Figure Drawing - The 3 Main Masses of the Body | Robert Marzullo | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Figure Drawing - The 3 Main Masses of the Body

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

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

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

8 Lessons (1h 11m)
    • 1. Introduction to the Class

      1:09
    • 2. Drawing the Head Form

      9:21
    • 3. Drawing the Torso Form

      8:18
    • 4. Drawing the Pelvis

      10:33
    • 5. Attaching the Spine

      10:26
    • 6. Drawing the Front View

      14:55
    • 7. Turning the Forms

      12:21
    • 8. Pose Practice

      3:34
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

339

Students

3

Projects

About This Class

9e63bae6.jpg

Welcome to my class, "Figure Drawing - The 3 Main Masses of the Body."

In this class you will learn how to draw the human figure by breaking down the major forms of the body.  We will draw the 3 main masses and you will learn how to pay special attention to these areas and their orientations to one another.

This allows us to draw a more dynamic and expressive representation of the human figure. Also, by breaking these primary areas down into the simplified forms you can turn them on the page much easier with your imagination.

First I will show you how I draw and simplify the head, torso, and pelvis while drawing them at different angles.  Keep in mind, your representations of these forms can be a bit different.  They are merely building blocks that help you to draw the following stages of the work.  

Next you will learn how to draw these and attach them to the spine.  Here we will focus more on the twisting and tilting of these forms in relationship to one another. This will give you a better understanding of how the body can be drawn more dynamically.

Practice these techniques as often as you can and you will start to see your figure drawing become more expressive!  

Thank you for considering my class and good luck with your studies!

