Dynamic Anatomy for Artists - Muscles of the Torso | Robert Marzullo | Skillshare

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Dynamic Anatomy for Artists - Muscles of the Torso

teacher avatar Robert Marzullo, Online instructor of Figure Drawing and Comic Art

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

21 Lessons (2h 57m)
    • 1. Introduction to the Class

    • 2. L0 Real VS Imaginative Abdominal Muscles

    • 3. L1 Simplifying the Forms of the Torso

    • 4. L2 Drawing the Male Torso Front View Part 1

    • 5. L3 Drawing the Male Torso Front View Part 2

    • 6. L4 Drawing the Male Torso Lateral View Part 1

    • 7. L5 Drawing the Male Torso Lateral View Part 2

    • 8. L6 Drawing the Male Torso Posterior View Part 1

    • 9. L7 Drawing the Male Torso Posterior View Part 2

    • 10. L8 Male Vs Female with Basic Shapes

    • 11. L9 Using the Bean Shape to Draw the Female Torso

    • 12. L10 Drawing the Female Torso Front View

    • 13. L11 Drawing the Female Torso Front View Part 2

    • 14. L12 Drawing the Female Torso Lateral View Part 1

    • 15. L13 Drawing the Female Torso Lateral View Part 2

    • 16. L14 Drawing the Female Torso Posterior View

    • 17. L15 Drawing Our First Female Pose Part 1

    • 18. L16 Drawing Our First Female Pose Part 2

    • 19. L17 Drawing the Male Torso Pose 1 Part 1

    • 20. L18 Drawing the Male Torso Pose 1 Part 2

    • 21. L19 Drawing the Male Torso Pose 1 Part 3

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About This Class

Dynamic Anatomy for Artists - Muscles of the Torso 


Welcome to my class on Drawing the Anatomy of the Torso.  In this class you will learn how to simplify this process with basic forms and concepts.  This class is meant to teach you the primary muscles of the torso as it pertains to drawing the human body.  Keep in mind this is a stylized and dynamic approach that I teach for students that want to draw characters from their imagination.  It can also help for traditional figure drawing but I will be explaining with a more stylized approach.

What you can expect to learn in this class - 

  • How to Draw the Torso with Primitive Shapes
  • Superficial Muscles of the Torso
  • Male and Female Anatomy
  • Orientation and Landmarks to Memorize
  • Rendering the Forms
  • Heroic Vs. Realistic Versions

I am here to help if you have any questions.  Make sure to submit your art so I can see what you need the most help with.

Thank you for considering this class and good luck with your art!

Robert A. Marzullo

Ram Studios Comics

Meet Your Teacher

Teacher Profile Image

Robert Marzullo

Online instructor of Figure Drawing and Comic Art


I enjoy creating and sharing Video Content of my drawing process. I teach comic book illustration techniques, figure drawing, and digital painting. I use programs such as Adobe Photoshop CC, Clip Studio Paint, Procreate, and Sketchbook Pro 8.

I am the author/illustrator of the book, "Learn to Draw Action Heroes."

I have been teaching online for over 5 years now and love the ability to connect and teach artists all over the world. It is very exciting and rewarding!

