How to Draw the Human Torso - Drawing the Body | Enrique Plazola | Skillshare

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How to Draw the Human Torso - Drawing the Body

teacher avatar Enrique Plazola, Learn to Draw the Easy Way

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

7 Lessons (47m)
    • 1. Introduction

      2:07
    • 2. Supplies to Use

      3:53
    • 3. Structure of the Torso

      9:16
    • 4. Torso Artist Anatomy (Front)

      6:04
    • 5. Torso Artist Anatomy (Back)

      7:09
    • 6. Demonstration of Process

      17:18
    • 7. Final Art Advice

      1:10
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About This Class

If you are a beginner, This is the perfect place for you. This is a step by step course on how to draw a human Torso. It's one of the most important parts of the body.

Let's go over what's in the course.

-Supplies

-Torso Structure ( an easy way to draw it)

-Torso Anatomy (front)

-Torso Anatomy (back)

-Demonstration of Process

- Final Art Advice

This is a fast lesson and you can be drawing the human body like a pro!

Let's get started now!

Meet Your Teacher

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Enrique Plazola

Learn to Draw the Easy Way

Teacher

I help beginner artists learn to draw as fast as they can. So you can draw that family portrait, or draw any character from your mind. 

I've worked as a fine artist, professional illustrator for book covers, worked at a movie studio as a stereo artist, as a caricature artist at theme parks, and more. I've been in literally hundreds of art shows. 

I've been teaching art for 6 years and I love it. I started to draw at 19. I felt it was a late age. It took me 2 years of training in drawing to start working and making a living from art. I want to teach YOU!

 

 

 

Find what you need in any of these collections of classes to learn a variety of fun techniques to improve your own artwork!

