Day 103: This one, not so much. I really don't know how to draw wings without reference, so while I do like her body and the general feel of this, the wings are just wrong.
Day 104: The gesture of the figure, especially above the hips, worked out real nicely here. Things like this - moments of intense personal drama - are what I really want to explore with my art, so getting it in a sketch like this gives me a good feeling about taking other figures with other emotions forward to finish.
Day 105: Sometimes, you just gotta draw a naked lady with a ferret and weird hair.
Day 106: And then I drew one of Lauren Cannon's ladies without realizing. (Well. Needs more creepiness and less softness to actually be one of Lauren's. But still!)
Day 107: I think there's something to be said about a person who enjoys doing brickwork as much as I do. But hey at least there is a lot of dramatic drapery!
Day 108: This feels like a cop-out, because all of that intricacy in the halo? I can do that stuff in my sleep. It's a null-space time-filler for me. It looks nice, though, and further it apparently looks impressive?
Day 109: So I broke the poor girl's neck in this, and what, just what re: the spacial relationship between her and the boy - but even so, I'm... surprisingly fond of this.
Day 110: I asked my roommate to give me a prompt; she said, 'a monastic order of a fictional god'. So there's this. Those are meant to be braids, for what it's worth. There's a whole lot of untapped potential in this...
Day 111: So many of my ladies are soft and sad and flowey, that I decided to take a day to do a lady who looks like Business. Also, drapery.
Day 112: ...and to follow up a badass, I do one of the softest, flowey-est ladies I've done in a long time. Oh there are no regrets, because as much fun as it is to draw hard-edged women, this right here will always be at the core of my aesthetic.
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