A curvy figure study with red hair, useful for two problems at once: carrying volume convincingly through the ribcage-to-hip transition, and treating hair as a single toned mass with a warm color note instead of a pile of individual strands.
Two things in this pack are worth studying separately, and most artists need practice with both. The first is curve - how a body with pronounced volume transitions actually connects one form to the next. The second is red hair, which behaves differently from dark hair in every medium and defeats a surprising number of otherwise competent painters. What's in this pack
Reference of a curvy red-haired figure. The build gives you long, continuous contour rhythms and clear form transitions; the hair gives you a warm, high-chroma mass that reads against skin rather than disappearing into it. If you paint in color, that second thing alone will earn the study time. Who it's for
Painters and illustrators working in color who want a hair problem worth solving. Character designers building figures with real volume rather than the default slim silhouette. Figure-drawing students working on rhythm and form connection. Comic and animation artists who need a distinctive character type to stay consistent across a run. What you'll practice
Volume transitions. The ribcage-to-waist-to-hip sequence is a chain of overlapping masses, not an outline with a pinch in it. On a curvy figure the transitions are explicit and hard to fudge, which makes them far easier to learn from than a figure where you can approximate the whole torso as one shape.
Rhythm and the S-curve. Pronounced curves make the rhythm through a pose visible: the line that runs from one shoulder down across the ribcage to the opposite hip and out through the leg. Once you can see it here, you can find it on figures where it is subtle.
Reference Pack reference pack on Refimages. Buy once, unlock forever — personal & commercial license included.