See full profile

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1. Introduction to the Class: Hello everyone and welcome to my class, dynamic anatomy for artists, muscles of the torso. My name is Robert Mars Zuo and I'll be your instructor for this class. And in this class you're going to learn how to draw a stylized and dynamic anatomy. We'll start by first simplifying the basic forms of the torso. This not only makes it easier to construct the anatomy over the top, it allows you to draw characters from different angles more easily, will also be covering the difference from superhero or heroic anatomy versus more realistic anatomy. Then we'll cover drawing the different viewpoints for the male and female torso and pelvis. This is where we will focus on drawing the anatomy, talking about the terminology, as well as different shapes to memorize to make it easier to construct this from your imagination, will then implement what we've learned thus far and draw some basic poses. And then finally, we'll put that all together and will create some more detailed renderings and something that can really express everything that you've learned in this class. So I'm very excited to see what you come up with. I hope you find this to be very informative and enjoyable. Thank you very much for considering my class and good luck with your art. 2. L0 Real VS Imaginative Abdominal Muscles: Okay, so first things first, I would normally start with just structuring and shown you basic shapes of the torso on the pelvis and how to, you know, twists and contort those. But one of the things I really have to start with the z abdominal muscles. So the reason being is I teach a lot of imaginative drawing and I'm sure that, you know, if you've watched my content, that's probably why you're here, because you like that type of work like I do. And one of the biggest things that is kind of misunderstood as the abdominal muscles. So just to give you a quick glimpse into what I'm talking about, I'm going to throw in a basic primitive set of shapes for a torso. And I'm going to be talking about this more in the next lesson. But I needed to actually go back and fill in this lesson because I realized that I hadn't explained this in a way and I explained a little bit further into the course, but it needs to be explained first. So I'm gonna do two illustrations for you and talk about what you might see and what might be right, what might be wrong. But actually what's just kind of adopted into a lot of ways of doing this. So I am getting an, a very, you know, just primitive version of the upper trunk of the body, the torso, caves or somebody like that, right? And we keep going at arms and all that good stuff, but this gets us started. So now this is what I call the superhero torso. Okay? And I was taken to refine it and make the sweetest muscles a lot better, all that good stuff. But this is a very basic approach. Now in reality, it's a little bit more like this. Now obviously if we're talking about realism, you know, there's a lot of things that are going to change proportionally. But the main thing that I see is that the abdominal muscles are a lot more like this. Okay, so there's these two muscles right up here at the very top. And then you have the divides like this, the naval right above here. And so what happens is these two appear get, get lost in translation for that very dynamic expressive posing of the character. Basically, when you picture a bodybuilder, they pulled their shoulders back to trying to flex their lads, they extend their ribcage, it tilt or convince her back, tilt their torso backwards and our chests out, right. You know, if you've looked at bodybuilder poles, you've seen it and generally the top gets lost a little bit because the ribcage starts to protrude outward. But they're very much there, right? If you see any anatomy book, you're gonna know what I'm talking about real quake. And then what happens is you get a divide across here and everything over here up until it meets the Servetus are your obliques. So for instance, the Servetus kind of come down like interlocking fingers. And they actually interlock with the obliques. And you have what's called the internal oblique. And then you've got the more famous one, which is external oblique like this. So a lot of times I've seen a lot of illustrations, anatomy books where they'll just say the obliques. And so it kinda lead you to believe that the obliques, which we know by popular vote or are these ones down here called love handles? So then we just kind of assume, well that's the obliques and this is all the Servetus. So a lot of times, and it's not just, you know, it's, it's external oblique, internal oblique Servetus. Okay, and we'll talk more about that. But the main thing that I want you to focus on is the difference that you're going to see from the abdominal muscles that a lot of people have adopted, drawing them more like the one left. That's more the superhero form. Likewise, if you were to really think about it, it's very rare that you see the Tessman his door sire latissimus dorsi, I always call it, but it's latissimus dorsi psi. It's very rare that you see that in clear view. It's more like this kind of tucked back. You'll see a little bit on the sides, but not much wall. What do we do? And imaginative drawing. We're given these big, huge lattes like they're always kind of flexed and bowed out. We'll just think of like a human type character. So again, I felt like we needed to start here. So I just kinda air this out. Yes, these are here, but you're not always going to see me draw them. But, you know, I'll, I'll show you a mix I guess where we illustrate it. But most of the time I teach it in the way on the left because again, that's what I use malls for my day-to-day illustrations. And I felt that might be similar for you. So with that, let's conclude here, head over to our next lesson. 3. L1 Simplifying the Forms of the Torso: I first want to show you how to simplify these forms. So I think that when you, when you first go to draw the torso, the trunk of the body, it gets very busy a lot going on, right. So from any angle it's pretty, pretty tough, even a straight on shot. And what, what you can do is first develop what I like to call shorthand method for anything really. It's so one that I like to employ is where I draw the pectoralis major, which was like this. The ribcage and flow like this. And then the abdominal muscles, rectus abdominis coming down like this. Okay. And let me bring that lineup. So something like this. Okay? And very primitive early it almost doesn't even look like the upper portion of a torso at this point or this would be the torso and then the pelvis is lower. So from this point I would add the pelvis sums like this. And you see very, very simplified, right? So awesome picturing as the openings for the legs, opening for the top of the pelvis. And that's it. And then as I connect this down, if I think about the external obliques drawn this sort of shaped like this, obviously they're not the smooth, and obviously none of this is as simple as this. But what I think happens here is if you can start doing this, it allows you to turn this on the page a lot easier, okay, which, which I find to be the most helpful part of this. So for instance, let me just add line across here. I would have an opening for the neck. Opening for the arms will add shoulders on a lot of our demonstrations. But in this case, I just want to start very primitive and get you to see the shapes. So just look for things like this. Like here's a very evident W. There's a slant here on the top section of the summit muscles in the kind of taper down and they round down into here. So look at the overall perimeter shape and then the oblique and naturally kinda throw this in. And then what happens is, and we'll get into more detail where I explain this further. But you get the Servetus muscles that come in like this and they actually interlock. They look like they look like they kind of overlap and enter live. And they interlock into the external oblique cell. Again, I'm gonna explain that further, but what I want you to first focus on is this very primitive mannequin starting point. So let me, let me redraw this a little bit more clean so it's easier to read. Well, just retrace this with you so, you know, you see that I'm putting the v like shape in there for the collarbones, but I'm not actually drawing collarbones yet or clavicles. The pectoralis major here. And you really want to try to see how you might have a different method for simplifying this. And you want to see how you can do this in almost the least amount of strokes. Because then what it does is it forces you to look at the overall almost gesture of it. Obviously this isn't bear gestural, but but it's, it is something that helps you to process that I think definitely helped me. So I want to make sure that I share things in the way that it affected my own artwork and made things easier for me to accomplish. So again, thinking of these as, you know, simple strokes and lines, easier to process. He did understand. And again, this will lend to turning the artwork against a page that looks like an extra abdominal muscle there. But keep in mind, the bottom ones are a little bit taller. The top ones are definitely taller and they also slant. And we'll, I'll show you that as we develop it in different angles, you give me as I struggled to draw an oval. So now what I want to show you is that what these basic shapes, it becomes a lot easier to not only turn it but contort the body, which is a very big, very important thing to do with the trunk of the body. So without that, you can't get very dynamic posing. So what I'm gonna do is now angle it. Now I'll take this in steps, so I'll just angle it like this first. Again, I want to show you how I would use these primitive shorthand method to quickly dropped these forms. And so there's my pectoralis Majors. And I don't know is that majors there's that 11 term pectoralis major sure. There. And you know, the ribcage. Now, I'm already going for a little bit more of a hero ask kinda vibe. So what you're going to see me do here is I like to bring in this abdominal muscle, the rectus abdominis, and bring it inward and then down. So this is kind of a starting point that I want you to think about where, you know, you're going to take what you have here, but you're going to elaborate in bits and pieces. And that's what's gonna get you to that very fluid organic feeling to something that can real easy to stiffen up bond you'll make, make to bridge into stuff and drain the life out of it. So you gotta be careful that I think I've got these two far down, but I'll just said as I go. Now the other thing to think about as you do this is the center line to each one of these parts. In fact, I oftentimes think about the center line and direction of the top section, the midsection, and the pelvis. Ok. Because each one can kind of orient a little bit differently. And the more you explore that, the more interesting your pulses will become. So let's just for the, for this particular example, keep it pretty simple. Again, that kind of like floating underwear effect. External obliques, I'll just bring those straight up, even though nobody's really usually that lucky, right? Them just straight up and down. There's usually a little bump there. But we're not going to worry about that yet. And again, I've thrown this little segmentation or curve there. And then the latissimus dorsi back here. And I'm going to see it on this other side because of the angle and an opening for the deltoid, which will add in future examples here. But for now I really want to focus on just this. And again, I'm not going to add this radius yet. I just want you to think about kind of the broad strokes of this, okay, so there's a curve here opening for the neck. You can even draw through, I think this is helpful to kind of picture where the deltoid would be. On the other side you'll see artists that will actually draw a floating cylinder behind it, helps him kinda line this other one up. So do whatever you need to. But the main thing is is that you do draw through and certain areas and I'll pick, we need that for this. But drawing throws this one of the things that will help you place. Put it this way. I feel like if I don't draw through when I do light pulses, they're almost always wrong. I have to draw it through 11 really arms and legs when they go in front of the in front or behind any other appendage or the torso itself? Yeah. I definitely have to draw through to get that right. Okay. So again, I'm just kinda glance across S. And again, a very simplified way. I think it's helpful to try to throw lines. Generally, when you throw lines, you get smoother line, you get a bit more energy to it. And I think it helps you not overthink it. So sometimes when you try to sketch and sculpt every line, you might you might overthink things, you might overwork it or something. So you know, but try both. I mean, obviously there's a few different ways to really look at that, but but I find that it helps for simplifying complex things. And put it this way, like when I go to draw vehicle, I've throw a lot of lines in it. It works out well because I think that the vehicles themselves kinda confused me a bit. And throwing the lines helps me to get more flow and energy to that. So I don't know if that translates exactly to the human body, but I just wanted to let you know that that's something that I do like when I go to draw vehicle, I definitely don't sketch. I'd throw lines a lot more. And I still can't draw an oval. Okay, so just like that, we've got it turned and obviously we've got the segmentation and the separation of the abdomen. And then, you know, once you take something like this and you get into more detail, you'd end dairy was your the hip, bony landmarks to the hips and things like that. And you just keep elaborating again, collarbones, all that. But again, I really want you to practices. And notice that, you know, you might look at this and say, well to me, this shape needs to be down here and back here. That's fine. Whatever works in your interpretation of this is fine because what I really want you to do. Come up with your own way of grabbing the major components of what makes sense to you. And then again, allowing you to turn this and develop it more easily. Because I've seen this done all sorts of ways and I think that the right way is whatever makes sense to you. Let's try one where let's just throw in a bit of an action line. And then we're gonna put a tilde and we're going to start with the clavicles going up at an angle. For this one, I'm going to just place a basic set of shoulders so it helps me visualize. So I'm gonna get the pectoralis major gone like this. I'm gonna really show their extension and a what kind of bowing out of the ribcage. They're no, no brain, the rectus abdominis down like this. I'm also going to try to twist these a bit. So do that. I'll just take and bring one side closer. And those town. And since that's occurring, I'm going to have more of a tilt here. So the other thing to think about, you'll see a lot of artists do this as draw lines right through these areas like almost like a DAO, like bam. And then so maybe down here, I have more tilt like this. Let's try that. And again, just as floating, floating underwear for now. And again with the punching and the extension. Probably a better way to illustrate that. But just keep in mind that you're going to see a noticeable difference from one side to the other, and that's the primary thing here. So just like that. So again, this is a very crude startup. So let me show you how it clean this up a bit. So I'm just going to soft erase it. So if you're working traditionally, that just means Azure kneaded eraser. Push that information back. And again, I'm going to try to throw lines and keep this very simplified. We'll get into some more advanced versions here shortly. We gotta remember too that the pectoralis major needs to bend up. So hopefully you see I've put an upward bend across the chest there because we're looking up at it. The torso is kind of tilted back and the pectoralis majors are sitting up on top of that rope kids. So we really needed to show that. We've got to make sure it'll try to throw in any real detail though. Again, I want there to be a little bit of twisting here. Pinching on one side and extending the other side. Now the other thing that tends to help me as to really keep in mind where that center line is all the way through. So you'll see me draw that in a lot of times. And I think from the saying, well, we're not going to see much of the opening of the neck or the trapezius. So I'm gonna keep those very, very low. And I'm not going to detail the arms and just kinda give you the direction that they're going. But again, something just like this where that latissimus dorsi would probably come in. More like this. Along this line here actually signifies z, external oblique. And you'd probably see a little bit of the back deltoid, the posterior deltoid from an angle like this, something like that. So now what we'll do, again, I just want you to really think about this in terms of these basic simple shapes. Try to move this around and you, and you really want to try this and all different angles. And you know, you want to try and draw it from the top down and just really simplify. You could even go as simple as something like this where you grow up, you know, the opening for the neck. Just kinda all of it, chest, shoulders, and I haven't drawn the V for the collarbones At this point. W for the ribcage, maybe see a little bit of that from this angle, you probably really wouldn't even see it, but in many ways. And then divide up the stomach muscles. And you gotta think about foreshortening. So you got to really compress the information at the bottom. And then we'll put in the collarbones, are you is something like this opening on the side. So that's an even more simplified version. So you can really pick this apart, Try to make it as simple and as understandable as you can. Because once you get the underlying forms going like this, we can apply anatomy, but we have to get used to turning these things around and really visualizing this from different angles. Because if not, you'll fall prey to drawing things forward facing all the time or straight facing, maybe one angle. You can't do that right? You gotta be able to turn them all over the place. So, so let's head over to the next lesson and talk a little bit more about the actual anatomy, the muscles anyways. So with that, let's press forward. 