-Robert A. Marzullo

Meet Your Teacher

Teacher Profile Image

Robert Marzullo

Online instructor of Figure Drawing and Comic Art

Teacher

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

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction to the Class: Hello everyone. My name is Robert Marzano and welcome to my class figure drawing, drawing the three main masses of the body. In this class, you're going to learn to draw the head, torso, and pelvis was simplified forms. We'll first start with the head and draw that from different angles. And we'll do this in a way that is more based upon structure and design. Will then do the same thing with the upper torso. And again, this will give you a chance to get comfortable maneuvering this form around the page and looking at it from different angles without getting bogged down by the complexity of what the upper torso can mean with all the details and the anatomy, which we'll do in future classes. Then we'll take the same approach to do the basic representation of the pelvis form. Then you'll learn how to attach these to the spine and pay special attention to the shift in orientation so that you can draw a more dynamic characters later. Finally, we'll wrap this up with some practice activities of some various poses implementing what you've learned in this class, please make sure to share your work in the class project section. I can't wait to see it and let me know if you have any questions. Thank you for considering my class and good luck with your art. 2. Drawing the Head Form: So now for this one, I want to talk again about the three main masses, but I want to show you kind of like the next step of that. So you can take the box prisms that you were working with and go right into this or you can jump into it. What I want to first show you, I guess would be the next logical approaches to show you how I would draw even, even the head shapes. So when I go to prepare the head for drawing a character that I want to draw, I'm basically thinking like this circle for the top part of the head. A box, which you could almost say that the box went through the center of the circle and then a bit of a wedge shape. Now, I don't generally draw it like this, but I want, I want you to see the simplicity of it. And so a lot of times I will jump right into it looking more like this. You know me, I'm probably draw the headlight this I'll attach the jaw, I like that. And then I'll get a center line here. And then usually I'll kind of figure that this is roughly where the side plane change of the head is. And I'll draw a little curved line there. Okay, So that's pretty much my method for constructing ahead and then I'll find the eye placement. So it's a, it's really a bit of the Andrew Loomis method, but I just kind of cobble it together and I do something like this. Well, when I'm thinking about the head, I'll draw it like this. And then I'll put like, let's just do a few of these. So again, circle on the side plane change, line down the middle Chen. And just so you know, you'd criss cross this section right here. And that's where you bring down the line over, straight line across here. Now, nobody's faces completely straight right there, right. I'm just again Koblin this together and showing you my shorthand approach for drawing this, this floating head. And this line would come over to the eyes or the brow line really. And then from there I can erase back some of those if I need to. Lot of times I don't want to raise all the lines completely back because, you know, it's me. More data is more data, more information as a better thing. So hi, again. There's a curve right there though, like to bring down. There you go. That's a head on an angle. So let's just do a few of these again. All of these are just warm ups to get you ready for drawing these characters more confidently. And the next stages. So we have to think about, well, what if the heads down, right? So we got some like this and our line to the top of the head. Bring it down on the side. Bring that down and angle. Print over, back up. And that line over. If you see this is less than perfect, right? It's not, it's not that big of a deal because again, this is just a little bit of a construction method. I'll clean this one up a bit. And it's, it's pretty crude. Mary own, There's a novel. So you know, if I need to work on that downward angle a bit, but that's the beauty of practice. It'll exposure areas that you need a little more working. Let's draw one up at an angle. Circle here, circle here, find the cross-section. Draw over. Frame this down a little bit. Notice where it gets tricky because it's, the head has to be really far up before the jaw starts to actually point out, I'm going to go with an odd angle. Yam is a simplified, but there's a lot of subtlety in It's where you would actually bring the draw down. It's essentially this angle of the jaw line and you have to really pay attention to, I think this is pretty close, but it's deceiving. So there's there's a chance that this was not correct. But again, that's why we practice. We're really not much of a need to clean this one up either. Center line cross section. Just so you know, the ear gets placed right back there. And that lower quadrant for all ions that are aligned. So almost looks like a cheekbone, but it's really not as simple as that. It's just kind of alignment for that area of the face. But I wouldn't really call it the exact placement of the cheekbone. But that's going to vary based on the character types too. Okay, so now we've got a pretty good range of the head shapes. Let's do one that's just looking away. So we'll put that oval over here. Cross section. I'm going to place the ear just to show because it's kinda hard to see what it is unless I do that. From this angle. Draw line would go across here and really get him by the neck. So I'm just kind of imagining what it would look like without that in a way where it actually looks a bit odd. I think it's because we're just so used to the head coming down somewhat spherical here, but then the placement of the neck really, really kind of balances that out. It looks it looks weird without it. Maybe even my cutting that off there sometime. Feel look a bit better. Maybe not. Okay. And what else? Let's try all it's just a side view. Can't discount the profile views, right? Same thing here, back here. Brow line. Extend this for the jaw IS fit into this little box area and nose comes out here. We'll get into that more, but as we draw out the characters, but for now, just want to get you in the habit of drawing this basic primitive version of the head. Okay, so now let's try, let's see, pretty much explored most of them. Let's try it up in a way. So actually bigger circle. Call this the last one. I think this is enough, enough variation here. So a bigger circle here. Find the oval on the side, crisscross it. Bro line. Stan, the jaw area back here. Bring the jaw. I'll play around with the angle of this and the face down and a curve right there. And this is the thigh. So just keep in mind this halfway mark is the brow, not the eyes. The eyes sit below the brow, right? So something like that. Here I'll just attach a neck. One thing I do want to point out is always give the next the neck a bit of a curve, another worse and see you in the street next. Okay. It looks too robotic, rather the way it is. So yeah, there's always a bit of a curve there. Okay, so there's those