 I like that stuff, I like that how gently you put it down. As you go back, you can do a little bit of a change in the finger animation, like by now the pinky might be up and then you know a bit curled so the finger is the straightest and the rest starts to curl up and maybe a bit of a change in the thumb. So you have a bit more of a contrast of this, these feel a bit too similar, like your pose is two twins so you would have this arm maybe and I like this arm up because it separates it from this plate so you can say up here then this arm might be there, different finger pose than this, you know different orientation so that the angle is different, asymmetry. But that take is cute and you get a little bit of anticipation there. Nice, you go down, shoulders down, go up, that's cool just offset, you know like one arm comes up before the other one. This feels a bit simple where it's just kind of a rotation in Y, I like that the head leads but when she's like this and she turns you could have you would need to ease into this a bit more, she could have a bit of a lean over so that you know she's kind of afraid or you know she's kind of leaning away from whatever is happening over here, her eyes can start a bit more towards the ends, eyebrows can do a little bit raise and hold, this one a bit higher so you have that opening here, bit of a change in the in the mouth shape and don't forget an arc, this is a straight turn, arcs, arcs, arcs, otherwise it will be so much, so much of an F in the class, arcs, even in a quick blocking like this, gotta put an arcs and then when you go back here it feels not enough in here, that's a big turn that doesn't really affect the chest, so you know so when you're up here and she's leaning a bit this way and then she goes this way then you can straighten to what you have here with a bit of a turn here and then with that you know she's getting more determined then you can have that lean forward a bit, so do you have a nice progression, this feels a bit swimmy like you had to hit this pose and it's kind of here kind of just droops into this and then you have IK arms right because I see a lot of chest movement but the arm is kind of almost frozen in space so if you do this you're gonna have to move your arms with the body a bit more that would be a good offset pose silhouette wise so you don't form a tangent right there so you would have that arm out and the hand could be here whatever pose you have and then that way you can bring it back so when she clenches it your arm goes from up here to here from here to here right so whenever you have an emotion change or kind of a body pose change or something you can like an overall change in their thought process or emotion you can kind of reflect that in their posing. This guy and this drifts a bit his hands I would go when she goes that maybe bring up the fingers a bit so they're a bit tighter she's kind of like what and then hold them so that she doesn't drift so that would be stickier. Again you got to rotate those eyelids you still have those eyelids here you gotta flatten these guys and if I think it's a bit too early how you're already in that worried pose I will keep it maybe like that so that when she goes you can bring them up a bit more into that as one shape there and since she's kind of looking you could probably raise the lower lids a tiny bit so that when you do this then they're open the way they are now and don't forget to offset things so right now there's a little bit of offset I guess in her lids starting first but then this feels all at the same time so to me it would be she's looking I would do maybe like one dart over she's processing stuff realize what's going on which means eyebrows go up first that pull then the lids and maybe three frames later you have her lips that kind of soften they don't they don't feel so squished then she's going to move her head forward and then that's going to pull her body forward and that's the last thing that's going to move and during all this it feels like pretty much of a forward translate and you can have with this maybe she can straighten her head maybe she can be in this slightly more straight and then when you go forward she's in this position so you go from from like this to this again so you have contrast and movement that the head is doing something not just translating forward so you have a little bit of a why maybe but definitely a bit more tilt all right thank you all right there's an email you can sign up you can start whenever you want you can submit whatever you want you get 16 submissions either way a like and subscribe would be awesome all right thank you