the face the horizontal axis is are gonna be down like this
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collarbone
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kind of sketch out that hurt shaped like this.
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Draw the side of the pack right there.
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And we can go ahead and draw the breast in
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here sir and kind of solidify these fingers a little bit more.
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Straw the center there
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mend a rib cage kind of busy right there.
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You can use it as a guide so can kind of dividend right there and back.
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Right.
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This is looking pretty good.
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But there's one thing that I'm noticing and I wonder if you can see it yet.
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If you have caught it and that is that the breasts are actually not drawn in correct perspective.
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So if we draw a line across the bottom up and you can see that they should be lining up these lines
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but they're not.
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So that was my mistake.
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So when I go ahead and erase these and redraw them keeping that in mind.
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So we want to kind of keep them in that kind of an angle
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that we need to bring the other one further down
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could also put some fingers over here on this side as well.
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Good draw face on a character just to show
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sort of the angle of those actresses on her face
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and she's kind of standing on her tippy toe.
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But if we draw a line coming straight down from the center of her chest most of weight is actually going
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to be back here or on this front foot.
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So what we need to do is we need to kind of change it because if somebody has a bunch of weight on their
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foot they're not going to be on their tippy toes.
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They'll kind of.
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They can still be on their toes but we'll be kind of more flattened like this and that's for all that
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weight will be held is right there
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and we just skewer kind of a hairstyle and be a bun
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and give her a belly button as well.
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All right.
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There we go.
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So there's a character where we drew her form and we have some nice actresses going on in there so you
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can see that the face is kind of going like that.
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The shoulders are going and actually we need to bring this shoulder down
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shows we're going down like that bottom the breasts are going down like that the bottom of the rib cage
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is going down like that and then her hips are going like this or the top of that leg in the top of that
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leg or going at that angle.
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And then her knees are going at batting right there and then her feet are going at this angle right
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here.
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So we have all these interesting and dynamic looking actresses.
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So we really want to try to work this into our drawings as much as possible.
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So just keep that in mind when you're drawing your character forms and as you move through the course
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you can start applying this to those forms.
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Thanks for watching and I'll see you in the next lecture.
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