examples. Again, you know, there was many of these as you need to follow on draw these examples, draw your own experiment. You send some of my started to deviate and draw other little lines and representations, do whatever feels comfortable, comfortable for you here. The main thing is that you, you get like an overall head shape that you can identify with and that you can repeat and and feel comfortable with. So with that, let's stop here, head over to our next lesson and continue on. 3. Drawing the Torso Form: All right, so now we're going to draw a ribcage or upper torso. And so for this, I'd like to just look at this like a big oval or big a egg shape really. And then divide it down the middle. Draw a bit of a W like shape right here. And then kind of crop off the top. So that's the quickest way I can say to explain it in R, how to simplify it? I'm going to draw through it and show you again. So now you've got the sides of the egg-like shape. But the W. And you get the curve on the top. Nice and easy. And, you know, I've seen people go a lot further with this. Some people will draw V, and I've done this myself will draw the plane change area down here. Nothing wrong with that. That makes felt better about it. I do recommend the cross-section right here. That's going to show us where to place those pectoralis muscles later and or breast. And also. The other thing is the opening of the sides. Now some people do that, but for now we're just going to keep it simple. We'll go with something like this. Now let's get a few of these in the books. Okay, so now let's tilt this to the side. I'm just going to draw a cross-section over curve here, curve here, further W meeting up to the cross section. Those are simplified rib-cage. Now since we are tilting it here, I'm going to show an opening for the shoulder is going to go. And I kinda do like this little pocket of shadow there. So I'll put that in there, makes it look and feel a little more dimensional. There's that. Let's try another one where let's go for a downward chop. Find these actually be pretty tricky. But what do we do? We go for the things that are harder because that's where we're going to see the most improvement for you. Just do the things that we're comfortable with them. Yeah, we're only going to get so good. I think we're going to go for the things were nine cut out. So I'm going to do the opening for the neck. Now we know that collarbones are a lot more of a V like area right there, but I have to wait to implement that. Okay? And actually they, they bend more like this, but we'll get into that later. So the side opening for the shoulder, opening for the neck cross-section, this center line. Recruits only clean that up just a little bit. Formula. Yeah, I'm kind of a W like shape here. Cross-section here. Center line here. Opening for the neck. A bit of a cheat there. This makes an automatic shape for me. I'm using the Procreate app and my iPad Pro to draw it. I'll try to keep this as consistent with anybody working traditionally as possible. But there are times I just instinctively use the tools that are in front of me. But I try to draw this as traditionally as possible. So I like to work on paper as well. So just like that, we've got that downward shot. Let's move that over. Okay, and then let's take, let's get an upward shot now. Center line, w like shape, bring that oval right to the top side. Cross section there. We see that bottom bottom area. And that's about it. Now with something like this, I would really play around with how much of this top edge is straight across. Okay, so the curves change based upon and the way we're looking up at something, right? So that's where the body is such a tricky thing to draw from. These angles were not used to seeing it as. And that's where studies really come in because a lot of times we can be so close to a particular thing, but it's just not working well and it's usually something small like instead of there being a curve, which can be a curve but less dramatic. And knowing when to push those subtleties are those, you know, those dramatic differences in the body is really most of the battle, I think. And that's, again, that's where your studies are so important that you'd have to draw from imagination and draw from life. Okay, so now let's take, let's do a bit of a side shot. So even this I like to you're going to see me do lots of profiles. I like profile shots. Yes. Or easier, so that's probably part of it, but they're also very important to get right, because you're going to need to draw those in your storytelling. And they're, they're distinct profiles, actually pretty distinct. Some, I'm making sure to bring out the ball of the back bit further. You could even consider that a bit of a mistake because I told you to draw an egg shape here, which would be more like this. But if we were going to take it a step further, the neck, just keep in mind the next going to come up at an angle like that. You're gonna get a Boeing here of the back, lower back. It's going to come down the midsection, something like that. But we'll get into that later. I just want to just want to show you that real quick. Oh, I actually missed the cross section right there. I could get another little plane change off to the side here. Okay, and then let's see what else could we do here? We've got, we've got a front, we've got an angle, we've got a downward, upward side shot. Would say the very back, but that's, that's kinda look like the front. And suppose I could have to do is show you is it's the same shape but I would add the shoulder blades, the trapezius, latissimus dorsi, and we'll get into all that later. But, so yeah, this will be good for now. This is enough variation for this particular area. But again, draw these over and over until you feel comfortable with them. And that you can draw them from your imagination. And your simplified shapes for this might be different. Could very well be different from mine. No big deal. That's not a problem. The main thing is that you just you get something that feels comfortable. You get something that you can draw quickly and effectively. And you know that in your mind that helps you with the perspective of the area of the body that you're working with us, in this case the upper torso. And from there it alleviates you to that again, that next stage of work, which I'll be showing you soon. So let's move over to the next lesson and continue on. So with that, let's move forward. 