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Transcripts

1. Introduction: Hi. How's it going? I'm Enrique. I'm a professional illustrator. And artists have been doing this for about 15 years. Uh, I'm gonna go over with you. How to draw the torso and the torso is extremely important. It's part of a larger set of different programs in different parts of the body. So we're gonna concentrate on pretty much from the shoulder area down to the waist. And the reason you do that is because that is pretty much where the flexion comes from, where a lot of the dynamics of poses comes from. It comes from the torso area. So let me go over really quick what we're gonna go through. Uh, also when I mentioned, this is for beginners. So if you're a complete beginner, you're in the right spot. Worry about so first thing, where do we go over some of supplies that we're gonna be using these air, some art supplies that I recommend. You don't have to use them. You can use anything you want, but these are just some of the things that then we're gonna go over the general structure of the torso and how I like to simplify it. It's an extremely, extremely easy way to simplify the torso and I go with you very easily. Then after that, I'm gonna go through the anatomy and what I'm gonna do, the anatomy isn't gold simplified version of the anatomy for the artist. We don't need to know everything. We're not doctors with organs and all that, but I'm gonna give you very, very simple. And a structure for the muscles on where you go to the front and then on the next one we're gonna go through back to back is infamously difficult for a lot of people. And I'm going to simplify it down for you, so it makes total sense. Then after that, I'm gonna go through a demonstration. I'm actually gonna go through and draw the front and the back, and I'm gonna do it in one large demonstration and you can check that out step by second. I'm gonna be talking all the way through it, so you'll understand what I'm talking about. And that's pretty much it. At the very end, I give you final words and final thoughts, and that is pretty much it. But let's get into this right now, and you can get drawing much, much better than you have ever drawn before. Let's get going 2. Supplies to Use: Alrighty. Let's go over really quick. Some of the art supplies that you can use. These are things that I recommend that you don't have to use this. And I'm gonna caption this by saying you can use anything you want. Uh, this lessons not contingent on what use, but that's why I recommend. So there's two kinds of pencils. Normally there's the h is and there's the bees. Right. That's the way to categorise. Drawing pencils. Drawing pencils tend not toe have racers. They just don't have him. They just kind usually come in a box set to job metal case. Like I said, you should h is arm or for kind of like architecture er and things of that sort. It's a little bit different type of drawing, and so we're not going to use that. Uh, but we're gonna uses the bees, right? I'm gonna use this four b pencil, the whole thing. And so it goes down from b two, b three, b four, b five b six B all the way, Like I think, eight or 90 and they get darker as they get higher in number. So I pick the four because a four has a nice range of like light to dark, and I feel like into an entire drawing with just a four b to bees are those things that you use in school, you know, with the yellow racers, That's actually a to be, uh, so it is. You can use anything you want, like I said, but I'm gonna use a four b. Um and I'm gonna use his pencil right here. So as far as the eraser goes, I tend to use either in kneaded eraser, which is a small, doughy kind of material. Or you can use just a regular white eraser, for example, on the back of like these mechanical pencils. They have this white eraser on the back, a times you can use a Stettler where they have just the entire like it's just an entire bar of a white eraser. That's kind of again up to you. But don't use a colored eraser. Don't use a pink eraser because that stains the paper on it makes it look very gross. And you want to get it out. Is fourth paper goes. I recommend using just 11 like this. This is literally printing paper. It's 8.5 by 11 printing paper. The reason I use that is because they come in gigantic stacks for, like, $2020 us, and that will last for six months. I mean, it's literally last me six months to a year, and this is of me actively drawing. And it's just great, you know, scratch paper or it's actually pretty good for, like, DC If you want some decent finished drawings, it's pretty. It stores pretty well and ages. Decently well is also if you want, uh, something different. You can also use 11 by 17 printing paper, and they call that the tabloid size paper also is the same. Paper is just a different size. That's 11 by 17 inches, and that will be also, I believe it comes in a gigantic stack very, very cheap in that last even longer. So I recommend that as well. I recommend you get both when you can. Maybe off the Internet, Uh, and then, if you want, like to do a family portrait or, you know, if you want to really save your drawings for years and years and years, you want to frame them. I would use Bristol Bristol paper. Bristol paper is essentially like a harder kind of card stock. You know, paper. It's just very high quality, and that will last if you want to hang it up. But if you do hang it up, don't hang it up by a window because the sun kills everything. The sun. Over time, we'll kill your drawing. I've seen a yellow out paper. I've seen it like fade drawings like I've seen it fade paintings. So don't put it by window. If you do hang it up on, that's pretty much it. My recommendation on tools. Let's move on to the next section on. We will talk Mawr about kind of the structure of what we're talking about. This is a kneaded eraser, by the way. I just found it kneaded erasers. A little doughy thing. All right, let's move on to the next section. 