4. L2 Drawing the Male Torso Front View Part 1: Alright, so now we will draw a forward facing shot of the, the torso. Again, the trunk of the body, the upper torso, the pelvis. But we're gonna do this in a forward facing kinda straight on shot so that we can talk about the muscle groups. So again, I'm going to start by doing a very primitive building block process like I showed you before. So we're getting in the shape of the pectoral muscles that will shape the chest, the form, and then the ribcage, which again is kinda like a bit of a W. And then the abdomen or abdominal muscles. Those rectus abdominus. Ok. And then from here we'll get the oblique sense. So obliques will just kinda tape around like this. And the pole does. And will just attach part of the appendages just so you know, it kind of encompasses. I find it hard to stop just the and the trunk because for instance, the chest really relates ties into the shoulders quite significantly. And I'll point that out as we illustrate the anatomy. So I feel like we got at least at the deltoid or delta IDS and we've got the trapezius. I'd like to start with a line going across and we know that the trapezius comes up the back of the neck. But since we're not going to see that, I think it's better to just do that. Our click that show the opening for the neck. And we'll just put the kind of the base of the neck here. We got a bit of a v here from the sternocleidomastoid ads. And we'll do a little bit of the upper arm and stop it like this. Okay, so again, this is our primitive forms and shapes. And what I want you to think about too, is when you get to this point where you're drawing it this way. This allows you to really adjust your proportions right here, okay, so you want to play around with your proportion changes. You're posing your even your shadows. You wanna do all of that right here. And then when you add that anatomy and you add that detail in that definition, it translates more easily, basically a processes more easily because if you had an all this detail and you don't know how to shade it yet or yet and all this detail, but you don't know how to pose it yet. Then obviously you're gonna run into more stumbling blocks. So really play around with the proportions and everything here and then go to posing in stuff like that. So we'll, we'll keep working through this and talk more about that as we do some more dynamic versions. But in this case, you know, at this point what I would do is start worrying about some of the details that I need to play sense. So for instance, the collarbones are collarbones typically, you know, kind of bone like this, right? Now I don't draw them as realistic as I probably could or that, you know, people tend to do. The collarbones also generally come up over the shoulders. And obviously that's going to depend upon where your camera angle is, but it's something like that. Now, at this point, I don't know that I would put a big bend there, but at least show a little bit of one. And I definitely get the bony landmarks of where you see the little U-shape in the center of the chess. I feel like that's a very important thing to illustrate. And then probably the divide that I get from the the pectoralis muscle. And I'll showcase some of the way that it spends towards the insertion point of the deltoid. Oh, it all kind of inserts where it into here. And in fact, when the arms are down, a lot of times you'll see this little bit of a V or wildlife shape right there. So I'll just keep that in mind. And that's really the pectoralis colliding. I don't wanna say it connecting with the deltoid because muscles don't actually connect to one another that connect the tendon or bone. But the resemblance of that connection point right there, you're going to hear me say connection point throughout the lessons because it's kind of the way it looks. I really think visually when doing this stuff. So I might use the wrong wording when I'm talking visually. So the obliques, now, you get a bit of a bump that's right on the top of the hip, right on top of the era of the Acis, which says somewhere in there. And that's where you're going to see all the quadriceps kinda come up and connect to the Acis right here. Then we've got the obliques, and the obliques are right here. And, but then they also flow up right like this into the Servetus anterior. And the surgeons had tear kinda look like fear to interlock your fingers and look at the back of the way the fingers look the pattern that you get. That's kinda what I think about when drawing the server doesn't tear and the external obliques. So they kind of sit right in this area and then flow downward. Like that. You get the trapezius that wrap around behind the Mac. I'm gonna get that little V and that kind of look at it like a v here and a u here is kind of the way I see it. And then the bell toys, you've got the anterior head, the medial head. You can work from say, other lessons for the deltoid and then the biceps. This and you'll see that tricep kinda poke around. And then here we start to divide up the rectus abdominus. And remember the previous lesson, these actually start higher, but for the more heroic form, we'll bring them lower like that. And there we go. So now we've got our base anatomy kinda laid in there. I do want to refine this a bit, so we'll stop here, we'll head over to the next lesson, refine it and talk a little bit more about this. So with that, let's move on to our next lesson. 5. L3 Drawing the Male Torso Front View Part 2: Alright, so I'm gonna start by software racing this back. And it's all pretty much here in front of us, just want to kind of go over it. Repetition is essential for trying to memorize this stuff. So I'm gonna start with the collarbones are clavicles and just like I said, I don't generally put as much curvature. And here is, I'm going to this time. So for me this is trying to be a little bit more realistic. And then what you tend to see as the cargo will actually come right over the deltoid in some instances. And then the deltoid wall attached below it, you get a bit of a pocket right here. And this will kinda looks like a bit of a v, right? And these corner sides like this. And then I tend to put an angle here, angle here, an angle here. Now, that's more of a style choice. The muscle kind of takes on that shape or that direction, but I'm definitely doing it a little bit more stylistically one, I'm introduce more angles. But this is an area I want you to pay special attention to write here is because we'll see a lot of illustrations where they got pretty good anatomy, but then they miss this part right here. And this is kind of important because this is where the muscle's kind of collide and insert right here. And one of the ways that you can kinda memorizes is if you flexural chest muscle, you'll see that it kind of bulges up right there. Just a little bit higher point once you kinda bring your shoulders together. And so yeah, it's just one of those things where it's it's easy to forget about and just kind of draw it like this and you don't have the shoulder coming down at the wrong angle. But if you remember that they collide and insert right here, then I think it becomes easier to get the deltoid right. As a deltoid is pretty tricky, tricky muscle to get right. But I guess we all have different areas that we find difficult, some areas easier for one another. Just depends on what you struggle to see the shapes and, but I found the deltoid to be pretty tricky to get right? Now let's repeat this generally, you'll see it kind of poke up a little bit. You'll get this little bit of a, you know, up shift right there and then it will start to come over. And then it will kind of blend in to the neck this way. So again, you don't see this that well because of the, you know, you're going to see the neck Muslim sternocleidomastoid, which is this big one that starts wider from behind the ear and comes down to the center of the clavicles. But then, you know, you're going to still want to get that bit of flow going like this. So again, pick it up, bring it over. Flow it in. I think that helps to think about so that you do get a little bit of this subtle curve in there. Versus, you know, just a straight line, abruptly disappearing behind the neck. And we'll get into the neck and more detail. There's more muscles like this. But for now we're just going to kind of glance across that and get back down into the trunk of the body. The other thing is, I don't always do this, but I at least want to point it out. You've got to remember that the muscles don't really come together. Nearly this clause, I tend to draw them very close and sometimes just shade them together. I think that's part of, you know, maybe shading something that looks like it's has more shadow on it or has, has skin on the character or suit design. You know, it's a lot of times what I might do it that way guys from repetition, but, but the thing is, is that we have to remember that all these muscle groups actually, for the most part have a divide and some have tendons in between them and they're pulling against certain parts of the skeleton. So if you're going for a realistic depiction, you could actually bring this out wider and create more of a gap there. And then for if we're drawn the stomach muscles and more actuality, they're going to be more like this, like this, like this, and you're gonna get a taller divide down the bottom. So we're going to look more like that in a relaxed position of a character. Now, I want you to obviously see that, but I'm gonna take that away and I'm gonna draw it in the way that I typically draw it. And that's almost more like the, you know, the ribcage is bowed out. So for me it's more about stylistic rendering. So I want to show you both ways and explain that so they understand that I'm purposely making these choices where it's gonna look a little bit more like this. Again, if I want this to be a bit more realistic, I'm going to show more separation in the rectus abdominis muscles. So like this. And then as we get into here, we're going to show the Servetus anterior. Kind of almost like fingers like viewer to lock your fingers together. That's kind of what this looks like. And just remember that although it looks like become right down into here as almost an another group, this is actually the external oblique from this point down. So from here down basically, when I create the diagrams for a, you'll see the difference there more clearly. Again, this part could really be considered a little more stylistic, right? So as I mentioned before, the rectus abdominis would go up here. And so it kinda shift the other aspects. What I tend to do, the reason why I show more of this area. Because then I'm trying to give a little bit more of that. If you ever see a bodybuilder kind of bring the shoulders back, flex their, you know, the ribcage out to show off their pectoralis major. That, that's essentially window. And we'll do that to also show their lattes, which the latissimus dorsi is back here, right? So they'll flex set out and really bring those out more pronounced. So why do I do that here with the regular anatomy illustration? Because it does tend to look that way. As you draw a character with skin. Some people see it, some people don't, but I definitely see it. So I think that it's better that I show you the way that I really draw this stuff versus breaking it down in a way you can, you can go reference straight. Anatomy books, medical illustrations, things like that. This is more to teach you visually the way that I draw things, and that's exactly why I show it to this way anyway. So, so maneuvering Some of us around, remember down here as external obliques. And then also the line that you get here. You put a line right there analysis on his evident and obviously with somebody that skin. And this is a little bit more of a anatomical breakdown. But the line right here is the iliac crest. And just remember the, about this area right here is the Acis anterior superior iliac spine. And so what you wanna do here is you're going to bring the quadriceps up here. So I've already talked about that in other lessons, but this is that kind of landmark for the quadriceps. And then also just remember that you can really bring the stomach muscles down right into the groin like those. So again, as far as being more realistic and more, you know, trying to go for more realistic approach. It's more like that. And then since I brought that down and we need to bring the divides down, again, this is a little bit subjective to what you're after and what you're trying to create. So for me personally, I don't generally draw this low, but I'm trying to show more of the divide. So and also you get a little bit more of an angle like this. And when we pad, and I find that kinda hard to draw things too realistic anyways, because it just, for most, most applications for artists, we're just not going to keep things anywhere near realism and my sci-fi. And there's a lot more styles where you're going to distort proportions are going to develop your own style and your own way of drawing the stuff too, where, you know, maybe it's a little less correct, but it's just kind of something you develop that looks cool and your fans like that. So again, I teach it more in a way that's, you know, from an illustrator standpoint, more than a some kind of medical guide or terminology in that sense, or instruction in that sense, I should say. So, yeah, so there's our refined version little bit Anyways, Remember that you can have these divides that none of these really connect even where this radius anterior meets up with the external obliques. This is, they look like they connect but they don't. As far as I can understand it, the Servetus pass through here and attach to the ribs. So we won't get into that. We're going to stay more on the superficial side of things. But there you go. So practice that we're going to now turn this to the side. So we'll do aside the bag, will then move on to some more dynamic representations. Then we'll move into the female version and talk about that. And again, just remember that to find the nipples or I don't know, I think I've mentioned this, but if not, you just kind of use a triangle here, come out this way, and then kinda pick the higher point of the pectoralis major. And obviously this is more with skin on it, but at the same time I just want to show you how you would kinda pinpoint those. So I use a bit of a triangle like method. There we go. Okay, so with that, let's move on to our next lesson. 6. L4 Drawing the Male Torso Lateral View Part 1: Alright, so now for our side view will start by drawing a slant this way. So what this is is the, if you were to place the deltoid right about here, you know, you could start with an oval for the deltoid, but then remember that the deltoid is triangular alike and shaped specially from the side. And there's a bit of a tilt right here. So this is pointing towards the back of a character. And what this slant is spine of scapula. So it, It's little more noticeable at the very back. But then this is something that you can kind of immediately start with because if you don't get this slant in here, it just kind of looks funny like you'll see someone draw shoulder and they'll draw it very evenly. I'll do something like this. And even if they get that diamond like point at the bottom, and if they draw everything to straight right here. So the collarbone, no slant to the back of the deltoid. It just kind of takes away from the, the look, you know, so if you've got the trapezius sternocleidomastoid here, vector pectoralis major here. You know, you can still get it to read as, as an arm and a shoulder and all that. But the slant on the back of the deltoid is, I don't know to me, it's very important. So I want to start there with yeah. And then as you come from the spine of scapula, you're gonna get the collarbone or the clavicle right there. And then you can attach the pectoralis major is going to kinda come up like this. On the very back. You're gonna get like heads of the trapezius. Really you get the scapula back here. Remember this is the spine of SCAP up, but then you get the muscles that cover back here. And I'll just kind of put the, I'm gonna drop in some basic forms. So I'm gonna just put like this diamond. If you look at it, kind of looks like a diamond right there but without the one side. So I'm going to drop that in. I'm going to get the ribcage in. Like this. The abdominal muscles are rectus abdominis when it bring that in with a tilt, then relatively straight down and then another little slant back. And really this could be pretty elongated. And sum, people, this is where you'll see the belly come out or you'll see a big dip back. And you know, if they're in great shape and sometimes it will be very evident. So let's go ahead and take this and then put the next down. We would really see the the latissimus dorsi. So again, I'm just going to kind of block in these larger forms, okay, and then on the side we get that iliac crest comes down like this and then it meets to the front of the leg. And the glue back here. And the trapezius up here. That's going to look like sways back here. Sternocleidomastoid Again, I'm not going to get too detailed and to the neck muscles will be approaching that in a future lesson. So that's really it. And I'll get a little bit of the upper arm and place something like that. And remember we've got our oblique over here. And so now that I've got these basic forms into place, I wanted to show you. That was rather quick, so I'll just kinda keep go on here for this particular lesson. And so the, the obliques come up this way and you get this separation again, if you want to be more correct, you get a bit of a separation there from the oblique to the rectus abdominus and divide it up like this. Remember there was a little bit of a slant there. For stylistic purposes, you can really kinda go crazy with that. I've seen styles with a stomach muscles are pretty, pretty skewed. And we'll do a little bit of the glue here just because we're on the side here, we've got the media's, the Maximus and the tensor fascia latte, LTI, LTI, latte. Don't quote me on that pronunciation. And then it comes down and it connects to the side here. Okay, so now as we get up here, I didn't want to bring this bicep and tricep down too far because I wanted to show you that the Servetus anterior, so just, I tend to think of a circuitous anterior like I think I've already mentioned, but interlocking fingers. And it kinda do this. And then below that you get the the external oblique. So that's the part that interlocks with this or it looks like it does. You're kind of going on. And I usually detail is a little bit differently when, when I'm shading them for the final rendition. But it's really this repetitive interlocking pattern, something like this. And then the latissimus dorsi adore psi comes down like this, sweeps into the bag. And then from the back. And actually it looks like it comes parallel or horizontally like this. So you'll see it more on the, the illustration on the back as we continue on. But, and then there's a few muscles in here. Now, I'm just gonna say that I'm really going to kind of show you a couple of ways to do this, because what happens here is you get all these tiny little muscles over the scapula, which are the, well, let's see the rhomboid, which you can't see from here. Terrorists minor, which would be this little one that looks like it's in the shape of a Y. Terrorists major, which is the lower V like section locally well pieces of pie. And as top one, the bigger piece of pie right here would be the infraspinatus. Hope I'm saying that right. So I'm not going to explain it any further than that. Again, you'll have the diagrams to go off of to study these further. But I'll be honest when I draw these in a more volumetric way or in a, in a practical way. I really just don't draw them this way. And I'll show you that as we do our examples. But I just want you to be aware of these things because I think that's why anatomy can be so confusing for illustrators because there's all these patterns and all these segmentations and divides. But then you have to learn to adjust these sayings for even, you know, real life studies. But then definitely for your, you know, imaginative creations and things like that, you have to kind of learn what to accent or what to really define and whatnot to define, you know, what to make your focal points. So the posture looks strange with this one. I'll try to correct that as I go. I think I just got the neck too wide, so it's probably more of a proportion issue, but I think it's salvageable. So what I'm gonna do here is stop here. We'll head over to the next lesson. We'll continue to refine this and talk a little bit more about it. So with that, let's move on. 7. L5 Drawing the Male Torso Lateral View Part 2: Alright, again, we will soft erase this back. And I think the main thing that's bothering me about portions is really the MEK being too far forward and a bit large and comparison. But again, you're going to play around with lots of proportional changes to the work. But yeah, so let's just try to clean this up. So again, the trapezius, remember the angle that you get here, the spine of scapula, the trapezius is gonna come down like this. You get these divides here. So this is the bottom of a trapezius here. This would be the infraspinatus. Again, I find a little, find it a little weird to explain these because I don't know. I try not to draw them all the way in my renditions, but for this case we are studying them so I will make sure to point them out. So the infraspinatus is the bigger area right here. The smaller opening right there would be the terrorists minor, and this would be the territory, teres major. And then you get the latissimus dorsi. And forgive me, it's probably the lattice pessimists door psi or something like that. So remember to check pronunciation. And then that comes down here and connects to the thoracolumbar fascia. And yet so a lot of times I'll just draw this as a pitch cysteine, entire latissimus dorsi door psi. Just because, you know, all these parts gets so confusing. There's so many pieces and fascia tendon stuff. I really want you to understand how to draw the bigger volumes and simplify the process for you. So I kinda look at that all as one group. So the deltoid, remember it's, It's an upside down