W-Sit, Hand on NeckPose Reference

The seat is the floor itself: the pelvis drops into the gap between the heels, the thighs point forward with the knees almost touching, and each shin angles back and outward with the top of the foot down. Above that wide base the torso stays vertical and calm rather than arching. All the asymmetry lives in the arms and head. The figure's left arm folds tightly, upper arm lifted ahead of the shoulder and forearm doubling back so the hand wraps the side and back of the neck, the elbow jutting forward past the cheek. The right arm drops down the front of the body until its hand settles on the right shin just below the knee. The head bows and turns a little toward that lower hand, as if easing a stiff neck.

The six angles divide the work. From the front, the thighs hide most of the shins and the raised elbow crosses the face, so you have to find the skull around it. The side view, taken from the figure's left, explains the arm best: elbow ahead of the chin, forearm vanishing behind the jaw. Turn to the back or the high angle to see the actual W, two shins fanning out from the seat, and to locate the fingers on the nape. The low angle makes the knees loom and stacks the elbow against the head contour.