4. Drawing the Pelvis: So now we're going to draw a simplified version of the pelvis. We'll start with a straight on view. So let's just go for an oval. A slanted side. An oval, an oval and a line connecting. So basically what I've seen and heard it referred to as floating underwear. And then you can draw a cross section. And so the other thing that I like to pay attention to here is that there's a difference from the male to female even then the simplified version. So when I go to draw a female character, I draw the legs, the legs attachment and more of a slant. Let's divide and separation from the legs. And the overall height of the pelvis area. A bit taller, something like that. Now, again, this is a simplified approach and there are lots of ways you could really look at this and do this. You can experiment with whatever shapes and forms you feel are adequate for this part of your illustration. And you're probably going to have a little bit of a tendency to draw what you've drawn before, right? So don't think that you have to adopt exactly my way of doing it more. So I'm trying to show you that by staging your work in these ways, you can really age yourself in the process of drawing more complex figures from different angles. But again, just little tips like this to hopefully help you with this that look for the slant there. Typically the hips are wider now we're going to get into landmarks of the body and things like that, bony structures, bony landmarks. But one of the things to think about as the leg bones that come out like this and come inward. So as we do more revised versions of the body, you do think about this because that's why the legs typically ball right here, Come down. But again, you don't have to get into this too much now I just want you to be aware of that, that we are kind of forgoing that with our simplified primitive forms of the three main masses. And we're really going to draw arms and legs with Saunders as well. But but yeah, you kinda start here and then elaborate further. So we'll move on to that shortly. But so now what we wanna do is really just practice drawing this from different angles. If you have a hard time drawing these by themselves. So for instance, you try to draw this angle, for instance. And maybe you struggle with placement of the, the curvature of the side that's away from camera, away from our view, I should say. That's fine. I mean, it is a, it's a tricky set of shapes. In fact, I'll see some people that will actually draw them a bit more like this. So having this opening for this area here is a little bit easier to discern. It's kind of like a bean like shape, right? And to kind of see in figure at an angle. And you know, we're not really going to see the opening to leg as much as we're gonna see a downward, the downward effect that it has on the perimeter side. So you can picture this oval here. But you wouldn't draw the opening there. You wouldn't draw an oval like this because we're looking down at that, right? If anything, it would be the Oval, would be on the other side like that but hidden. So I would say just draw more of a perimeter shape for this area. But again, you could draw the opening to the waist area with a bit more curvature. And you might find that to be helpful in explaining the this form in a certain angle. So let's clean that up a little bit more. And I'll go back and clean up a lot of these illustrations for you so that you have these to study with and draw as many times as you need to know your full comfortable with them. But again, you're welcome to experiment and draw your own versions as well. So something like fan. And what you could probably do here, skills up a little bit more. You could probably even say, well, you know what if, what if you saw a little bit of the opening of the oval over here? All right, so drawing through your artwork is always helpful. And yeah, you might, you might see that. You might see a little bit more than opening right there. And maybe that helps you to envision it. Can definitely try that out. And we'll just see maybe a little bit of it over here. Oh my bad. But again, practice that. See what you come up with. And so let's try obviously one from the bag. So typically it would look about the same. But then we would show but if the glutes and they're the curve going up like this. Who's a little bit of like a V like shape back here. We'll get into that more with the anatomy. Put Kansas something simplified, get the idea going. Okay, let's try a little bit more of a perspective view. So we'll lay in our basic prism, give us some sense of perspective. We bring this over more and will show the opening. So just remember that you have basically a rule shorthand method of this is disc, disc or oval, oval connect. All right, so real quick beta's. So that's the really simplified quick version of it. So draw three ovals and connecting points, you should get there. Now the trick is here though. One oval is going to be very, very tight to our view. I don't know. The angle is going to be tricky. And this one would probably be over here more like this. Almost have to think of these in parallel to one another but different slants or angles. And then we connect them. Maybe I'd still, still a bit tricky and I don't know that we would see this is a R2D2. This is a downward angle, right? We're not going to see the end side of this opening of the oval, but inside either one of them. But we still need to kind of pinpoint areas. So we've got our center line here, softer races, so it reads a bit better. Push that all back. Something like that. Like that. Because again, we're not looking for a final render here. We're looking for basically a tool or method. So I would probably take it to about right there and call it good. And yeah, of course I could get in there and say, Well, you'd see the opening of the leg like this and you wouldn't see it here because it's a downward angle. And you could get in here and show more bend like this omega locally it reads a bit better. Let's try that. So again, you can, you can elaborate, but it's kinda defeats the purpose a little bit. We're not trying to elaborate and make the perfect pelvis like shape here what we're doing is trying to devise ways to turn these objects and our imagination and on the page so that when we go to do our next stage, in our other stages on top of it, we have a better segue. I like to think of it almost like a relay race. We're handing off the baton to the next version of our work and therefore, making it a lot easier for us to process all those stuff. Because again, it's complex by itself. So again, practices at different angles. Again, take reference pictures, look at pictures of people in action gymnastics, people running, and just take bits and pieces of those different angles and redraw them in this primitive way. So you can really start to grasp it. And then from there as we start to combine the three main masses which will move onto now, we're going to see an experiment with the twisting and controlling of the body and the relationships that they have as the body's moving. Very important. So with that, let's move on to our next lesson. 5. Attaching the Spine: So now we're going to talk about attaching these three masses to the spine and then ultimately to our gesture into our action lines in a bit. But right now I just want you to think about the spine. So the spine goes a bit like an S curve. And then at the top it comes up dip sin. And that's where we connect to the cranium. So let's draw a circle for the mass of the head. Divide that up, just find a center. That'll give us our bra line. Dropped that down, Trump down from here. There was a wedge like shape. Or it can be looked at like a square and then a wedge in there. And then for the torso. Now remember, if you need to figure out perspective, you're going to go back to here, your basic primitive. Kind of this back and forth colon. So we'll just notice pinching to one side. Now typically for a side view it's not as needed, right? There's not a whole lot of perspective going on here, but it does make you more aware of the tilting. And that's, that's a big one because a lot of times we draw bodies that are just too straight up and down and then not enough twists and the midsection. So this could even help with the twists in the mid section because if we go back to the pelvis portion and say, well, we're going to put a little bit of dimension here. Then immediately