triangle basically, but I tend to see a little bit more of a heart like shape. Just because you're gonna do the divides of the medial anterior, posterior heads. But you definitely want that slant. You want that to be evident. You also want the way that it points down to be evident. And next to that you really just want to play around with your segmentation from the medial head and Slough. But we'll just kind of hint to that for now. And then with the collarbone, it'll come down. Remember that if you want a more realistic depiction of it, generally going to try to get that curvature in there like that. And then the pectoralis major comes up against their head. Connects under the deltoid there behind the bias up from this angle. And you just kind of spend that outward and it connects to the sternum. Right. Fad. And we'll just thrown back rearm tricep there. And again, I just want to point out that in a more realistic depiction, you'd bring the Rectus abdominus all the way to the top. So more like this. But that's not how I do it from my illustration. So I'm going to show you the way that I would do it. And that is more like this. I'm going to bring those divides down here. And then you got the serifs and tour here. And the next part that it looks like it's kinda finger locked together with the external obliques. And those kind of radiate down this way. You know, the most defined areas definitely up here. This is the part that you see on a pretty muscular individual and it's very apparent. And this see, this is one of the reasons why I really like to bring the move these things around. I just want you to be aware of that from ONE illustrations. Like I really like to bring this up higher and do something like this, in which case I can't leave a gap there, so I bring the abdominal muscles up. So again, this is one of those things where it just tends to be the way that I draw my characters. And I want to make this usable for people that are trying to study and get better. Drawing anatomy, not just learning the anatomy. And again, I feel like these are areas that don't get talked about enough who see a lot of artists that maneuver these aspects of the torus hall. But then there's not a whole lot of explanation as to why. So I just want to make sure to cover that. So just realize that if you adjust proportions and you move something, obviously the neighboring anatomy will have to be moved out. I think that goes without saying. But but yeah, it's pretty common in a lot of art styles that I've noticed anyways. So you get the gluteus maximus back here. The biggest the biggest muscle in the body potentially, but definitely the trunk area. I think it's bigger than the larger leg muscles. So I want to say it's the largest site in the body. And then the gluteus medius. And then the tensor fascia. Tie, a tie, something like that. And then that all comes down and connects into the NEO tibial track OR IT track. Alright, and then obviously we've got some other muscles here. Don't worry too much about those from this angle. And then they'll their external oblique, you're generally going to see a little bit of divide there. I would say this actually more evident than the rest of it. Like I think that's why it's so confusing that this whole area through here is the external oblique. Because a lot of times people just consider this or just this, the oblique. That's the one that gets all the credit anyways. And let's see. If we were to kind of try to triangulate. Remember we use that triangle on the front of the body to find the approximation of a nipple, it's probably going to be a little bit more forward right here. I would imagine schools will set it right about there. And so again, trapezius here, sternocleidomastoid here. And on the Mac won't offend that out a bit. Like I said, I feel like it was too, too wide. And there we go. So there's our, our next illustration, you know, for the lateral side. So again, play around with this, kinda retrace it, try to find your own devices. So when you look at those, try to, try to think, what does this remind you of? The more you can relate the shapes to something else, the better you'll get at drawing it from memory. And remember this is the, the iliac crest right there. We'll get that in. Alright, and just like that now we can head over to our next lesson and draw this from the posterior view. So with that, let's move forward. 8. L6 Drawing the Male Torso Posterior View Part 1: Alright, so now we're going to work on the posterior view or the back view. The back, obviously. And so what happens here? The thing that probably helped me get comfortable drawing the back, other than sheer repetition, obviously, that's always the answer for getting good at drawing anything is just over and over until you start to just figure out the puzzle. But, but it's really looking for those basic shapes is I'm going to continue to reiterate. And in the back there are lots of triangular shapes. These w's had x's or y's, I should say. So let me just show you. But basically if you start with the cylinder for the NEG, so what the trapezius, it's in very simple terms. It's probably an angle out like this, like this. And then angle back in and then down. Okay, so very v like shape. In fact, it could really say, said to be a diamond on its side like that. And then a v here or two intersecting v's, you know, really triangular like change, right? So, so that's pretty easy to get placed right there. Probably the trickiest part is, is figuring out placement after you get the trapezius and there is a latissimus dorsi. But let's first get the deltoid n. Now, notice a slant here. We talked about this in the previous example that a little bit of a slant. So remember from the side, the deltoid was like this trapezius down here and this is the spine of scapula. Okay, so there's your trapezius and in the collarbone comes this way, pectoralis major. So something like that. You just kinda keep going and there's your your back muscles over your scapula. But this is a spine of scapula So that here it is again, right here. So that angle is important to kind of know. And then as you get the deltoid come over this way, remember the deltoid? Generally it looks pretty triangular like I usually will start with just a slanted oval like that. But I quickly move into angles and you see I kind of jumped the gun and I just heard drawn angles. I find it a lot easier to kind of get this in place with these, you know, kind of angular or sterile metric versions of the anatomy. So just like that, we've got some bell toys in there. So now this part right here, you know, obviously this is all subject to change. Some people have wider shoulders, Some people have bigger lattes and, you know, and people were very skinny and some people have more fat deposits, all the stuff, right? But what I generally like to do is at least get the stuff in place and what these primitive starting point, and I can usually maneuver it pretty easily from that point on. So now the other thing is, let's figure out the back muscles here. So if you come across here, but you'll get the latissimus dorsi, which is kinda stretched around like this, you know, so a bit of a smiley face on the bag, I guess, you know, slight smile. And then below that you could really just drop this in at first with kind of a W And I'll show you why. So it doesn't, in most anatomical references you're gonna see it doesn't really look much like a W. In fact, it'll look a little bit more like. The sweeping line that you get into here. But I don't like to explain it that way because when you start to draw, you're more practical versions in your, your characters. If you get a very defined character, you really will see this divide almost more significantly than what you see an anatomical illustration. It looks a little bit more like a downward bend like this and some striations like this. But you know, obviously with characters with scan, you don't see that as much. But what you do see is when people get very, you know, kinda buff or whatever, you know, ripped, you'll start to see more of this curve. And here, I guess it can curve the other words, probably a little more accurate. And you'll see the shadow in here, OK, and you'll also see the muscles below. So if, if you notice this is all the vitamins Dorsey, right? The part that comes down here and meets the lower the lower region of the bag. And this is your lumbar, thoracic lumbar down here. And this is thoracolumbar fascia, OK. All this stuff is the fascia. And basically you'll see the muscles below the superficial. So that's probably the thing that you see the most. So again, I'm trying to explain this in a way where, you know, I want to explain how you draw the v superficial muscles. But then there's, there's areas of it that are almost confusing. In fact, I'll just, as I further illustrate this, I'll, I'll explain further. But so down here we've got the external obliques like this. You get the iliac crest like this. So it looks like kind of a burden. Remember the rural, easy to draw birds when your kid their ego and that's where these come in handy. And then obviously the gluteus maximus, most famous muscle in the body. And on the side and attaches like this, you get the gluteus medius. So something like that. Okay, so now when we move back up here, let's talk about the, the, the shoulder blades or the scapula. Muscles are the muscles that are over the scapula. And again, this is an area where I want to show you where they are. But you'll see when we go to do our rendered versions, I'm going to ignore them quite a better or not really ignore them. But I'm going to be very subtle in the way that I accept them with my rendering. So this, this area was really hard at first, but now I just kinda see a bunch of pieces of pie, basically removes them slices of pizza. But this right here is a rhomboid right there. Okay, so you see it's very triangular like notice we got this, you know, the v, w triangles are more V's upside down egos or AES without the little, you know, Mark Cross. And then another V this way. So something like this and that's the infraspinatus. So that's, that's the biggest one. And then you get the teres minor and other V. And the teres major, which is the leftover part. Now, the other thing I want you to see here, remember I said VW and y. Here's the Y right there. See that was a very distinct y pattern right there. So there's the V, There's the w, There's, Sorry, the W. Those are the v, and there's the y. And then obviously keep lots of triangles in the bag. That's probably the easiest way to really pinpoint. Oh, so you've got lots of triangles. And then for the back of the arm, we're going to see the triceps Kemal like this. The divide is usually on an angle a little bit like this. And then since they're going to not be, you know, really pulling their arms back. The latissimus dorsi would be on the way towards high Dorsey. And so yes, so there's that. And then you got to remember that the deltoid is divided up into three heads. So this would be the posterior head, medial head, posterior head. And if you see it in your anatomy illustrations, you're not gonna see the heads blocked and is much like this, but I think this is important more for character illustration. What you will see is more of an interlocking kinda pattern to the muscle. But we're not going to want, are going to illustrate it that way. I think that's again, a little confusing for, for artists. So now what happens is you can really break this up a bit. There's a diamond shape right here. On the back of the trapezius were divides and yeah, OCC parts of spine here, parts of spine here in-between these muscles, like the bony landmarks of the vertebrae. And that's really a good Ceasar, basic primitive shapes working. What we'll do is we'll conclude here now we'll head over to the next lesson and I'll show you how to refine this. Talk a little bit more about this. So with that, let's move on. 9. L7 Drawing the Male Torso Posterior View Part 2: Now all software a suspect. And talk about this one more time. I guess we don't need this one here. And I'm really just going to clean this up. It's pretty much all there. But as you overlay the anatomy is just going to sculpt it a bit more, makes more transitional law. You know, curvatures. I do like to keep a fair amount of angles regardless and the way that I illustrate, but I might just change small areas, connection points, things like that. Proportions. But I actually didn't like the proportions as much when I started, but then it kind of grew on me. I think it's not too awfully bad. I do notice here that it's probably a bit better to show you the latissimus dorsi tapering in more extreme like this. So it kinda v's down into the lower small the back. This is the lower lumbar region. And this is the fascia that attaches to the latissimus dorsi, and it's the thoracolumbar. But just keep in mind the major volume of the lattice is right about there. So let's add a bit of a W like shape yet from, you know, if you were to picture going all the way through that area and then that connects down. And then over here you've got the external oblique. Make sure it put a little bit more curvature there. And again, that lower lumbar region of the small of the bag. And generally in between that area, you'll start to see a little bit of the spine. If somebody is really defined really low percentage of body fat, then there's actually a divide here from the external oblique. Showcase that like that. And then this kind of comes up and, you know, you'll see like little connection points here. And again, I want to illustrate this in a way where you see the overall forms. I don't wanna get too much into drawing all the separations and striations of the muscle. So latissimus dorsi again across this way. Now it's very rare, I think that you'll, you'll see is you'll see this line and some people, but they have to be really, really lean and it generally will coincide with them flexing a certain way. Now, the thing that's probably the most important for me to point out, you notice I went very primitive what the shapes here. And so you'll probably look at somebody, especially if their shoulders are pulled back. So will the bank doesn't want to look like that. It looks a bit more like this. Ok, so just keep that in mind that, you know, you're definitely gonna see that based upon how somebody flexes. But then as you sculpt this to look a little bit more like true anatomy, you are going to do that. So when I go to do the other versions, I'll showcase that more. But I actually like to stay away from that when I'm explaining the anatomy for artists. Because again, I want you to really grasp. The basic primitive shapes and forms. And then after you can do that and you can turn that on the page quite a bit and you can really kinda memorize all this. You can then get in here and start to sculpt even like what I'm doing with the trapezius here. I'm putting these little, these little bends and but that should come slowly with the study. I think. Again, that's just the way that I learned and I wanna make sure that I try to help people in the way that I was able to get better at this. So again, the slightly you see here is that spine of scapula. So I'll show that a little bit of divide there. You also see that same sort of divide on the iliac crest. And really that divide is pretty evident on most parts of the body where the muscles coincide. But you don't see it here. It looks like the obliques pass under the lattes. So I guess you don't see it everywhere, but it's, it's evident in a lot of areas. In fact, one of the things that you can do, like if you notice, it looks like I've got the the trapezius connected. And again, for more realistic interpretation of that more realistic pursuit of that, you're going to show a lot more of a divide. O. So Mike bat, you gotta remember these pull away from the spine. And then also you get a bit of separation right here. I'm going to leave that out for now because I think that you have to be really careful, especially in line work. How you'll illustrate that it's easier to illustrate this area with value and with shading and rendering than it is by simply putting a line, the line will. I don't know, it just makes it look a bit strange. So again, I'll leave that out. But I will show you in the other rendering is how I would approach that. And then when somebody's really pulling there, they got their arms extended. They're pulling with their arms and are using their back to do that obviously. So they're pointing towards your chest. You're going to see a lot of separation and kind of divots right through this muscle group in, and I think that what helps there is really paying attention to athletes, you know, seeing how athletes, when they do these incredible feats, You know how their anatomy shifts and contort. I don't recommend really paying too much attention to bodybuilders because so overlay developed and they strikes and pretty static poses, the same poses over and over. So you're going to kind of trap your mind in a sense, you're going to, you're going to learn about the anatomy, which is fantastic. But then you really don't want to draw up from Los pulls us too much because they're very Steph and they're very, they're not natural for characters and motion and my own opinion anyways. So now I've got the posterior deltoid. And then again, this is the rhomboid and post-print etas, teres minor, teres major. And we've got the triceps. Let's put up a divide back here by the way. And just remember the tricep on the n side, the medial side of the arm as the long head. And the tricep on the lateral side outside is the short head, which we're not going to see that in this illustration because they look about the same size. But just when you go to draw these, you'll draw the n-side head longer, just like that. Okay. And then the gluteus maximus. Gluteus medius. Okay. So basically just retracing the steps, but I really think it's important to do that. I think that the more you dedicate to repetition like this, the better. Because then it just starts to really sink in. You know, you're not gonna get it your first couple tries. And I don't think you ever stop getting better at anatomy. You just keep adjusting what you've learned. But it's important that you do lots of these studies. And then you'll be able to really develop your style and start focusing on other aspects. But this point we're really just want to know where these muscle groups are, look for the patterns and improve our knowledge on them so that we can draw them more competently. Okay, so now with that, we'll stop here, we'll head over to our next lesson and continue on. 10. L8 Male Vs Female with Basic Shapes: Okay, so now let's talk about some of the major differences before we get into drawing the female version. I just want to show you that one of the things that you can go and thinking about, remember I spoke about there being a lot of triangles and be like shapes into the male form, Mel, trunk, male torso. And basically if you were to look at it like that very primitively. And then the comparison for the female form would be a little bit more of an hour glass or a bit of a shape like this, but definitely like an hourglass. A lot of times what I see when people draw the female form is one of the big mistakes. So make is not showing enough distinction to this basic starting point. So they may draw both of them with the same kind of tapering to the waves. So for instance, with the male form, as we've already kind of illustrated, you know, you've got the shoulders, pectoralis majors, latissimus dorsi, ribcage, and whatever we want to implement that, remember there's a couple ways we wanna think about that. Abdominal muscles and then external obliques. Okay, so that's the basic, you know, trapezius, all that stuff. But, but you see that there's a bit of a tapering and if I bring out the obliques too much, it starts to look more feminine or it starts to look like somebody who's not really in that good a shape. So it's just something to be aware of. But if you bring that down more like this, then you know that that V-shaped that men are always after when they work out, that kind of thing. So you can see that pretty distinctly now. Hopefully again. And then obviously you add the pelvis and that's going to widen out a bit. It shouldn't keep going straight down. Some people do, some people are very thin all the way down like that. It's just, again, you're going to play around with variation to that. In fact, let me clean that