Hey, @Lien Hoa! Thanks for reaching out and sorry for my delay in catching up with your post. This is a very complex scene to draw. Besides the complexity of the poses and the way the characters are staged, there’s also a lot of tricky perspective going on in the bodies and the surroundings. On top of that, the references you’re using have different points of view, and the fact that you have difficulties drawing from imagination but needed to change aspects of the references in order to make the pose the way you wanted (instead of just copying what you saw) could only make the whole thing even more challenging. So, I think you actually got pretty far considering all that. @Steve Lenze makes a pretty good point about how to approach the construction of the figures, so I’ll build on top of that. In the image I’m attaching, I took Steve’s drawing and adjusted it to fit into a 3-point perspective grid, and I also added the staircase where the characters are sitting. The black rectangle around the characters is the "frame" - how your final drawing would be cropped. Hopefully, this image can serve to you as a guide for how the scene would need to be constructed. Here are some additional considerations about it: . Even though you may not want to show any environment in your final drawing, your sketch should include a minimum of the 3-dimensional space where your characters exist in order for them to look believable as (semi)realistic figures. . Since the character on the right is sitting on a higher stair-step, he should look slightly smaller than the other one because he’d be just a bit farther away. . Assuming you might want to maintain that skewing effect on the characters’ legs (as if they had been photographed from the bottom up), the perspective grid needs to be a 3-point (two vanishing points on the horizon plus a third vanishing point way above the scene). Notice that the grid takes up a lot of space beyond the drawing “frame” (a.k.a the picture plane). Perspective is a whole world in itself and can take a bit of time to be well understood, but don’t feel intimidated! Like everything, it just takes some study and practice. Just notice if you feel that you need to learn more about it, and if so, I’d suggest maybe taking some time to go through this course to start: https://ctrlpaint.myshopify.com/collections/foundation-skills/products/perspective-sketching-1-the-basics I know it can sound like a lot (and indeed I think it is), but be patient with yourself and don’t feel pressured to figure everything out right now. Take it slow but steady, and things eventually start to come together. Hope this helps. Feel free to ask questions in case you have any. Best of luck!

Hey Lien, I think your idea of using reference for this is a good one, but we have to use it right. One way is to look at the pose in the reference, then build the pose out of shapes. This will help us interpret what we see, and make it easier to get it right. I did a sketch that I hope will help you out :)

Hello Lien_Hoa,I think you did pretty well in making the shape design on the face and jacket appealing.I quite like how you contrast the more busy shapes of the jacket with the simple line for describing the leg.It remind me a bit of how Adam Hughes and Mucha does it.(here are some example of their work) I think the biggest problem I see is that the perspective is a bit skewered on the leg and arm,I feel like you made it slightly too big and made the head a bit too small.Also on the topic on improving the pose,personally I think you could make the left guy's left leg a bit more interesting if you made it tiptoeing and facing the viewer(here's an overdrawing of everything I just said to explain it better. But other than that,great job,please keep going,we're interested in what you'll make next