3. Structure of the Torso: Okay, so let's go over the how I construct a torso s a human torso. Usually almost always. You can think of it in many different ways. So when I think of rib cage, I almost always think of an egg shaped on the idea that is that it's kind of cut out in that way. Almost always. I think it's tour. So in that way, and because we're combining it with, you know, the actual Elvis, I think of the pelvis generally as a block, and that can change. You can think of it whatever way you want, but that's really the way I do. You can think of it as, uh, and kind of a kind of, ah, if your box you can think of the rib cage area as a box in connected Teoh. Maybe a cylinder. A lot of different ways you can think of it. I personally, though, always think of it like this. It's just easy for me. So you kind of you could pick. You can pick your own. You can pick your own, or you can kind of come up with your own shapes that you like. But I would say follow this shape, this is the easiest. And then, as you're getting used to it then follows, among other things. So the torso itself involves flexion, right? You're bending. That part of the body will dictate how fluid the rest of the body is. Eso when you're drawing like gesture the pose. And we're not gonna do that in this lesson. There will be an entire other one for that. When you have a gesture like so you have that rib cage, right? Listing of the rib cage and that pelvis falling into line with kind of the gesture of them that post I always think of again, this egg shaped with, you know, in line with square kind of boxy shape of the pelvis below that and an easier summation of that, if you want that even easier is I like doing the pillow method and pillow method essentially is Think of the body like think of the torso like a bendable pillow, right? Think of like the way a pillow works. So you have that pillow shape, and that would be again and short that rib cage right rib cage with Tell this I got a box for me So I'm gonna tell you something about this that no one ever really talks about in, um, lessons in drawing lessons, you need to get very, very good at drawing, uh, and understanding shapes in three D, and that's gonna help you immensely with this. So let me give you a very quick run through that, because that's what's gonna really help you here as well. So when I'm thinking of this pelvis shape bad, good, I'm looking at this very simplified shape from the top. The reason I know I'm looking at it from the top down is because I can see this. I could see the top of that square way tend to look at, You know, I'm tend to putting this in the perspective that you're looking at another person. And when you look at another person, you're looking down usually at the pelvis and the egg shape for the rib cage. That more or less is kind of like so. But you have to think of the wrapping around right of, for example, ribs themselves. You know, that kind of kind of shape that it's making you have to understand that in three D and the better you get at understanding three D The easier this shape I put, like, you know, obviously the spinal cord to kind of connect. But the easier this will be to draw, and actually, the easier all drawing will become when you learn to draw on three d. So kind of keep that in mind. And if you want a simple exercise to do that very, very simple, very simple. Start drawing these simple shapes. I would say Start with this fear and I don't mean like a circle. I mean a sphere, right? You're thinking of that rounded form, Draw a sphere. And then I would say, If you can rap lines around it like you're painting a line on an egg, both directions, you're taking slices out of it and the better you'll understand three D forms. And that's gonna help you in general, like especially with this and that's one exercise. So just start wrapping spears, maybe make some different spheres of different shapes and start wrapping them like you're drawing lines like imagine imaginary ant walking across. What would they walk across? Right, And that's gonna really help you understand. This forms, at least for this spherical forms. Four pelvis shapes start drawing actual cubes. You don't have to wrap them if you don't want, but just start during cues from different angles. Understand how this one we're looking at this one from underneath. Just start drawing a bunch of these. You can even actually use this as a warm up you can, I would say, if you have to start doing like 10 start drawing like to start out, Withdraw 10 cubes. Do attendees do 10 cubes? After that, they tend ball shapes you can. You can also wrap them around if you want. They're a lot easier and that every one of these is gonna bring your understanding much closer to to kind of understand ING form and three dimensions, bringing much closer than, uh than anything else, in my opinion. So, yeah, do a bunch of these do much of those You understand those 30 forms? Let's go back and recap really fast. I normally think of the torso as the rib cage. Obviously, the pelvis shape and I think of them isn't as an egg with essentially a box underneath it. That's what idea. I tend to use this when you can create your own shape. A. Do you know when you more understanding? When you do a bunch more, you just do whatever you want. Sometime people just gonna do a circle and then kind of a circle shape under that, you know, like a big circle. I like I said, I like the box shape. I think that looks more like pelvis, and I think the rib cage for sphere is just perfect for it. But that's pretty much Oh yeah, go there and then think of the body like a malleable pillow when it bends. That has a lot to do with this gesture. It's gonna bend really all over. The place is called jokester Contract Pasta. I believe. I think it's called counter Pasta called these Countering Shapes when you have, uh, essentially kind of, ah, shape right here like let's say, from the two arms and the like, you draw a line from one arm to the other arm, and they draw a line from one to the other. When they dio this when they counter shape, you know when they bend to the side, that makes it look more dynamic, like almost everything which more dynamic that way sometimes is not necessary. But it will make comic book pick up comic with poses and things like that really pop out more. But But I would say Think of it like a pillow that really simplifies all that down that route cage, you know, in the box, the pelvis. And it's like a pillow form. Uh, and that's pretty much it for this first lesson. Let's move on to the next one, okay? 4. Torso Artist Anatomy (Front): Oh, writing. Uh, let's go with the anatomy Really quick with the front, uh, of the front of the torso in general. And this anatomy I'm gonna go through and I break it down for Thea. Artist, you don't need to know everything about