that's a little more interesting of a pose. And it makes more sense. People just don't stand straight up and down or either there's a bit of tilt and twist and almost everything we do. But for the sake of what we're doing here, this is more just Fernet, basic explanation to get you going. So I try not to overwhelm you because there's, again, a lot to think about with all these different techniques. So we're going to start very basic like this and just get you warmed up. So just like that, we've got a starting point. And so now we will clean this up a little bit. And again, you really don't need to jump into the permanent forms like this if you don't want. Because it's pretty easy to draw the oval here. For the rib-cage. Get that little bit of divide their opening for the shoulder, heal the floating floating underwear. However you decide to do that. Remember, you can put little bit more of a dip right here. And you can show the opening for the legs. So even something as simple as that. Thank the next a bit far. So let me we're just bringing up the torso. Now, a big part of this that I want you to pay attention to, or something that I'd like you to pay attention to, I should say, is that the, the divide and the separation from the three main masses. So as you start to experiment with more and more of your, your character designs and your figure drawings. It'll really explore and pay attention to these distances here. Not only just as they sit in front of you now, but then also as a twist. So we're going to talk about pinching and extension. Where when a body tilts and contours, once I've generally patches one side extends. So we're gonna get into that as well. But that's where things like this really matter now, this could definitely be somebody that has more thin and has a very long frame, but there's just too much distance in between these areas. So I'm just going to Nazis wrong little bump. And I would also say that the upper torso could be a bit bigger anyways, that'll help me bridge a little bit of that gap. And also feel like the heads a bit small. So I'll just draw kind of around it that a bit larger. Make sure to get a little bit of curve here and the neck area, the spine, as well as right here, the lower lumbar, get a nice little arc in there. And remember to get the center line and four. Chaucer, and even a center line here if you want, you can draw these guides wherever you want, whatever helps you fill out the form until a bit better about it. So let me do those. So we've tightened up on this a bit, clean this up. I need to put the ear and there, but I like to like to have it and there is a bit of a place holder. And just remember what the IRS they generally tilt back there in the beginning, but they're not straight up and down. There's a bit of a slight tilt back to them. Remember that this is your brow line, not your eyes. Your eyes will go o here. And then remember the orientation or the guideline that you can use here at roughly will give you the plain change in the position of the zygomatic bone right up here. Again, we'll get into those later. So we're gonna, we're gonna talk a lot about landmarks and the bones and things like that, mainly the landmark. So we'll get into the skeletal structure. But the main thing that I think is important as really the landmarks that you see in Figure Drawing and the body. Not just the knowing the skeleton. I mean, honestly the skeleton is very important to study. But you don't see the entire skeleton through figure drawing. Even somebody that's really lane. But you do see very distinct bony landmarks. Things that you can see an almost anybody are things like the clavicle and depending on the person, I guess, portions of the hips and butt again, we'll get into that so that what's nice about the landmarks is sort of like these guides that I'm showing you here. Is the base could become these really great reference points so that you, when you're drawing your characters, you get to check your work. Everything becomes a way to kinda keep checking your work and draw better and better characters from imagination. But the bony landmarks are probably the easiest once you really get the hang of norther as so. Because if you go off just muscle placement and then one thing being next to the other, you can skew quite a bit. But there's some other ways to kind of balance that out, so I'll be showing you that. Okay, So just like that, we have a primitive but organic three main mass is to the body. And so what you want to think about here is when you analyze this in your word and you say, okay, is this, are these the right proportions? Is the, are the divides in between these masses. Good enough for the pose I'm trying to execute. Does this, does, does it have a feeling of a curvature and a flow even from this basic static standing point. So hopefully you see that by adding the curve of the neck, the curve of the lower lumbar, picturing the spine going through it and maybe drawing the spine through it. Marion do that for the finished illustration that I'll share with you. So these things allow you to go, Okay, now I'm not just drawing stacked blocks and not just drawing characters that are overly stiff and upright. So it's that nice little transition that I'm trying to get you to take in this course where you start to feel more and more comfortable with understand the body a bit more so that when you get to these figure drawings and the later portions and lessons here, it's not so overwhelming for them. Okay, so let's go ahead and stop here. You know, you can do this from different views are maybe we should address this from the front. Now. So we'll go and do that. Actually, we'll head over to our next lesson. We'll do a front view representation of this. So with that, let's move forward. 6. Drawing the Front View: All right, so now let's do a front view. So same thing, we are going to 0 and notice I establish some guidelines and I'm also using a grid. Really recommend this for anytime you're trying to do your character turnarounds or anything like that. It's just a good way to obviously align things. So yeah, so, you know, and obviously I could just draw right over top, but that's not what I'm going for here. I just want to give myself some guides and that'll have to be too critical about this. But yeah, it is good to practice this when you can. And I know that if I don't have the horizontal lines are giving me the reference points to the height of each one of the forms. But then the vertical lines from the grid are giving me alignment so that I get I don't sway. I always seem to tilt my art if I don't have some kind of grid there. But yeah, so like if we take those, we've got the guide for the torso. Frame that over and so center, actually let's find center. The head shape burst. And keep in mind just like the Andrew Loomis method, you're going to slice off the sides. You don't want to leave the head to spherical. And then remember here was about our center for the brow line. And so what happens here is that the eyes are actually halfway down, right? So even though I'm just throwing in this bottom wedge-shaped, the fact that I started with the brow line being cut from that plane change that you see over here. Generally will put the eyes right About Center. So that's the other thing that you're kind of checking it again. So you are putting the brow line and place, but you're also keeping in mind that you know, that eyes or center, halfway