up. So that's a, a bit messy Now. Just real quick because again, we want to think about this and crude basic shapes. I think that, that should help you to memorize and ultimately play around with these things. It's when we, you know, we jump into anatomy. We try to draw things very complex because there's a lot to it, right? And it can be very complex. But I think first we need to think about things in this sterile metric approach and then it allows us to simplify and etas and the process of developing all that complex anatomy over top of first you gotta get this underlying structure kind of working. Okay, so something like that and that's good enough. Okay, so now for the female shape, same thing. Shoulders can be roughly here. V for the collarbones are clavicles. What I like to do is first get the ribcage in groups like this, taper this down. I tend to try to make the hips a little bit larger by comparison to not just to the mail, but proportionally to the upper body. So again, this is an always type thing. There's definitely women that have. Bigger shoulders, there's definitely women have, you know, bigger hips. Its proportions will vary. But one of the things that typically we'll see what the female connection points of, of the legs is that there'll be slanted up a bit higher. And because of that, it will also be a taller oval. Okay. So just something like that where the male pelvis it's going to be a little bit more of a lower angle. So just pay attention to that. Likewise, you can put a bit more curvature to the, you know, kind of this line here, this separation point. And then even for the abdominal muscles, you can put a bit more of a flowing curve. Now, you can still start very angular and your approach to this point. But one of the things I do want to make sure to point out is generally when I'm trying to illustrate female characters, I will hold back a little bit on the, on the angular cleanup work basically. So I may start very angular with everything. Again, it's a sterile metric approach. It helps you to kind of pinpoint things throughout the illustration. But as I render it, I will definitely use more organic flowing curves to connect everything. Bras had generally draw yellow zone as circles, but then obviously you don't want to leave them, is that they should, they should look softer. And circles can appear very rigid. And then also they should kind of be a bit of a teardrop shape by the time we're done. So what I usually do is draw this oval, this tapered oval going back towards the shoulders a little bit. And I would say I can refine it further from there, but this is kinda work through it now, in a more relaxed posture, I may not show as much of the ribcage, the center of the ribcage like that. But again, if I'm going for that very dynamic expressive posing, I'll definitely draw that ribcage like this and then drop the rectus abdominis down. But really the rectus abdominis goes over that, those top two muscles actually sit up here and then you get the rest like this. But again, for stylized were ambitions and you're going to hear me reiterate this a couple times. You're gonna see people break that rule that they oftentimes won't draw the realistic version. Ok, and then trapezius. The neck generally is a little bit thinner, a little bit taller. Again, not always this sometimes. But it is it is kind of something you see enough where you could almost considered a rule. Navel is midline to the waist. And if I was drawing the arms down further, the elbow also coincides with this area. So you can you can use that as another gauge, but I really don't want to put the arms too far. I want to really focus on the mid section here or the trunk of the body. So again, this is really what I look at as far as the difference from male to female. So it's the same basic anatomy as far as obliques, abdominal muscles and all those same muscles are there. But I tend to think the best thing is to really pay attention to. The, you know, the triangular or be like shape of the male torso compared to the hourglass form of the female trunk of the body. So let me clean this up real quick and make it a little bit more sense of it. And then we will proceed on and we'll start to do some simplified versions of the torso. And even at this stage, I feel myself already wanting to sculpt the lines m with more curves. Again, I want to fight that a little bit as I'm trying to pinpoint proportions and align things. But again, that's one of the things I typically do to show a difference from masculine or feminine and the masculine, more magical and characters, I'm going to use more chiseled features which more angles. And then for the appearance of sensuality and feminine. Feminine quality, I will use more organic lines, curves and have Thanks flow a bit more. Will just FYI there. And, but if it's a very strong female character than I might add in some more angular anatomy too. You know, strengthen up the forums. And deltoid xs are a good example that It's like I can definitely throw that in with a curve. But it's, I don't know, deltoid is almost always seem to look better to me with a bit of bit of angles in there. And then bony landmarks are kind of another part where angles makes sense. Even though the, this portion of the collarbone has a pretty significant curve in there. And then another area that I find myself making a mistake and I see it oftentimes and others work as well, is really being careful with the way you bring up the trapezius. Usually I brought it up pretty significantly there. It's very easy to overdo that. And one of the things that you're going to do is you turn a character on the page, so you're returning this model back. In this way. You're going to really pay attention to the orientation of the collarbone to the trapezius. And the more that character's raise, it'll get to a point where it looks like the collarbones are like this and then just kinda comes up from there. And you really don't want to draw the trapezius. And because if you draw min, that means your forward facing or looking down at the characters. So just keep that in mind as you, as you rotate the figure, it's going to, you're going to maneuver and things like that. So again, little hint to this being more of a teardrop shape, less of just two spheres on the, on the front of the character. Went down the middle here. And that's really a so now again, I just want to point it out one more time. The same basic pelvis like shape, but there's a bit more curvature in there. The leg orientation. The ovals are at a higher angle right here. So that's something to pay attention to. The hips flow up higher and should be larger by comparison. Again, trying to really get that hourglass form going. And then the I would say the obliques here are noticeably taller but then blended in a bit more of a curve into that hourglass. So I guess it really ties into the hourglass aspect of it. And then the shoulders can, to me, I always feel like the shoulders almost look larger by comparison in proportional aspects of obviously men can have very big and broad shoulders. But because of the thinness of the torso or the rest of the body, generally, I think that the shoulders and the collarbones are very significant by comparison. So just kinda keep an eye out for that. And then obviously proportions are gonna vary greatly across the board. So let's go ahead and conclude here. Let's head over to the next lesson and now start to do some simplified versions of the torso of a female torso and some different movements and talk a little bit about that. So with that, let's move on. 11. L9 Using the Bean Shape to Draw the Female Torso: Okay, so now what I want to talk about is just a couple of things, really. One of the things that I think it's really helpful for drawing any of the trunks, male-female trunks of the body is something you've probably seen before and that's just really drawing a bean like shape. Okay? And so a lot of people will look at this and say, well, there's this, there's this kind of silly this. I don't need to draw beans to get curvature of the body going. But I think it's really helpful because what happens is it makes you really think about the contortion of the body. So what I'll do is just kinda implement a few of these real quick. I had a try not to repeat the same beam table over and over. It's kinda easy to do I think, but I want to make some, a bit more overlapped. Let's see. Let's put one word spinning backwards. Does. Okay, and then what we're gonna do is find the center line of the body. And in this case, we're going to put the opening for the neck, opening for the shoulders. Shoulders, opening for the legs. And this is going to be a female version. So we'll remember we're gonna put these slices for opening his allies higher. And this one we're going to really have the character leaned over. And then we also have to challenge ourselves. So right now we've got a little bit of repetition. I have a little bit of repetition going on here. I don't blame you. And so let's try make sure that we have one from the back. So just kinda leaned over. So that's, that's really the top part is the visualization, right? So you have to draw this enough where you can start to visualize. And that's always the hardest part. I think we're, you know, it's easy to do one or two and it's easier to do forward facing, but it's visualising and don't think that aren't so you're not so used to it. So let's try, let's see, this will be the back of the character. I'll put an AC here just so remember that opening for the legs. And let's try one C, What are we missing here? Probably just up and up and away a little bit. So like this will be the font center line of the torso. And the bend backwards will be like this. Okay, so those are those are being shaped again. So yeah, it doesn't look like it makes a whole lot of sense, but let me show you why this is a good thing to at least practice. Soft races down. And I'll just start here. So the beauty of this is that it forces you to try to contour these forums. So after the next lesson, I'm going to show you how to place anatomy, but at the same time, we've already done that with the male character. It'll just be a little bit and then a little bit redundant. But what is really important is that you take all this and then you learn to develop it even further. You learn to contort it, you learn to overlap some of these forms. So for instance, this is probably a good example here where the abdominal muscles will widen out to the bottom right. Sometimes this can be a little poach of poacher pouch of fat based upon the person's body fat percentage. But then you might see the hip kinda protrude out to the side. So it's, it's really paying attention to these sweeping overlaps in the sense. And then, you know, like overlapping this way where you get like, you know, the, the anatomy rolling over itself for instance. But the beam like shape really helps you to see this because it's not so static, you know, it's not so straight up and down and yes, it's just straight up and down, you know, that you're forced to kind of think a little bit more about the overlap and the flow of the anatomy. So now we've got the shoulders up here, this trapezius over here. Remember you can draw this across verse and then you can cut into it. Then that here, V for the nag and like that, so on and so forth. So I just added some upper arms. And you see it just, it just helps you to get that curve and that bend going. That otherwise if you went to just draw it like this, you might miss something, you might not challenge yourself to do it this way. It's very easy when you do learn the basic shapes and structure to stay a little too stiff with it. So this helps you to loosen up. Hopefully that's, that's what you'll see here. Let's move on to this one. So collarbones way up here. Remember what I said about the trapezius? Once you start looking right up at the character, it's going to look like the trunk of a neck just kinda pokes up from that spot. Remember, you can start with circles for the bros, even just half moon shaped for the bottom. But just make sure to blend those N to the sternum area, the chess and just kind of, you know, use some curves to blend into that. If not, they'll look to static. Now, since this pose is more, you know, the bank has more arched, I am going to bring the ribcage out like this. You'll sometimes get a flattening of the ribcage and then an angle down. So that's when we'll put there. And then you probably see the Servetus muscles pretty good. And we'll get into that a little bit more next. But you're also going to see the lat and pretty clear distinction. Now unless she's really built up muscular girl you, when I see huge definition in the lab, this definitely up to you how you want to portray your character. And then the, the abdomen, the rectus abdominis usually comes out, kind of pushes back and down and back again. And you can kind of follow that trail and then just widen that out. It's actually wider at the top. Then Zao winds out again, at least the way that I tend to see it. Then you might even play a role at the plane change or this lower portion of the belly of air. And then remember the enable is, is to muscles down to get 12. And then there's the naval and that's even closer one to probably really close that next set of lines. And three, and then four on the bottom is taller. And again, you might see a little bit of that plane change at the very bottom like bad, you can kinda shadow that. Okay, and then we're bringing these in and want to get the wider hips in there like that. So that's a little off to kinda check that off the front. And then remember to, you can use the triangle from the collarbones out to find placement of the nipples. So my bat and the deltoid tell this way. Warm up like that. So again, you see that being like starting point forces you to think a little bit more dynamically. I've got the back here a little wide, I think, but again, these are proportions. Proportions are going to vary greatly. One of the things that I still face, and I just want to make sure that you don't have the same problems I do is really force yourself to draw lots of different proportions. It's very easy to keep drawing the same characters over and over. You gotta be very careful of that. You know, I think this originally was going to be the front of the character, but I'm, I'm very much seeing the back of a per character now. So I'm gonna go ahead and go with that, see if I can explain this. What I'm starting to see here. So I really feel like I need to draw on the scale of the scapula as there are to the back and the glutes right here. That can really get that kind of extreme. Ben there. I'll bring a leg back like this little bit of a side of the bros from this angle. And then we'll bring an arm up over here. Like this. With deltoid. Remember the adult has a posterior delt like that comes back. They're also pushes against these muscles that are over the scapula. Picked there would be the teres minor or major. And the trapezius. You got the line going up the back of a nag, fine position of the neck or something like that. And you can bring the other arm back here, maybe shaded down or something. We're gonna measure the leg forward. So yeah, something like that. And obviously you wouldn't have a distinct line right up the back. You want to hint to areas of that kinda break off the trapezius like this. Remember you get a little bit of a diamond like shape. We'll talk a little more about that as well, but we've already talked about that in a previous lessons, but yeah, it's something to look for. Okay, so let's move these out of the way just to TED. And we'll go ahead and time-lapse this for a little bit. So it's just basically a bit redundant, but, but essentially just taking this being shaped and then overlaying the anatomy. So again, this is just a great way to exercise and show that you know how to take what you've learned thus far and then implement it into different forms. But by using that bean-shaped first, it really just helps you to trigger something in your own designed to, to contort the body. Because again, I feel like if you just practice without doing this, I've seen this in my own work. I just sort of draw characters to upright all the time and that's just not very, very actual, right? The body can move and contort and all these really unique and great ways. And something as simple as paying to, paying attention to the, the mid-section in that pinch and extension, one side extending one-sided pinching, and then a bit of twists as well. So twisting the orientation from the shoulders to the hips. And just really exploring this. Remember too that this doesn't have to be advanced looking like hopefully you can tell by my illustrations here they're rather simplistic. I think that's really a great way to explore poses. Because if you get so used to refining it, thrown in too much detail in your anatomy and clarity, you might get bogged down and maybe just start zeroing in on a specific area, right? Just working on a shoulder connection point. You'll see that I kind of blow right by a couple areas where it could be better and you know, but but at the same time, I'm okay with that because I'm trying to explore a nice variety in the work. And to do that, I have to let go a little bit. I have to be forgiving them myself. There's going to be mistakes and there maybe the navels and that place exactly where it should be. Maybe the serifs are a little bit off. Maybe I've got an extra bump over the muscles over the scapula. You know, it's a tough area forming. But again, it's okay to do that. It's okay to just try to absorb a certain thing. In this case, I'm thinking more gesturally, more about exploring poses. And again, I'll probably let something fall to the wayside a little bit as I do that. But I can always go back. And you gotta think to say you do six or ten of these are 12, whatever kind of amount you can muster up for the energy that you have for doing them. Once you get done, you can look back rather quickly and go, okay, wait a second. I've got the back of this leaned over poles. The trapezius is up to Heiner, seen too much of the back. And you've got always think about that. Like if you've seen the back, then you're not gonna see the front the same way. It's very where you can see him both write certain policies. You can, but you have to be very careful about how much you showed each side. So there you see eyes so to cut it down, but I could still tell that that's my understanding of that area is is off. But again, there is the information that I need to move forward. And then now I can go back and do a specific study on just that area, maybe revisit this poles. But again, that becomes very evident and very clear. Once you allow yourself to express lots poses and jump into it and let go a little bit, like I said, not worry about everything being exactly right. More so that you explore just the pauses, just the volumes of the body. And you can get that on the page rather quickly because you just learn so much by that. So let us conclude here, head over to our next lesson. 