the internal organs or anything like that. Were you know, doctors were just going over the again Anatomy of General Adami. So let's go over starting with that egg shape, um, pelvis shape. He's gonna be on the waist up. So let's start with the pectore, Alice. And this could be about halfway down the rib cage. Peck is very big in the superhero world, right? You have the pectorals and that straps really down, cut toward the actual kind of armpit goes and there's a major and a minor for that. You don't have to really know that, but it's something If you want to push more Hector, Alice, Major and minor wrap around that ridge. I always see this in superhero movies was just our supergirl comics. They would always, always have and still do have, like, really big chest area general offer chest right here. You don't have to know this, but this is where the solar plexus, and this doesn't really have any muscle here. I know that they would teach you in martial arts to target that area because there's really no you can't build this area up. It's about right below pectore, Alice. Then let's go down below. This there is going to be especially the AB wall that goes all the way down to the growing area. Have all divided up into eight, four rows, thin one down here in the middle. And that could be a lot of the way some people develop it in different ways. I know, like if you look back at Arnold Schwarzenegger, I think he had, like, I think I think was a top to row. Remember? Wasn't as developed like that line between it. So it looks like one large ab, but especially Deepak here thing. The longest would be that lower portion. It was always done growing. Then, right here along the roadside, the rib cage. You have a couple of different things, really. You have the oblique, which is right here on this side. It's kind of your love handle area, the obliques, and that straps up. And what that hits. It hits around point over here, and that's called a saree. Dis muscles. Serena's they look like little fingers. You price seen this on a lot of superhero stuff. Serena's muscles around and they kind of wrap like again, kind of hugging around kind of the oblique area public in the story. This kind of do this like almost like fingers are doing and they can. You can't do that in general and then usually about four bumps and then over that you have entire layer, which is of the lattes, which is the Lotus Imus door side. But it's just like relax, and that's kind of the muscle, and it wraps around the top. It's a thin sheath of a muscle that wraps around. We'll see a lot better. Will we go over the back? But you can really see when people put their arms upward at an upward like usually, bodybuilders put it up. It's a big kind of wing like muscle that people have, and that is pretty much the only muscles you need to learn for the torso front. Obviously, there's stuff in the front that went over in the other video of you. If you need to see your arms. Go check that out. But there's the torso. There's front deltoid right here on the top. And then we can, you know, going toe like, you know, the bicep tricep and that stuff. I go over in another video, another video lesson. But we already went over that. Right now. This is just about the torso, and that is front torso. If you have any questions, let me know and I'm gonna answer every single one of them. But that's generally what there's Let's go over them really quick again. The pectorals major and minor right here. The pecs is really just the chest area. This is, uh, not a muscle. It's just a area called Theo. The solar plexus here that doesn't really build up. Uh, you have the abdominal wall with eight eighties eight abs. You have the obliques, which is essentially the love handles side of the waste, and that wraps up and ties into with his fingers, the serrated muscles. And you see, that was really cool people. And then on the outside, wrapping around, which gives it the kind of that bigness around the rib cage is the lats the Lets system. It's door side and the lattes are, you know, like a really, really big part of the picture, kind of wrapping over stuff. That's pretty much it. Let's move on to the back, and I'm gonna go over the back muscles really quick with you. 5. Torso Artist Anatomy (Back): All right, So let's go over the anatomy of the back. Just like in the previous one, we're gonna be going over just kind of general anatomy. Not so much doctors and Adam over, we need, you know, for artists. So let's start really quick with Theo egg of that rib cage in the square or a box shape of the publicist. So center line here and the shoulders over here, right off the bath. Very, very large muscles. The trip easiest, which wraps into the head. So a lot of that would be like when you see a big, muscular character, their shoulders, like you see these muscle that goes all the way into their from the back of their heads kind of thing to their shoulders. That's the trapezius muscle. It's more like a It's kind of a big diamond shape front here about midway down the rib cage . It stops here, and that actually raps over some other muscles that we're gonna talk about and that has a bit of a kind of an area where there's no muscle in the middle. Right here from Senate doesn't really have any notes in the middle here is bisexual on. Uh, let's, uh, keep going here. We have also Okay, then after that, you have to pay attention to the bones. Underneath the back is actually one of those areas. That's really hard for a lot of people. There's So you have the area of the shoulder blades Put them like So you have the shoulder blades in here, and then you have muscle rapping over that trapezius is one of those, uh, underneath the trapezius. You have actually the lattes that we talked about, the latest Imus door side again. That's a muscle that wraps superficially, like over on top of everything that's professionally but raps from the top lower half of that rib cage and it goes all the way down. So you have candles, Laughs right here. Then over here, you have, actually, and we're gonna talk about the arm right now. The shoulder you have the back rear deltoid and that kind of Bunches up, and it kind of almost overlaps the, uh, the trip easiest over here. I said that I talked about the arm kind of from this time because I felt I felt that was important. That and then in here, right here with the bottom of the the actual the bone of the