down from the top of the head to the bottom of the chin. The eyes are about center and that's, that's pretty consistent for most people, it's can vary. Everybody's faces are different. Bone structures vary but it's, it's actually a pretty consistent, I've noticed. For your character designs, you can rely pretty heavily on man. Let's get that out of there. We have this kind of line that we can draw from the ear area, top of the ear where the zygomatic bone is down to the CEN. And so now let's get that egg shape for the torso. Let's just draw in the overall shape and get it down to about here. And it winds up. So remember you can start with just a big kind of oval, big egg-shaped find center. I like to think of a W like form. And you can really play around with the psoas mentioned. And I'm going to reiterate because I really want to push this stuff home for it is that you can come up with your own forms. The reforms don't have to look identical to mine. Every artist has a different set of forums. Even if there, even if we were all trying to draw exactly the same way as our favorite artists, we're still going to come up with something a bit different, right? So, so just think about that for a bit and don't be too critical on yourself. Allow yourself to develop what works for you. This is just the shape that I like to see as I work up to. It. Doesn't mean, you know, it's exactly what you have to see. And a lot of times, as you'll see as I do the other renditions, when we get into the more detailed stuff, I skip a lot of those naturally, and that happens as well. And a lot of people have asked me over the years, like when do we, when do I jump to that next level where I just start drawing characters without as much of the preliminary buildup. And to that, the only thing I can say there is that don't rush it. Okay, So you're going to get to a point where you naturally do do that. But you don't need to look for it. You don't need to rush yourself into it and say, Oh, I've been drawn this way for a year. It's really hide time I started drawing without all this basic stuff and I'm going to advance artists now. It just comes naturally and it's different for everybody. So I don't want to give you some series of ideas that you think you need to hold yourself accountable to its. Certain people get better at drawing hands. Sooner. Certain people get better at drawing. Particular figure is the male figure better than female figures? There's so many variables. The main thing is that you just keep doing your studies. You keep looking at different techniques. You try not to be so rigid in your approach. I think that's the biggest I really do. I think it's good to be very fluid about your thought process in constantly be searching for new and inventive ways to create so that the monotony doesn't set in, it will do, it's hard to find any sense of monotony and are, but it is there like you can definitely get caught up and doing the same approach over and over and get bored. And even though you're drawing these new and interesting things, sometimes we get caught and just a repetition of drawing the same character types. You know, things that you're a little too comfortable with and you need to jump outside of your comfort zone. Alright, so I'm going to tighten up on this easy to get the channel lined. The eyes are both same top of the head. And we're guessing at overall width proportion. So the torso could definitely be wider. Actually all of it could. I think that I've kind of squeezed in the body mass is a little too much. So I'll widen those out as I do the redraw. Probably because I'm looking at the reference point to the left and it's skewing my perception of what these forms should look like. But it could be going for a very skinny individual as well. So, but now I can get in here and draw through this. I'm usually the, the head isn't perfectly squared off like this, so I could definitely play around with the taper of the jaw line. I know some people have more narrow jaw line so that people have more squared off jaw lines. I'm going to place the ears even though you really don't have to do this, but I just think they're good place holders. So center line to the phase. Again, this is roughly where the zygomatic bone would be coming down to the chin. This line here, it could be a little bit more of an arc. And I really like drawing in spherical shapes for the eyes. Just because as they go to render out a character, it almost always comes out a bit, a bit more realistic to the end result by placing just those simple eyeball spheres. And in that area where if I draw the eyes without attend to, maybe draw a little bit to Angular. So not everybody does that. And then the halfway point from the center of the eyes to the chin, you'd place the nose would be right about where that line is. And keep in mind, top of the ears is roughly where the brow is. Bottom of the ears is roughly where the bottom and the noses. And then you would divide from the bottom of the nose to the chin. And it's not quite halfway. The mouth is a little higher, a half. You want to leave more space at the bottom for the lower lip and the chin temple there. But we'll get into that later. I just want to kind of slowly work up to these concepts. You could get into some of the side plane of the head here. And there's all sorts of marks you can make. Some people, we'll draw on the front plane of the forehead. Lots of triangles in this area of the face. You could drop some of those N. So again, we'll get into that more later. But yeah, just some things to think about. Your mannequin might be different than in mind at this stage, right? You might want to add certain lines that you know that or that resonate well with the way that you draw your characters. So the spine is going to look relatively straight here then bacteria. So I'm not going to try to place any of the curvature there. But we do know that there isn't as hook in here, but you're not going to curve the spine, something like that. So I'm not going to worry about that. Again, you can draw a little bit of a v here for you to kind of hint towards the collarbones if you want. And I did want to widen this a little more. And I almost feel like I don't need to really widen this a whole lot because one of the things to think about is that our bone structure is pretty, you know, it's, it's pretty small by comparison to the rest of our anatomy. You know, France and zeros just picture a bodybuilder that packs on a bunch of muscle that can have a pretty small frame, but they can still get pretty, pretty big. So we definitely have different size skeletons for sure in on different size anatomy all the way around. But but what I mean is that the structure, the underlying structure can be relatively small and we can still make some pretty big differences, right, with, with fat deposits and, or muscle. So it's, I don't necessarily have to go too crazy with those. I could definitely pack on a lot of muscle or fat on to this basic smaller frame. So I'll just leave it where it's at. And I'm drawing the openings to the shoulder a little bit closer to the inset of what you'd probably see. But What we would imagine is that we would add on the shoulders like this. And you see how much wider that makes it frame by itself. And if you're going for a more idealized character, bigger character, you're going to widen out those shoulders. And you're gonna go for three heads wide and just bring those out like