12. L10 Drawing the Female Torso Front View: Okay, so now for the female version, and we just get a couple reference points on the page. We don't have to do this, but if you find yourself struggling with symmetry, grid is a good friend to have. Okay, so obviously the anatomy is basically the same. Kind of pointed out some of the major differences is that a lot of times it's just proportions. And again, the collarbones filling the collarbones do have a little bit more of a noticeable Ben. That could probably be because less overall muscle mass and comparison for the most part. So the collarbones and bony landmarks typically become more evident. But I feel like they're they usually have a little bit more Ben, but again, that could just be my own perception there. The bros, remember you can start rounded. Usually a good rule is about the same height of the overall mass of the breast, the volume of the breaths up here. So almost like you can double it but it's it's probably a little bit less than that, you know, and that I'm going to say you're going to have to use your judgment call on that because basically all shapes and sizes. So it's hard to say that they're all somewhere in that fashion. I think I've already mentioned this, but I'll say it again. They're teardrop like shapes. But I've seen people draw them both with teardrops pointing towards the middle and teardrops pointing towards the outer, like pointing towards the insert point near the deltoid. Now the reason why I think that is, is because of this line right here. So it's almost like you draw it this way. And then you would just connect that line. But what I think would probably be a little bit more proper for the, the form itself is to go in this way. And then just to remember that the volume of the breast is wider and heavier at the base and then it blends end to the sternum area. I feel like this explains that even a little bit further, but then you just got to remember the connection point over there. It's always a kind of an angle back. So there's that. And remember the deltoid kind of flows in like this. And that's a bit of a teardrop or, you know, it's a diamond like shape, right? Delta deltoid. But then at the same time, I always tendency like a little bit of a heart on an angle because of the divides of the various heads of the deltoid. I'd say it's not as evident in most females or even most males. But for muscle definition, if you're really going for that than it does an issue. And then from here, I feel like the ribcage is pretty significantly visible on on a woman in good shape, right? So I would say something like that. And I would still say to look for this w like shape, maybe just soften up the transition so where I might start more angular or I would generally start more angular anyways, but then I will just soften that up as I go. But I see a little bit of a W like shape and there, remember that the rectus abdominis come up here and then blend down. But generally you don't see those top two as well. And I think for for this one, we probably wouldn't. But just know that they do go up here like that. Will bring that down here. Y ends up just a little bit, tapers down. This goes all the way down to the lower pelvis, pelvic bone. Okay. Something like that. And then probably the biggest thing is the hourglass figure. So bringing this N probably just TO about here. And then making sure to as soon as you really start to thin it out. But we're the naval section. And so if you go here one more down, there's a navel. And that's also about where the bend occurs for that hour glass form and for the, you know, the, the lower external obliques. So you've got the external obliques down here. And remember the rest of these are the internal obliques that run into the Servetus like that. So on the surface obviously attaches to the ribcage. So let's just take this and again, really think about the hourglass form. And then what I tend to see personally and my own designs. And from studying from life is that most of the time the hips or just a little bit wider than the top section. Now again, never in all the time scenario where I have all shapes and sizes of people and we all have our various proportions. But generally you can say at the hip serve at wider than the upper section. And again, you want to really pay attention to the hourglass form non-OPEC. If I bring it to here, I'm basically just a tiny bit wider. So I'm gonna push this and a little bit more like that. I'm gonna attach some upper arms here. Everything in one thing connects to the other right at all allows me to kind of see where the next connection point goes. And then for the nipples, we can draw a triangle like shape or a triangle right across here from the collarbones. And that'll give us placement of the nipples. Poly Pat. Just remember angles are a great way to, you know, to find things, to, to align things. And let me bring this and scale it down a little bit more. And you kinda have this widest point of the hips and the the the leg anatomy. And then it starts to taper bag. So you just kind of a smooth blended curve through there. And then you've got the trapezius, which we're not gonna see those very, very much from this angle. Then obviously the MAC and we get an end to the neck muscles. More detail next. And just like that, so, you know, it looks a bit rigid and there's obviously proportions that we can clean up and just, but that is essentially how I would construct the female trunk of the body. So let's conclude here and head over to our next lesson. 13. L11 Drawing the Female Torso Front View Part 2: Now we'll go ahead and clean this up. And I'm going to solve two races stone. Now obviously there's some big proportion issues. I'm going to take a cheat I know for people that were traditionally, they're going to sometimes get upset when I do this, but it's just, it's so much easier to just grab this information. What I'm work individually and maneuver it down. But I was severe wear contrition, you gotta software ACE and then transfer lines down little bit not impossible, just a little more work. And for brevity and time sake, I'm just going to do this. But so the shoulders are a bit broad and these are really, you know, things like does the shoulders being a bit broad and then the, the proportion from the upper body to the hips. These are, these are problems I see in my own work, repetitious Lee, Okay, so I don't know if I've already mentioned this, but I'll just say it again. If I haven't or if I have, I'll be a little bit redundant, but basically I'm always a work in progress. Ok, so whenever I'm doing this stuff, I'm constantly looking for ways to improve format and modify the workers like Go. And there's nothing wrong with that. That's something we all have to do. But proportions are always kind of up for debate for me. Like I always tried to change characters based upon what I'm trying to do. Like, you know, the type of care time trying to create. And then also I'm trying to put a variation inside my, my world for storytelling. So just, you know, just keep in mind it's not so much of a hard right and wrong. Now, obviously, you know, you look at people that are very specific about illustrating the body. They're gonna say yes, there's a right and wrong way to illustrate everything. But then I feel like a lot of this is interpretation and stylization. So you just have to lie herself to Cree and maybe it's not perfection by everybody standards, right? And facts. Good luck trying to live up to that concept. So just allow yourself to create the things that you like to create. So back to this as basically, you know, re sculpting these ideas, trying to pay attention to certain areas where, you know, how I feel like the deltoid is come in and how you get that little demo right here and then the collarbones. And for the female characters, I feel like to collarbones are more defined. It's very much more evident that there's that that curve there and that band and the collarbone, that's I completely straight. And then probably the trickiest part you see I illustrated this w here. Ok, so that to me is more of a mnemonic device or something that I use to remember the shape more easily. But it's a lot more realistic that the ribcage comes up and really encompasses way out to here. And then, you know, maybe the lat, if, again, if she gets a very muscular woman, but generally, you're going to see a little bit more of the hourglass shape. It comes from here. Blends down into the obliques and those go all the way up into the search radius. And those two curves at the bottom is generally what I think, as I mentioned before, I think that's what people usually think of when they think of the obliques. And you do have an internal obliques, but that's actually beneath this layer. So we're focused more on the professional side. And if somebody's really defined, You'll get a separation from the obliques too, the abdomen. But they have to be really low body fat percentage and just very muscular good genetics, all that good stuff like I don't think you see that very often. So the funny thing is you'll do these studies, but then you have to ignore those things and forget those things and try to draw it more with the look of skin and fat deposits. So that way you can draw people that look more realistic and a little bit less like an action beggar. Definitely more of a V like shape and here for the lower pelvis compared to the male character. So I think I mentioned that before, where when you attach the legs, you think more, you know, Angular like more of a defined to be were the male legs are going to attach more like this. And that in turn will give you the longer, you know, pelvis and in a sense, pelvic girdle cradle can't morale it's referred but you know, the ilium and all that, the bone structure that's beneath. But something like this. And then the legs taper and word here. So this obviously represents somebody with the very thin frame. You get more of a V like shape there. And then for the rectus abdominis comes down relatively straight, but it does have a bit of a bend here, and it points down pretty significantly here. Now, again, when you're drawing a character of skin, you're not going to see as much of the Shapes. I'm going to drop down so far. Okay. But, you know, as far as anatomy it does. And then obviously, like we've mentioned, you have two more up here that are very rarely defined. Now unless the body is compressed and they're kind of pinching their abdomen, then you definitely will see these. But this is more of an erect polls. And I tend to draw the ribcage a little bit more visible. So I'm gonna go for something like this. And then you get to hear another divide here. So this becomes basically of these six pack. And then this line should probably be way below the navel. And we get the curvature here. Now in reality the obliques do more like this, okay, so kinda wrap in this way. But then you'd get the Seidel oblique, the external oblique, the quads Come up here. So you'll usually get this line right in the inside of the legs. And that's basically the side of the quads coming up to the Acis, something like that. Dan remember to sculpt the breaths and to more of a teardrop like shape. And then placement and the nipples, the triangular like shape like this. And the surrogate is there's another mapping point for getting the alignment of the Servetus. I want to say it's more of just another triangle like she'd done this way, but I generally just go over like this at a slight angle, try to map dangle from both sides and then go for interlocking. What I perceived as like interlocking fingers. So take your hands and interlock your fingers. And this is kinda like what it looks like to me. And then I'll draw it in like this, but then I'll soften it up quite a bit. And I very rarely draw the next segments come down like this. Again, this is the way the obliques interlock and with the seriousness, or I should say, they appear to interlock, it's not really, you know, they're not really connected, but but yeah, it's just one of those things where you get kind of this pattern. But then I blend it back and for more realistic depictions, I definitely stay further and further away from that. Just hint to a couple of them and kinda blesses more, basically. All right. So upper arm like that. And you see overly defined. I mean, you're not going to meet a person that looks like this, right? But this is a great way to create your studies. And another great thing about this is when you share it, people seem to really like these types of illustrations. Because everybody gets to grow and compare notes. You know, I get to say, well, you know, I really wouldn't make the shoulders that shape or they're too large. Or R1 show the segmentation from the but has the deltoid or whatever the conversation might be. But you get some really good dialogue from these types of illustrations. So I do suggest that you not only create them, but share them and be open to insight and critique from others. You'd be amazed. Some people will really kind of picks up apart in a way that, that shows you something that you weren't seeing. Sometimes it can be really hard for us to fix up that, but it's, it's definitely a necessary part of growth. It's almost like we get too close to the work and we can't see the, the repetitive mistakes we might be making. Alright, so there we go. So there's our next illustration to show the front of the female trunk of the body. Let's move on to our next lesson and continue studying. 14. L12 Drawing the Female Torso Lateral View Part 1: Okay, so now we'll go ahead and draw the female torso from the side. And for this one, let's see, we'll start here with the deltoid. Remember the deltoid looks a bit like a triangle and they're upside-down triangle. And then probably the biggest thing I think are the most important landmark. Especially when starting with the top, is understanding that you'd have the spine of scapula here, clavicle here. Okay. It's really, you know, it's, it's kind of one bit of shape really from the side, but you're gonna see a little bit more of a downward slope and that's where you get that back slope, the deltoid. So that's, I think that's pretty important to pay attention to. And then as you come down here, you're gonna get the trapezius that comes back this way. So above and below this, it goes around it. So you're gonna go to coming back up this way to the back of the neck. Down through here. Sternocleidomastoid will come up like this, and we'll get into the neck muscles and more detail in a future lesson, but we'll keep this focus on the, the torso. I just feel a bit silly telling you the trapezius is down here on the not explaining it right there. So so again, clavicle here on the female torso, it's it's best to keep that pretty close to the deltoid. So I've got it a bit too far here. Let's go to clavicle like that. Yet the pectoralis major that comes down, and remember it's inserts here so it spins around or I like to say sprawls around, who's like fans out, connects to the sternum. And then you get the bros somewhere down here. And I think a good rule is generally about the height of the bras or the main mass of the Bros. is gonna be equal to the height about they're not always and I don't know if that's exactly the right unit of measurement, but that's what I use. And so I'll attach the bicep, tricep and bicep here. And we'll just stop these really high up because I want to actually bring those upaya won't be able to show you the the Servetus. Okay. And so then you've got the abdominal rectus abdominus, that's going to start up here and come all the way down here. And then angle Bag. I've probably got the upper body a bit too too wide. So I'm gonna keep pushing this back and adjusting as they go. And so then you've got the latissimus dorsi like this. So it cuts over this way and then it comes down like this. To the thoracolumbar fascia. This error is often referred to as the lower lumbar as well. I think that's definitely easier to say. I'm easier to remember. And then right here you've got the glue gluteus maximus. So another good landmark right here is the iliac crest. So you want to get that anime. What happens here is kinda comes over like this. Points back here. And this is where you have the aces AT anterior superior iliac spine. And then so from here you have the gluteus maximus, biggest muscle, gluteus medius, and tensor fascia, LA TI, latte or something like that. And it goes up there. So it's kinda why really you get this y right here and these are broken up. And then those converge together downward into the Iliad tibial track OR IT track. And then you've got your leg muscles only too far into this. But It's basically the, it's really the Sartorialist rectus femoris and then vastus lateralis. But again, and then you got your biceps femoris back here. We're not gonna get into that. A whole lot of say, focus up in here. So basically, again, like I mentioned, the front of this, It's going to give you the rectus abdominis. And then down here along the side, you're gonna get the external oblique. Okay, and that's going to flow through here. You get more of a distinction right here. Like a mass of the Earth there. But all of this is that external oblique. And then as it connects right here, or it looks like it can accept, I shouldn't say Connects. But it see Servetus anterior. And those feel like these are the best way to draw these from any angle is the interlocking fingers. So you get this kind of criss cross pattern like that. And so from here up to this radius, from here down it's the external oblique. Remember to get the bony landmark of a collarbone. Sometimes it's not as evident from the side but getting that in there. And then also make sure to get the slope that you see right here from the lower section of the abdominals. It's, it's really important like for instance, I think that it's best to look at the body like this when you're doing the various sterile metric boxy representation through a look at the body like this. And I'm, I gotta force the hat because I didn't leave enough room. But it's this staggering effect. And then you start thinking about it more like a ribcage. But at any rate, if you look at that teeter tottering effect, if you remember that, then it shows through in your anatomy illustrations and I think it's very important to pay attention to, so I'll just try to get that in there. So let's go ahead and stop here. We're going to head over to the next lesson and refine this a bit and talk more about it. So with that, let's move on. 15. L13 Drawing the Female Torso Lateral View Part 2: Alright, so let's go and refine this a bit. And I know some of this is redundant or does redundant, but this is what will help you commit more that some memory and there's just a lot to remember. So I think it's important to do all of this a couple times. C s. So again, spine up, scapula, collarbone or clavicle, sternum area, pectoralis major. Spends ROM like this. Home zone connects to the bras. Abreast sits on top, I should say. But the main thing I want to really reiterate is that you try to think about the bros Bian soft when you illustrate it so that you don't come up with something too rigid. It's very common for people to just draw spheres and then connect them with a line. There should be a bit of, you know, soft curves, blending curves, things like that. You gotta, you gotta try to solve in a mop. And if you want something that looks relatively realistic, just oftentimes say just think about teardrop, tear drop shapes. And so now from here let's add an the rectus abdominis. What's going to come down this way? Remember, really pay attention to this angling you get of the pelvis. And just remember what the rectus abdominis that it divides up a couple times and the third divide down. His Werther naval will be, and the rest is the bottom of it. So it looks like an apec. A lot of people call it a six-pack. And I want to say that's really because they pay attention the ones below the ribcage. But I'm not I'm not entirely sure that when I All I know is that some people are even fortunate enough to have a 10-pack. So obviously really great genetics to be able to do that. But, and, you know, very great dyads, right? So then the Servetus interlocking shapes with the external oblique. And this is the part I think that most people think of when they think of the external oblique. And that's this little area down here because it's where the love handles reside. But it's really all this areas. So you have the internal and external, which I believe already mentioned, but the internal is below those. And you have the latissimus dorsi with which flows down into the lower lumbar. And I can't remember that went exactly. I think it's the erratic or lumbar, THE radical embarks on like that. And then I'm just noticing that right here where the trapezius, as in the top of the latissimus dorsi. I forgot to label. Right over the scapula. You have the infraspinatus, teres minor and teres major. So you get a little bit of a wildlife shape coming over to the side. And then you have the trapezius here and here. And then just remember what the deltoid, there's this very noticeable slant to the back. So all you have 33 heads to the deltoid, the medial, posterior, and anterior biceps triceps. We've already covered those sternocleidomastoid again will be approaching the neck and all its glory surely here soon. So again, iliac crest is another very important landmark, especially on people that are very thin and well-defined. Because these bony landmarks really helped to convey, let something you really notice on people that aren't gray shape, right? So you've got to him plus the, they give you these landmarks that allow you to draw the body with more ease. So I'm a big, big fan of the bony landmarks and trying to memorize those. So there's that iliac crest, gluteus medius. Remember it looks like a bit of a, a y-shaped gluteus maximus, iliac track and tensor fascia latte. And so here you get a little bit of that Sartorialist rectus femoris vastus lateralis and biceps femoris in the bag. So just like that, you know, obviously again, I know it's redundant folks. I know that probably annoy some people, but you know what? You're going to thank me later. If you really commit to these lessons and keep doing this. I don't know how many times I've drawn these same poses, but I'll tell you how many times I will continue to do it. And that is when I can do it without any assistance or when I feel like I've accomplished the perfect polls, maybe then I'll, you know, I probably still won't stop. I'll just keep going because then what happens is we tend to forget and if we don't keep studying and right, so yeah, anatomy is tough, but it's worth it when you put the time and I think So let's conclude here. Let's head over to the next lesson. We're now going to draw the back view. And then we will get into some more fun dynamic version so that you can stretch your legs a bit. So with that, let's move on to our next lesson. 