scapula. Right, The shoulder blade. You're gonna have three muscles, and you don't really have to remember them. But you can just remember the scapula muscle group in this area. You really have to remember those which is just under the scab scapula muscle group. And then we're gonna have, ah, muscle underneath. It's called the wrong boy and that wraps, that's around. I believe it's around right here. It's underneath, though You're not really going to see it. You can cassia peeking out right here. A lump of them and dark shapes called the wrong boy and the wrong boy. If you've ever worked out, it's It's again, another muscle underneath that. Essentially, it's underneath like a lot of layering in the back, and I think that's why it kind of tends to turn people off and kind of very cuts freaks people out of it. So just kind of remember that area, and then way have the oblique again, this time from the behind you ve oblique area. Okay, so let's go over that month. Let's go over them all over again. Okay, Uh, we can start from underneath the top. So you're gonna have the shoulder blade, right? Scapula, they call it. That's the bone. On top of that, you will have. And let's go from lower layer toe up earlier, you will have a scapular muscle group right here. This right here, this area scapular muscle group peeking out right there. You have the wrong boy, which is a muscle underneath, but you're only going to see this little tiny triangle, right? That dark triangle over that, you're gonna have the Lotus Thomas door sign, which is the lats. They're gonna wrap all around here on top of the rib cage, lower portion of the rib cage right here and then above that, you're gonna have trip Easiest. And you're gonna hear about that all the time in working out. And that really shapes kind of how big your neck is really goes All weird. Here it comes to the bottom of the base of your skull base of your skull. And again, it's like a triangle next to your top your shoulders here and then all the way down midway through your back, it comes down. There's gonna be a space in between it's not gonna be completely one shape. It has to be, You know, this kind of kind of negative shape right here. And that's it for the back. Those with large, superficial muscles that you need to know for drawing. But that's all you need to know. All right, that's kind of it. Let's move on to the demonstration. I'm gonna demonstrate kind of drawing for you. 6. Demonstration of Process: All right, let's go over a drawing of the torso in motion. Let's go to the front of the back here. Draw right here. Egg shaped for the torso. Right here for the pelvis. Let's have this one kind of turning to the left with the arm up over here. So I'm gonna be thinking about I gotta tell you everything I'm thinking. Think of that egg shape and pulling down. So we're looking at from the side view, and I'm gonna be thinking about the chest. Turned that way to the left. I'm thinking about the three D that the concept that I spoke about. So I'm thinking about Merhi talks about how an object wraps around like it was an imaginary ant crawling along an egg. That's the way I'm thinking about the pectore, Alice. Right now I'm thinking about the way wraps around this egg shaped so the far side peck could be on this side. So it's not gonna be visible to us as well as the peck on our side. Deltoid in here like a draw. The arm, that cell phone. Just deltoid because it wraps in there. Right here. We have the arm lifted So because of that deltoids, start the picture, Alice. It's gonna move up a little bit of frustration where it's coming from. Ties into the actual it actually attacks is into the arm there. Only drive the upper portion of the arm. I guess I'll drive the lower a little bit of the lower portion of the arm just to show you . But where you keep it, there were going over here to the latte flat. Also, stress from the arm is gonna make the back a little bit of larger looking or hear rap into the rib cage pulled down here. Gonna shrink the rib cage just a little bit, as I'm adjusting it right here. The rib cage has a little bit of an opening, of course, Down right here. Pulling backs. I am finding that rib cage in the actual anatomy. Your first, and that pulls down into the oblique area. Sorry, Not oblique sorry into the abdominal wall, which is going right here. And then on the far side right here. I'm starting the oblique ready or finding the rest of the abdominal wall, thinking of it as a simple shape. It's got this long, simple shape. Thinking in simple shapes is got to be the easiest way to go with everything. I'm putting the trip easiest to the neck back here a little bit. Uh, let's find you a bleak again. I'm gonna find that right here where the Saray tous starts to appear somewhere. I said the oblique straps up right here, and it has these almost finger holds for the Serena's gonna kind of interlaced there, and it's gonna have a little bit of, ah, layer for the actual latte that it's gonna it's gonna roll into, but the rest of the neck over here on top, I feel bleak. All right, so let's go into some shading here a little bit. So there's gonna be this why? I said it's really important to think into reading. You're gonna have the armpit shape right here, which is kind of this negative. This importunate is really not a lot of muscle going up, so I'm gonna put that put value into that. Actually, uh, I'm gonna put a little bit of value right here to show vector Alice again, throwing in some of these values to actually kind of show some illustrations in the muscle . And I forgot to divide, actually right here, the abdominal wall. So if I'm looking at this, I want the abdominal wall to also be in line with the direction of see how the see if I angle this the picture. Alice is kind of like this in a line. I'm gonna line this as well. The line of the abs as well. A little bit of ah value right here to show kind of a rib cage itself was kind of peeking through because the bone is a little kind of peeking through, but not not a ton. But it is with the shape of of the bone right here again. River. The solar plexus kind of area right below the rib cage. All right, I'm gonna put a little bit of valley right here on the by. Simple that were not really talked with. These videos are best viewed, you know, watching the entire body. So I break up the entire body into different segments, started in two different