this. They're going to be a shape that's rough like that is pretty poorly drawn, but hopefully you get the idea. So center line here to the chest. And actually I pick them up at that curve the other way. So I'm really just trying to feel out the rounded form of this. It's not really there for any other reason. As I mentioned before, you can use it to align the pectoralis muscles, but that's this wouldn't be a definitive line for that. It would just be more of like one of these guides in the backroom. Like I would place the chest muscles right on that line is what I'm saying. Okay. So opening for the waste and where you can do this in a number of ways. A lot of people draw this quite differently. Seen it done a lot of different ways. Again, opening for the legs. Now based on the layout of the pelvis, I have drawn this to be a female frame. So for instance, if I look to the side here, this has for one as more of a tilt on the one on the left. So I need to actually correct this. So the tilt is going all the way down to here and way back up. I'm having a hard time even bringing that line that far up based upon, you know, trying to make these coincide. I think the reason being is I need to really show this bump on the back here. Figure like that better. And again the spine. Okay, so there we have it that is now the front view. Let's pan back so we could see that progression there. And so again, you know, the basic star of the three main mass is focusing on the tilt, the orientation against the spine. Then in the second iteration, adjusting those to more organic forms. And then the third is really just, you know, converting that to a forward facing view, talking a little bit about that process. But again, these are all just things that are getting you ready to attach the arms and legs and to think about the body in a little bit more organic feel in really focusing on the separation. And we're going to get into the twisting and controlling of the head, torso, and pelvis. It's such a big deal because it allows you to draw more dynamic, interesting characters. This is obviously very static and stiff still, but we will be approaching that soon. So with that, let's stop here and head over to our next lesson. 7. Turning the Forms: All right, so now let's talk about twisting those three areas of the body. And this is important because when we start to do these more dynamic poses, we have to realize that each one kind of takes a little bit different orientation and those slight and sometimes very noticeable adjustments can make a big difference. So let's just do this. We'll start with the torso and make sure that we're looking up at the upper torso. So just like that, we've got an established prism for upper torso. And so the tricky part is getting the pelvis too. We've got to think about where the spine would be. So it's going to come down, it's going to look something like that. And obviously we're guessing, right. It's hard to like, look through and pinpoint exactly where the spine would be. But that gives us a, an idea and a representation to start with. And then again, I think the hardest part is really placing the orientation of the pelvis. So for instance, it's easy enough to go like this because it matches the existing prism. But that's very boring, right? And in fact, with everything that we've done thus far, I realized that that's not how the pelvis is oriented, even in a standard position. It doesn't do that. So we know that it at least tilts away like this. All right? But still that's still born, right? It's not entering it. Interesting enough now to twist that shape becomes a little bit trickier because we have to think about a couple things here. So to do that, we're going to twist it where it's closer to our views. So I'm going to start by establishing a center on this one. And the reason being is because I must start with the front plane of just this shape, but down here on the pelvis. So we want the orientation of the tilt, but we want the front plane to be towards us slightly more. So when in doubt, just start with something, right? It's hard to gauge where you're at. If you can't make a mark. I could sit here and think about it all day, but it's not going to get me anywhere from I'm unsure, I just have to make a mark. So this gives me the impression that it's tilted a little bit closer to our view. I can check that by finding center. And just remember you can crisscross who diagonals if that is better for you. So that is a, tilted a little bit better. Another way to think about this is finding, let's say the opening for the shoulders and drawing this line through like this. And then doing the same thing over here. Actually I'm gonna get rid of the first little mark here. So drawing through it like this. So you see that just based upon that, there's a little bit of tilt difference there. We could probably explore that a little bit further. But It's hard to say like I think that might be fine. So the other thing is we really want really want a little bit more of this tilt as well. So I'm going to adjust these lines a bit before I go any further. So I like the tilt, like if I was to look at the two to show you the two primary lines I'm studying right now. I like the til orientation here to here. Okay. I feel like that's pretty adequate for the stretch and pinch that I want to see in the body. So the pinch would occur on this side and then the stretch would occur on this side. Okay. So our extension and Pancho, we want to look at that, but that's, that's kinda what I'm focusing upon as I place these these forms. So let's continue on with that. I think that's about right. And so let's go ahead and establish where getting that tilt here. I'm angling of the prism away from us. Well, some white bam. We've got the spine and let's bring this down and attach the head. And so I think what I wanna do here is really just point the head away. So I'm going to start with a jump through and drawn head shapes at this stage is really more natural for me. But what I'm gonna do is just show you step-by-step fashion. How would think about that now the spine of the neck centers under and behind. Pretty much like right under the ear. So that's about right. But the main thing is that we want to establish again that now we're looking away. The head is looking away. And so we have three distinct different orientations of these areas. The torso and pelvis are relatively the same. And we'll try to push that a bit further, but they have different orientation dry. So that'll be our first step, right? There are first stage of the work. So let's bring that over. Okay, so now this becomes our perspective in a sense, but our information to house the next stage. Let's go and soft erase this back. And let's lay in our more organic shapes. So rib-cage. We already got our center line right here to help us sounds. We'll go with that. Get our W like shape in their overall kind of egg shape here for the ribcage. Show that underneath just for a sense of dimension. Opening for the shoulder. So probably we'll bring that up higher. So again, like I mentioned before, each one of these things becomes a bit of a place holder and can expose other areas in the work that needs to be corrected. And that's how I see that. And cross section. And then let's see. So the abdomen, I'll come down here. Well first we'll get into the three main mass is, and then we'll see if we can work into this bit further. So now the pelvis, you