16. L14 Drawing the Female Torso Posterior View: Okay, so you're probably wondering, well, why are we back to this lesson, Rob, what do, what do you do on air? But what I'm gonna do is actually cheat a little bit. I'm gonna just racy anterior this. And we've got to remember that the front and back of the body, the silhouette is the same, right? So it's little law, character design trick and maybe I'll save you some time. So and again, keep in mind too, I want to reiterate, I know I keep showing this dynamic version, but you have another set of stomach muscles up here. And that's where you get the eight, not the six that was illustrated there. Okay. Just feel like I need to keep reiterating that cuz I I know there's a lot of people that they don't, they don't quite get why comic artists do what they do. And that's one of those areas in the body where people are, you know, kind of baffled sometimes like why did you draw the stomach that way? So what we're gonna do is just turn re, erasing interior. And I know it's a bit of a cheat, but you'll thank me later because we'll be able to hurry up and get to those more dynamic expressive poses that are ultimately more fun. And we're just, we've already visited this with the male character. The only difference really are, the only difference is proportions for the female character. So we're going to bring in the spine up scapula, which also gives us our trapezius. And actually let me define a center line, my path. And so, so yeah, so we got the trapezius that comes in like this. Remember it's, it's almost like two v like shapes combined. And that's why you get this bit of a diamond where it pulls, pulls very distinctly away from the spine. Sums like this. Feel like these are maybe a little too far, angled inward. And then here, keep in mind too. When you draw character, you're gonna go for the the shoulder blades. That's almost especially in women, it's very much more evident than the shoulder muscles and most people, most women, even most men. So just keep that in mind. You know, when you go to do your shaded volume studies, it's very unlikely that you're going to see this portion here. So you get the latissimus dorsi door psi, but always called Dorsey. It goes across like this. And then you have that w like shape that it does like this, that usually in a very muscular ripped up individual that you'll see this portion. Other NADH it actually tapers and more and more like this. And then you've got the obliques through here. The iliac crest. So you get this little v And the lower lumbar. And sometimes you'll see the the muscle pull away and you'll see the vertebrae of spine right there a little bit. Then the gluteus maximus. And inside here, the gluteus medius. Okay, and then back up here. The deltoid. So remember comes way over again, you can kinda see a little bit of a triangular like shape. And I'm always going to say a little bit of a heart like shape is what I see. But you go for your own mnemonic devices, whatever whatever resonates with you that you're not sure device and that's where you should latch onto. It was remembering this stuff isn't always easy. Saw, hey, you gotta take every, every small one that you can. So again, trapezius comes up here. I feel like the diamonds a little bit low. Okay, and then here we have the rhomboid and then the infraspinatus. And just remember the trick here. And almost looks like a hobby right there. Lots of W's and b's in the bay. But a y right here, it's like bam. And so from there you get the infraspinatus and then the teres minor. Teres major. Right through here. I'm seeing the back of the arm. It's the good old triceps. Long head is to the medial side towards the body. And the short head is on the outside. Lateral side. Again, long head, short head. And you're gonna see that in the way that you define arms, right? So instead of it being a V on the back or a, I guess, it's going to be more of a like a curcuit backwards seven. Do that. It makes more sense because again, ones along head, one's a short head. So if you're gonna always hear me say in these lessons, if something's too, even on the body, it's not right. And obviously even from one side to the other across a spine that's different. But even then, you're going to, you know, you'll see instances where people have a bigger arm and they're more defined based upon their their posture and their other stronger side of their body, things like that. But okay, so we've, I think we've covered all of these. We've got the, again, the lattes. They generally aren't going to be this defined here, but it's good to kind of pay attention that the latter do this w like shape. Mainly two because when you go to do your volume studies and we'll be doing some of those. You're going to see that more definitively like when you have just something like this, it's pretty flat, right? It doesn't show where these major volumes of these muscles are. And one of them that becomes very evident is shading all under here. Because obviously the back has very has a very distinct curve and what that recessed area, you're gonna get shadows. So we'll talk more about that as well. But for now, it's mainly just getting you to understand where the muscle placement as all this and getting you to see this more clearly, let's go ahead and clean this up and. I think we might have enough time to do that right now. So we'll solve two races back, clean it up, and then we'll get into some more dynamic versions. And this is a bit the bodies of bit elongated for sure, but I don't think it's too bad where I would need to redraw it. But there's there are some proportion issues that I would probably try to improve upon. And really what I needed to do here, let me correct this a bit. The trapezius needs to come down further. I feel like this is a bit loose shaped as wall. Del toys. To sculpt the knees a little bit to just remember most of these muscle groups, there's going to be a divide, but a separation. There's just a few areas where they look like the and our lock. But a good thing to remember is that it's always muscle to tendons, tendon to bone. And then you've got areas that are labeled fascia like in the lower lumbar back, it's the thoracolumbar fascia. But another thing to remember about Fage as it's really everywhere. It's a casing of connective tissue that surrounds on holds. Every organ, blood vessel, bone, nerve fiber, and Muslim place. So it's all throughout the body. So again, infraspinatus rhomboid, teres minor, teres major. Smith's Dorsey, rhomboid, infraspinatus. Teres minor teres major deltoid. This is the posterior head, medial head on the side, short head of the tricep, and long head of the tricep. And again, this is that lower lumbar. So thoracolumbar fascia. And you see this divide solar some ties us to the spine and then you see these bumps of muscle on each side. And that's a erectus been a, which is more than intrinsic muscles, but they still show through a pretty evidently here. And this is the external oblique. The iliac crest, gluteus medius, gluteus maximus. And there we have it. So that gives us our posterior view of the female anatomy. So now what we'll do is go ahead and again draw this and more action. Just more studies. Thinking might even do a couple volume studies. I think it'll be a good addition to what we're doing. And remember like any of the lessons, I'm always excited to hear your feedback of what you would like to see more of and all that. So let's head over into our next lesson and continue learning about the anatomy. 17. L15 Drawing Our First Female Pose Part 1: Okay, so what, this one we're going to try a little bit more of a twist to the body. So I'm going to start with the shoulders. Being an orientation like this. You're going to get a spine or a little bit of an action line through the body. Does and then just have the hips at slightly different orientation. And really I think this even needs to be higher or just really want to bring this shoulder right up on the shoulder, collarbone. Collarbone, other shoulder. And then just kinda stretch the poles. Or you can get in a bit of a bean shape if you want a bad idea to use the BGN. Because it will help you to not get a very overly stiff character, which something that a lot of us face also uses to contort the character, you know, the poles, little bits. We're going to bring a little bit of this leg out, even though I'm not gonna get too much into the appendages at this point, but it is kind of helpful to show the crossover. I think that this is something that's really important to do anyways, when you want these pauses, it look more interesting. You have to get used to crossing over the, the appendages, but we are just talking about the trunk of the body here. So I don't wanna get too much into that yet. Then bring this r Mao. Again, we're not going to finish the arm. And so we've got the center line of the proportion, the sternum, right about there. You've got the ribcage going into the abdominal muscles like this. And we've got that nice little bit of twists actually the pelvis is lot more like that. Now kind of shifted this quite, quite a bit. So this is an interesting polls because it allows us to really show that pinch and extension. And those are usually the action polls as those that choose ala bodies going to look when you're doing something dynamic and interesting and there's a lot of energy to the poles usually going to see that. So let me, let me erase this back and clean it up because it's already a bit of a mess. And I feel like that Shoulders way too far away, so you need to bring that in. But there is a lot of range of movement for the shoulder. Once raise it up really high, does kinda stretch away from the the rest of the body. And the work down under here. Remember to think about the Bras is teardrop like shapes tool so that you keep them from feeling too rigid. And I think I've already mentioned, I've seen these drawn where you can bring these teardrops inward or outward. Some people will draw them outward and use that to connect to the shoulder, to the deltoid. The deltoid over here. And there's that our model actually bias up. Probably be more like this. My sub tries up. And then so here you can sometimes call this the back of the shoulder, the rear head of the deltoid, but sometimes it's not, sometimes just more the buildup of scan. And then, you know, this is definitely the lat right there. Although uncertain people might not be very defined. Work downs, VEVO, obliques right into the glutes, the legs and we'll keep the leg a little bit nondescript. We just want it there for, you know, the interesting aspect to the poles. So the pelvic pelvis, I should say. And let's see. So the ribcage, poles like this, that's going to start to become very apparent. So we'll get that in there. And then like I said, the abdominal muscles but won't go too far with those. I gotta be careful at those unlike cure her actual renderings. Unless you know, again, it's a very well-defined individual. Low body fat percentage then by all means, give them lots of ads. And then clavicles or collarbones. Sometimes you'll see the little marks right there from the sternum. And from here up would be the sternocleidomastoid trapezius back here. But again, we won't finish all that will just keep it. Really wanna keep it focused to about here. And remember the navel is right about where the midsection is. But you have to think about that dimensionally as you do it because it's can't simply draw, draw a line straight across and usually be that accurate. So arm all here. Remember we can use the triangle to find the breast placement. Usually bow on the highest point of the bras and triangle away from the collarbones and will help us place the nipples. Read it that little temple right there. You're gonna see it so much here. Let's actually pulled up and kind of compressed in there. And the collarbone, the schools right against there. But see, just like that, we've got a little bit more of an interesting poles. We can think about where that back leg is and you just kinda build out from there. But now that we have a sense of our anatomy, I guess we would see some of the syringes to. Now that we have a sense of our anatomy, it becomes easier to draw this stuff. So let's go ahead and stop right here. We'll head over to our next lesson and continue to refine this pose. 18. L16 Drawing Our First Female Pose Part 2: So now we'll go ahead and clean this pulls up a little bit. And first of all, softer races down. And it's like I want to get rid of some of these construction lines are on the way, but I don't know. Sometimes I like this stuff in my sketches. Holds a lot of character. So again, I'm just going to go through and pick the areas that make the most sense to render. You know, and I want these like little curves and overlaps like this. This really shows that there's some twists in the mid section there. So I can't just, I can't just wrap every line end over end or end to end. For the perimeter, it flattens out the illustration. The depth is going to come at least from line work and even from value studies, is when these, you know, these forms pass in front of one another and different ways. I think that one looks a bit forced, but you have to play around with it like here with the leg. It definitely makes sense right there. And there's sometimes when part of your drawing will be really close, something's not working. And it's usually something small like that, like an overlap. You've just got an overlap in the wrong direction or, you know, it's too well-defined and it makes a certain area stick out like a sore thumb. But the bad thing is a lot of times it'll stick out like a sore thumb to everybody else and not the US. And that's what is truly annoying. Like sometimes you just want to be able to see those mistakes because that's all it takes. It's like when you, when you are pointed off, once up that was pointed out to you and your illustration, Then you can't unsee it. That's always lovely, but it's better to be able to see it so you can fix it. It's kinda strange that sometimes we were too close to our work and we can't see it. So again, with the Donald muscles, I'm going to just get those first couple men have it kinda fade off. In fact, I think it would look more natural to just have a little bit of the, you know, the ballet kinda shaded in there. Versus trying to have the model to chiseled hair. You know, couple a little rankles right there. Again, the Servetus. Now we know from the previous illustrations These are like interlocking fingers, but then sometimes you don't want to over illustrate those either. And then the ribcage based upon how the character of pulling away rurally stretching up to the side. Then you might see a little bit more definition on the bottom of that ribcage. So just little things like that to try to really push the narrative of the picture. So here, this is probably another good example of where you could bring that fold and think that's a bit too much, maybe just a little bit like this. You know, I actually don't like that. I thought I would, maybe that would look better as a, as a shaded representation because I feel like this volume needs to go on like that. But I don't like that line. I feel like that's too forced, so I'd probably do it with value. Okay? And the deltoid really try to explain this on a couple. Almost sort of the deltoid like it's just a couple connected curves are angles. So again, you get this little demo here as Devitt, his actual name foreign, Give me. But then so on a curve here, curve here, curve here. It's again, sometimes I'll do it with angles, usually want them draw on the male characters or an overly stylized representation of even a female character. But, but I very rarely will draw a shoulder like that. Definitely more like that for me. Bias a little bit of the tries up showing I want to put too much definition and they're going to bring the connection point for the deltoid and needs to be a bit of a bit of a bend and then have it flow into the arm there at the bottom portion of the bras and have that relatively spherical, but then that's about it. In fact, a lot of the angles. You have to really try to show a flat side to the breast as it relates to the ribcage. But I don't think we'd see it here. I think it would look a bit strange here. But from certain angles you do have to look out for that, but it shouldn't be entirely spherical. Even at the base. There's usually like a flat representation somewhere in their small bit of angle. O collarbones. Trapezius, sternocleidomastoid. Okay, move back here. And that's really about it. So we'll wrap up here, we'll head over to another example and continue on and continue exploring different poses. So what that, and let's move on to our next lesson. 