programs. So if you if you want to see, like, the arms, the legs, uh, the hands, the feet, there's programs for all of those. So go check all those out with units and unison and do that. And right here, let's go down the oblique. Some value right here over the whole thing to kind of bringing together a little bit. I didn't put the far side arm, of course, a little bit of it put the top. This is the far side. Uh, it's not the arm. It's It's the top of the arm, the deltoid, Just the far side of show. What's going on again for the split of the deltoid? And we keep that going, like all day. But let's move on to oppose from the back. So it's just like that disfigured torso here, but like a little bit of a semblance of a head over here, Let's go into the back, all right, so the back he's like I said a lot more intricate. It's, ah, a lot more going up because there's so much overlapping. So I'm gonna go over here, find the shoulder blade, shoulder to shoulder, try not to run into my the drawing, but it probably will centerline of this egg shape. Think of the center line of the back, finding that shoulder blade and arms to beat up some fun as shoulder blade. It's gonna be a little bit upward, okay? And let's find the back of the neck first. Strapping down the back of the neck to the trapezius finding were that attach is over here along the shoulder, and I actually see the top of the shoulder this time, and peace is gonna go down to the mid way back. This side over here is a little blocked off because I'm running to my own drawing. Forgive me. Downward facing a latte over here going into the oblique. Let me. I'm sorry about my my computers, like literally making noise right here. Top of the deltoid built would split up in the three, but just trying to find that correctly. It's that. And then the scapular muscles, which are right here in that little quadrant, talked about soon as you can see, those flex a lot mawr in certain angles. It just kind of kind of just depends. Let's put a split in those muscle, right? That muscle group, Ron Boyd right there sticking out. And then it's gonna go right here into the latte, and the lab is going to pull down into the waste, and you can see the front of the abdomen actually over here a little bit. But right here, that's gonna pull down and you're going to see the oblique right here. I think the arm the deltoids a little too big, so I'm gonna actually change that a bit. All right, let's pull that in. And let's, uh, go into kind of shaping out the muscle right here. So, like I said, there's a negative shape normally around here, it was like a diamond negative shape, people. There's a diamond shaped here and we're gonna throw some value right here under the deltoid . And normally you would see the tricep cultural draw a little bit of a little bit of value from this portion of the trip. Easiest. I'm gonna draw this part of trapezius a little bit bigger because we also taking out the neck as well. So this is about the time. I think most beginners tend to be like, Oh my God, what's going on? Like what about like in their own drawing. But with your own drawing, when you're in this place, you have to just be, you know, controlled and calm and kind of navigate through it. I mean, for the most part, because at one point you will have a drawing. And it's just there's a lot of moving parts you have to kind of go through and, you know, clean stuff up your patient. Um, it comes through not every time, of course, if you're learning, but it will come through more times than not so back. Uh, here, we're going over here. We're gonna put in some registrations of the LAT to shine a show direction, and then I'm gonna go into the actual right here trapezius putting in a couple of little things of value to make that shape pop out more little value here to show it's kind of a little bit. There's kind of a little of a change of muscular musculature Also throwing in essentially some value here and listen on some value right here. Some direction lines to show the direction of the op, the far side laugh four side deltoid and drawing falling down into the oblique area Far side oblique. And I could throw some more down here is well, because we're thinking this like a like an egg, right? So you think is like in Hague. There's gonna be some value down here at the bottom, especially at the lower back where rolls down into the back. So I'm just gonna throw a little bit of value down here as well. And that's pretty much it for this demonstration. This is the back, uh, are the pit of the back as well is very important. Sometimes what you're doing is you're fighting shape of a bone with the shape of the muscle , right? Because it's gonna be a combination. I'll draw the back of the back of the, uh, try some of their four side. I mean, let me let me draw this right here. Just so I drove over. Just cause is in the front, so that makes more sense. Right there. That is it. Thank you. Oops. I didn't put the, uh oops. I forgot the actual far side scapular muscles right here. And Ron Boyd on it is pretty much on that side as well. The wrong boy. That's pretty much it. Thank you for following this lesson. Let's move on to the next video. I'm gonna can go over my thoughts on what's going on 7. Final Art Advice: So that's it. Thank you so much for making it all the way to the end. And I want to thank you for getting to the end of the program. Uh, what I want you to do is I want you to practice the torso and post it when you post it, You're gonna in grain in your mind. And the more you ingrate in your mind, the easier it gets were not like machines. So the idea of learning something, you know, seeing it once through and kind of doing it once, that's not really gonna get it into your mind. And it's not really gonna get to your hand. And you're not really gonna in grain it unless you practice. So practice is the most important thing. What I tend to do is look at programs. Uh, and I practice it and then I go back and re watch the program after I practice it a good amount of time and you tend to see the program in a different way. So you kind of see it as a beginner, intermediate and later on its advanced. You see different things within the program, so I hope you can do that. Post it in the homework section in the project section, and I'm gonna critique, and I'm gonna look at every single post. Thank you so much. And I will see you in the next year.