see the center lines way over here. So that's where that difference in orientation is. We want to establish that early on, so I don't lose that opening for the legs. Trying to figure out how much of this I really want to cut into. But not that big of a deal, or this is really a representation, right? So we would, The main thing is that they're even from side to side and that's where the cross-section here, it's kind of exposing that for me. So when in doubt more guidelines or I don't want to call these searching lines. I guess they're called wrapping lines, but at the same time, any lines that help you to see and convey depth and dimension on these forums. So if you need a center line on the side, side, center line, whatever, wherever you might need them, you can cross divide them more if that helps you. That will help with things like placing a clothing features and things like that and just, just seems to help quite a bit. You can also find the center line to the abdomen and bring that down as well. So you see the spine, I'm letting them stay faded in the background. I don't need that information is mounted still bear to give me a sense of that arc to the bag bottom. I'm not going to keep drawing through it because I don't again, I don't need it as much right now. And then for the head and that center and the brow line and the line across, draw down 12 cen back to this line. For a female Chen, I'd probably go a little bit more slender to the Chen even at this stage. Like to convey that as quickly as possible. I feel like the this is the spine right there, so it does meet about in the right area. But I feel like the head is postured and maybe a little too far back. So keep an eye on that. You're here. I like to put from the side, picked up from the Azure Loomis method there. So now we have a distinct difference from the orientation of the three masses of the body. And so this obviously it could be stretched a lot further, but I want to start small, you know, small intervals with you and get you to feel comfortable slowly twisting these forums. But also what the real purpose of this is that you see how the body might look differently as you study it. So for instance, you start to pay more attention to the orientation of the ribcage to the pelvis and just say no, now I'm going to clean this up for you. This is a little bit sped up because it's really just retracing the steps and saying, Okay, now we've got some forms in place. I like to clean them up for your reference, but you really don't need to do this for your studies totally up to you. I just think that for supplying, use some artwork to study from giving you the stages as well as a cleaned up version might be a nice addition. But again, now when you study from life and even just creating characters from your imagination, I just want you to pay special attention to, well, could I twist that ribcage a little bit more? Could I tilt those hips a little bit more away from it? Really bring out the pension, the fold of the body and the midsection. So, you know, and and obviously the head just has tons of orientation options right at the twisting that tilting, leaning back, putting the chin down to the collarbones, all sorts of stuff. But again, I want to start basic here with you and slowly work up to that because it can be a little bit confusing. And it's not something that you need to rush right into. Just practice drawing these primitive shapes and forms to lots of studies with what I've shown you here. Let me see those because then I can possibly analyze moments where I can help you with that. And notice in this final rendition, I just choose the center line to the abdomen. I didn't continue on with the spine. So, you know, either or or both of those is fine, but I felt it was better to tissues that. So good luck with this particular study. And let's move on to our next lesson. 8. Pose Practice: For this example, I'd like you to practice drawing these three main forms. Again, trying to twist them and you can follow along with what I'm drawing here. Or you're welcome to draw your own versions. But just try to express some twists and different angling and orientation of those three areas like we've talked about. And this is a bit of a time-lapse, so feel free to pause it, catch up if you're trying to draw the exact poses here. But again, venture passes and try your own poses. Look at life, looking at images from your favorite movie, whatever it is, a good shot, and then try to draw it in this way. So what you're doing is you're getting yourself to look through obviously what you're seeing. And just kinda pay attention to the orientation of again, the head, the torso, and the pelvis. And by doing that, you'll start to notice that there's a lot of variation that you weren't otherwise paying attention to. Some subtle, some not so subtle. But it's really in the subtleties that we start to express body language or understand by language and therefore show it in our work. But at first we go for the extreme dry. The extreme tells me over the extreme, staying step and standing upright, mainly because we're trying to convey strength. And then you start to realize, well, you can convey strength with an upright pose, but then posturing the arms are certain hand gestures can mean something entirely different. And then that coupled with obviously other things like facial expressions and lighting are and it just goes on and on. And that's really why you have to take the time to do these more primitive studies so that you can understand each element in its own right and then couple it altogether. But if you just jump in and start drawing complex scenes, you might get it. Some people do, but it's not unheard of, but it's a lot more realistic to draw things in this way and then really get a better understanding of each area. And you never really stopped doing that? Not in my opinion. I've been studying figure drawing and life, drawing people for years and years and I still have a ton to learn and that's part of the excitement of it. So you just keep on going and you keep learning and because of that, you never get bored, which was amazing. Now that being said, I understand that studies like this can oftentimes for somebody you feel a little bit less exciting, right? Because you're not working on that next masterpiece that you want to see completed. But That's how hard work is and that's how muscle memory and repetition works for us. We have to take the time to do things like this so that, that next great piece comes out that much better. So it's making yourself aware of that. And then doing your due diligence, working through these, not just doing the five that I provide to hear, but doing ten more, 20 more until you feel really comfortable with it to where you feel like you can do this type of stuff in your sleep. And that's when you know, you're ready to move on to the next stage of your work and do better and better. And keep in mind, you don't have to refine yours as much as I'm doing here. I'm going through an extra stage of cleaning these up for you so you have better PDF and art files to study along with. So feel free to catalogue more of these with a little bit more of a loose sketch style. That's fine, but there's no reason that you need to clean them up this tightly. So that will bring this class to a close. I'd love to see your art work and let me know if you have any questions. One the way very soon and good luck with your studies.