19. L17 Drawing the Male Torso Pose 1 Part 1: Okay, so now let's do one where the male character has one arm up. So this is kind of the start of getting into these dynamic poses. You have to start to think about some basic things, Yen a line going across. So what I'm envisioning here is like a diamond shape for the deltoid. And we want to also think about the major plane change of the pectoralis major. So if we kinda define this major plane here. So if you were to think about a centre line, this would be pointing up like this. So what that does for us is it allows us to immediately say, okay, this this back as arched. And if you were to think about the spine to probably something like this, you know, if you were to bring it all the way up to the neck at curves back and does this kind of weird as hook. So the thing is that we need to think about the pectoralis like this, something like that. Anyways, the, you know, the ribcage. So this is one of those here was type poses because we're gonna really bought the ribcage, really stretched the poles, something like this. And remember this is basically like a W, right? But you're going to think about it prospectively as you do it now. And I'm so not so flat and symmetrical. You gotta remember too that your center line helps you gauge. Remember, if I take this, criss cross it and find my center line. And I got to put a little bit of curve there. Look, that's, that was actually off a bit, but that the center line and helps you to see that the distance from here to here is not equal. Now in perspective, this will make it equal, but it's wider over here, then it goes over here. While likewise, when you find your center line here, this w that you created needs to be more condensed on that opposite side. So now we've got the stomach muscles. Now I know the rectus abdominis are actually up here, but we're not going to see those as much from Paul's. Like fish might see a little bit of it and will probably details some of that. But there are obviously very noticeable down through here. So you get one does that too down and that's roughly the naval. Remember the naval can be here or higher. Don't generally see it lower, but it could be. So you've got an reality of the first segment of muscles here, cyclin, third, but when you have this type of Paul's, that'll look like you go to down than the navel. But again, sometimes higher, sometimes lower. So like that, those are rectus abdominis. Now there could be more twisting and pinching of the midsection. Is there a bit? Probably too straight up and down. So we need to really use a center line and then figure out if we're going to contort this now, generally the most noticeable asymmetrical value is the shoulders. So when you have one shoulder up, one down, that immediately starts to convey that the body is pinching or leaning. You choose an oval over here. And so it's like, you know, as we get down to here, we've got our obliques. But then, you know, where does this come toward her twists now, typically you get a pinching over here, an extension over here. So we'll kinda think about that. Just throw on some basic representation of that. And then you get the lads back here somewhere. And you see I'm getting a little bit too much of an hourglass figure for a male character. So we've fixed that. Again, obliques. Remember too that we'll get into fat deposits in future lessons. But generally fat deposits are gonna push against areas like this where you've got the bone of the pelvis or the hip. So you'll a lot of times you'll see that bit of weight gain right there. And so it's good to think about that. And as you illustrate this and these kind of feel like there's a bit of energy and wait there. So if I make the lines just really rigid, it's going to take away from that. It's gonna look very stiff. So I needed some times blend some of those very organic lines in there as well. But again, that's going to really be determined upon your style and what you'd like to see in your own work. There's so many different ways to illustrate every area of the body. So just like this, we've got a little bit of that polls go on. Bringing this arm up. She's a cylinder for the upper arm. And then as we bring the pectoralis major down, remember we would get that little bit of a bomb pairs. Sometimes it's a more noticeable is a curve. I think for this angle, it's not going to be, we're going to bring that down. Connected to the chess. The arm isn't too far back. Notice the deltoid is rolled away from our view. And then the muscles from the pectoralis major coanda here. Like that. We're gonna get a little bit of a dip for the collarbones. But since the shoulders and the posture is rolled back, probably going to see a little bit less of those collarbones and definitely and less of the trapezius. So we have to push that information back and get the neck in there with the cylinder. Bit of a be like shape for the positioning of the sternocleidomastoid. And then the deltoid over here. This one will be down more kind of slopes, n2, the pectoralis major like this. Remember there's a bit of a divot here. And then muscle spans across the, just like this. See that on each side. And I pick up yet the deltoid too far away from the body, so I need to bring that in, kind of nudge that over. Now another thing is as this rolls back, we've got to really push the lattice autism historicized bags. So what I would say here is to really get the feeling of the ribcage go on the volume of the ribcage and the sweetest muscles. So we're gonna put those, you're going to have the obliques, it come up like this and then the Servetus will come back. Remember enter lacking shapes like this. And those are really going to take precedence in front of the blood system historicized. It's going to really start to push back. Now. We've got to illustrate it that way. And let's scale this up just a little bit. I want to make sure we get a little more of the pelvis and their since we're talking about the trunk of the body, something like that. And you get the connection point from the leg. Again, we're not gonna get into this too much. Now. I want to make sure to stress. Again, I probably already said this, but I'll say it again. If I have. These types of studies are very important. I know, I know some people will look at things like this and say, well, you know, you're just doing parts of the body. You know, how do I connect all this together? It's really focusing on areas that you need at any given time, I think really helps put this stuff together. So for instance, it's for me the toughest parts are here. Here. Probably the connection point from the jaw, we're not there yet, but that's another tricky one. It's really the connection points and so on. And I guess it's going to vary for all of us, right? So what you need to do is just do these focus studies and pieces so that you build confidence on these individual areas. But then you do the same thing with the areas of the body that, you know, you're struggling with the, you know, that every time we come up to that, you just can't seem to figure it out. You just don't know where the, the muscles go, where the shadows go, things of that nature. But this is the same type of studying that you'll do. But in this case, we're obviously just focusing on the trunk of the body right now. And yeah, it's one of those things you just have to make time to do all of these studies. And I've got the rectus abdominis way too high there. So midsection naval. So basically the proportions of these needs to be adjusted and bring this enabled down. Remember the navel is on the midsection. And then if I was drawing elbows, that would give me another landmark to that permanent drone elbows. Okay, so now let's go ahead and head over to the next lesson. Softer racist, clean it up, fix some of the proportion issues, and continue on. So with that, let's move forward. 20. L18 Drawing the Male Torso Pose 1 Part 2: And so now at the soft torus will push all this information back. Remember I said we have to adjust the, the rectus abdominis will want that navel to line up to the midsection of the upper torso. Push that back pretty far because this is just our groundwork. So I'm are given here and justice, remember I said the trapezius should be pretty hard to spot or, you know, they shouldn't be in full view from an angle like this. Old deltoid tries. And I'm gonna kinda chiseled assault a bit. Probably look a little bit stylized, but that's kinda the way I do things. You're welcome to. Pay more attention, greater attention to realism. And it's, it's really the same process. I mean, there's there's lots of different ways to do this. Obviously, you've got more value, you've got more rendering or cross hatching, got different ways of doing each. There's all sorts of ways. You've got airbrushing, got all sorts of stuff. But the main thing is that you just try to get the volumes that you see in your mind on the page, at least for imaginative drawing. And then if you want, if you're lacking realism, then you just take what you know here and what you learn here, but then you also have lots of reference around you. So it just depends on what you're after. But volumes or volumes, lines or lines, it's all all doable. Who's have to focus on what you want. So again, I wanted this to feel a little bit more soft, so I'm going to bring that out with a curve. You see I'm doing a lot of perimeter shape drawing at this point. I feel competent at what I have here on the page. I can also throwing these little hook lines to kind of stylized and almost like a little bit of a focal point. It's the early connection points, but then I can make things more visible. And the way that I illustrate them by applying a certain line or more defined shadow. So I definitely want these to be pretty visible right here. Then as I bring the obliques down, I think I've mentioned this. I tend to soften it up from there. And it'll make him as a noticeable, I've seen styles whether you all the way down like this. And it looks a bit strange and there's definitely more defined people in the world and maybe some people you can see that much, but it's extremely rare, so I don't, I don't focus too much on that. And then remember the obliques can sometimes be very defined here. And you get a bit of separation from that to the rectus abdominus muscles. And then also the rectus abdominis muscles can be quite crooked and I'm sure you've seen that before. So you can play around with that. I tend to make them a lot more symmetrical on my characters, but it's entirely up to you. Again, realism would probably denote the did more of a asymmetrical value seems to be a little more popular or common, I would say. Ok, so they'll need to here. So this is another Arizona knows I really started to define the ribcage right about there. Now, I guess it's a bit of a mixed bag. Is that the ribcage of this radius of the obliques and they're all kind of coincide and that area will this radius are up here for you and me. But I would say that's really the volume of the ribcage, at least the way I'm illustrating it here. But I don't know that it needs to be that defined. So subtleties can be really important. Now this isn't a very subtle illustration and there are obviously very chiseled. But I still want to be careful not to take that to entirely far, far by my standards, I guess you might be looking at your wallet seems really far to me, but it's subjective obviously, since we have our own different ideas of style. But yes, so, so just kind of play around with breaking up the lines and picking areas to detail and areas to let fade back into the the forms and the volumes and maybe not chiseling every, every feature like I have. Now, I mistakenly went with eight apps. Now, I don't even know if I should call it some mistake, but let me explain it. So again, we know there's those two up there that would give us a 10-pack, right? That's not unheard of. That actually does occur, but since it's a little MOD, say a lot more rare, and people tend to just gauge it as more of a mistake. I'll just do something like this. And if anything, I could put the definition on the various sides. But people can actually do that. And then remember the navels going to be somewhere in here. Sometimes higher, sometimes lower. But, you know, right through the midsection. So it's about right. And actually maybe a little bit higher because generally it's going to line up to the lower. Maybe I just have the oblique a little bit off like that. So that's another tricky thing about doing this. You know, you move one thing and then it makes something else look off by comparison. So it's constantly, you know, a process of nudging things around, trying to get the best out of it. Okay. Pectoralis major, remember it needs to, a lot of times it's going to flatten out as you raise that arm. Very extreme cases, it'll, it'll pull really heavily, read or write from this point. From an angle like this. I still feel like there's still going to be a little bit. What were the depth there, but it needs to really be more volume right here because this arm is down. So I gotta make sure that as I shade this or illustrate this further, but I show more volume on this side. So to, to lower the amount of volume, I would just pull against this a bit more. And I remember two connection points can flow around one another. And that's a lot of times what's going to give you that feeling of anatomy going around are wrong this way away from our vision. If we connect everything and over N, So we go, you know, pectoralis, ribcage, rectus abdominis, oblique. And then we were to illustrate everything right to the side of that line. It's going to look very flat. But instead what we should be trying to do, something a little bit more like this. So here's the pectoralis, sorry, lattice and ribcage refugium comes around. You got the right the subdominant, you've got the oblique. You see how that looks more dimensional. And obviously we're shading, it would look more impressive. It's hard to read, I guess. But they have to wrap around. And if not, it'll kinda wasted and get that shoulder. And I like to use angles, their separation from the bicep. And remember that the core coal brachial core Kohlberg, Alice can't remember. Don't quote me on that one. Folks said too much terminology damn certain to criss cross all my information. Collarbones, I know that much. Muscles of the neck have those flow down like this. And these overlaps to make it look like we're, we can't see a ROM, the forums. And there we have it. So now we've got this one cleaned up a bit more in o. And remember nipple placement is usually right about here, little bit lower on the pectoralis. And then you can use the triangle to kind of pinpoint that and align it. So what I'm gonna do now, I'm going to kick this into time-lapse just so it's not too overly redundant. And I'm just going to add a little bit more renderings from shadows to this. So with that, let's move on to our next lesson. 21. L19 Drawing the Male Torso Pose 1 Part 3: Okay, so in this example, I want to add in some shapes of shadow and I'm going to be introducing value by using crosshatching. Keep in mind you can really introduce value any number of ways. Whatever you're most comfortable that there could be watercolor, charcoal, pencils, whatever you wanna do. And the main thing is that you just do some of these studies where you really try to round out the forms on the page a little bit more clearly. And I think this is really important for growth because it sometimes will expose flaws in the work that you might not have otherwise saw. So if you're just doing line worked and sometimes certain things that'll stand out as much. Now, also, you do have to be aware that you can even hurt your line work drawing by just placing values and shadows in the wrong spot. So it's not always just that the shadows will help you to see into the line work more clearly in the study. Sometimes it can be a matter of just incorrectly play shadows. I struggled from that because ln shadows is definitely not one of the things I consider to be my strong suit. But that's no reason to avoid it, right? That's all the more reason to attack head on. But these types of studies are imperative. I really feel that it helps me to explore the work further and to think more dimensionally about what I've created. So when I'm looking at it with the shapes, the shadows, and the rendering, just tend to start thinking about it more three-dimensionally on the page, which helps me to really pinpoint areas in the work that I need to work on. Like even at this point of the work, I'm already wanted to critique what I've done here. You know, I think the pectoralis major, the chest muscles could be lower. I think that the Servetus are going to up and pointed into the armpit, into the shoulder where they should have been tilted out outward more to the sides. And even the way they blended in, the blacks could better. So again, doing this type of work and then allowing yourself to see into it more dimensionally, develop it further. And then ultimately even self critique and obviously show it to others and keep their critique as well. It's all so important to the growth process because if not, we can just keep drawn the same things and ultimately the same mistakes over and over. That does tend to happen. Unfortunately, it's not until we step back and, you know, either develop the work in different ways or again, look for some insight from maybe somebody it's a bit better at it or study from some artists that have done amazing anatomy and then try to take cues from their work, which is always a very important thing to do. But ultimately, just rest assured that the main thing is that sheer repetition is your best friend. It will ultimately expose all the flaws. And then over time you'll just look back and go, wow, I can't believe I was drawing the chest muscle that way. Now I see where it divides. Now I see where I should use a angle versus a curve. And yeah, it's a growth process or journey. They call it a journey for a reason. But here just really trying to pick apart the shapes and add an obviously some very stylized shadows. This isn't as realistic as most people might try to accomplish it. There's a lot of points in there. A lot of times I will try to soften up all those points. I'm adding in the, you know, the sharp points on the shadows. I'll soften that up as I'm crosshatching sometimes, so just keep that in mind. But I feel that I like to put that little bit of angle work into my shadows. It's, it's definitely more of a stylistic choice, but it gives me a little bit more of a rigid field to the characters anatomy, which I like. And you'll see me undo and redo. And sometimes I'm just looking at one side of the shadow. Sometimes it's a little bit of both. So I'm, I'm trying to pay attention not only to the shape that I'm shadowing basically creating, but if it's on a neighboring muscle, was the abdominal muscles there, then it's also affecting that next muscle. So it's not just as simple as shading the one side of the one muscle. You have to again, be aware of the negative shape and the effect that it might be having on the neighboring muscle. And obviously that's all throughout the study here. So I have to be aware of that. And you know, you see, I introduced curves in there, but a lot more angles, but it's not entirely just angles. I think that it's important to get a nice mixture in there. And again, just kind of picking out shapes, shadows, trying to round out these forms. Probably have the leg muscles a little bit higher up. Always notice that whenever I cut something off and it's almost like I accidentally shift the muscles too far away from the cut. And notice that if I draw on a page and ended on the edge of a page that's almost a little bit further off. I think it builds into the same concept of when you draw through like a limb, you know, over a torso or behind, you should always draw through something about flowing through and past the edge of something, changes your perception a little bit. So now finally to the cross hatching and you've probably tell him just using tapered lines as I like to do for my stylized work. And I know there's a lot of artists who will tell you it needs the line to need to go a certain way like flow with the anatomy. And although I do mention that some of my lessons and I have been known to mention that and kind of regurgitate what I've heard others say about that. I do also notice that there's a lot of styles that don't do that and look really well as well. I think that the main thing is that you, as you're generating these lines, you look at them not as lines, but as gradation as value. So that, that way, if it looks good from a distance of at pulls together, then it works. Because again, there's so many different styles and ways that people do gradients. In fact, one of my favorites and I'll practice this from time to time, is just scribbling with a ballpoint pen and literally just scribbling and it's kind of messy, but it's fun. And it still works if done in the right way. But again, it's not really a very like you wouldn't look at it and go, there's a very specific idea there other than if it looks good and it pulls together, reads as gradients, then it works. And so you'll see lots of styles like that. So I'm maneuvering the abdominal muscles down. Again, as I think I mentioned in this, constantly nudging things around and adjusting things. Proportions are always a tricky subject. And then really placement of the abdominal muscles, especially when it's a very heroic type. Poles like this where the center of the chest is bowed out and the ribcage is pushing out there. It's very easy to like skew the stomach muscles and I probably have them a little bit out of place anyways, obviously, whenever you go for something stylized, you know, there's gonna be some distortion in there. But one of the things I'm most say is that I think that a lot of times when you're doing stylized work distortion as a good thing, not a bad thing. Not ogive me wrong and you're going to get called out on it for sure. And people are definitely going to say, this isn't right, this should be better, that should be over here because they can spot that, right? And that's fine. I think part of being a good artist is developing a tough skin to any of that. But ended take it constructive Lewin when need, when you need to. But the other thing is that some of the most popular styles and styles that I've gravitated towards and paid attention to in comics and science fiction illustrations and, and even, you know, concept aren't games. Some of the best ones are very, very distorted. So it's okay. It's, it's basically, I heard it referred to by one artist and I thought it was the coolest thing. They said distortion is fine as long as it's consistent. So I thought that was kind of a neat outlook on it. But keep in mind, I don't mean that in a way where it should somehow stop you from trying to improve daily on your anatomy. So we'll go ahead and wrap up here. Hopefully you found this informative and I'd love to know what you think as well as what you create. I'd love to see it. So thanks for watching this lesson and we're on the way.