How to Draw the Human Figure | Anime and Manga

1. Class Trailer: Hey, I'm Dido. And in this class I will introduce you to successfully drawing the human figure. I'll be giving you a ton of super available information from the basic stuff like understanding the head as a tool to more advance, like how to construct a figure from scratch. If you've already tried to draw the human figure and you want to learn how to do it without relying on reference. I know you probably feel there needs to be more than just copying it. So you will learn the proper mindset, understanding how to break it down to master proportion. The flow of the leaves. Great posing to make your characters look alive. You don't have to know anything about the subject, but some experience on simple drawing is required. However, Alvin, your best alive, showing you the do's and don'ts smoothly guiding you to these complex topic. The same principle stopped can be applied to any art style. So even if you're not a fan of any May and manga, these class will teach you a lot. The goal of the class is to get you from 0 knowledge, to be able to grow your own characters from memory in a natural, thoughtful, and skillful way. So what are you waiting for it? Go get your pencil and let's get started. 2. Welcome!: All right guys, before I started in the class, thank you so much for having taken in this class is going to be a little bit challenging. You have to pay a lot of attention and try to stay focus. Take this class at your own pace. There's going to be a lot of information you need to properly digest. So do not rush, take note, revisit what do you need in practice it until you know the presented clicked on you to the point you can also replicate it. My advice is to take from one to a maximum of two video lessons per day and practice each as much as you need. I do not recommend for this class any student to watch too many videos at once without practicing any of the concepts shown on them. 3. Intro to Proportion: We're about to be introduced to the world of drawing the human figure for any artist that desires to create its own characters and worlds. So everyone has it's own way to approach the human figure. And you can find all kinds of different approaches from all different features. These approaches specifically focuses on giving you an introduction to these very complex subject. So somewhere dislike to think about the gesture. Some others like to think about perspective. Some others like to think about the mechanics. And all of those things are very important. However, I want to give you what I think is the most important before jumping straight to that, to understand all the complexity of the human failure in very simple terms. And to know that there are certain measures and then there are certain proportions that should be respected. And that we should be conscious about them. Because when we are conscious about something, we can always make it part of our work. Intuition is something very good, but it needs to be shaped to the intellect. And this is why measuring and proportion is such an important aspect of how to draw the human figure. If you don't have control over this, all of your human figures are going to look always off to you. Because on the real world, we always perceive the human figure with a specific measures. It's not like one day you have a certain height and the other one just suddenly you have different proportions on your body. The body proportions need to keep consistent. So without further ado, let's begin with the first thing that I want you to learn, which is how to see the human head and how to take measurements to base yourself to draw the human figure properly. Alright, please start the class by drawing us. I draw. The first measure that I will like you to know. The easiest one is the height of the head, which corresponds to all of the extension from the top to the chin. And I'm going to simply be representing this with the number 12 letters. The first one H in uppercase, or as a capital, and the second one another h. But in lowercase, this means head height. Then if we divide the overall height of the head, we have another two new measures. And this is what we are going to be calling how fur hat and is going to be represented as shown on the screen. One is slash to follow it by capital H and lowercase h. Again, it means how far ahead height. So if we divide the head into two even parts for obvious reasons, we'll get to exact measures. Now, if we take that measure and we divide it also into even parts, we will have a quarter of a head high. So every time I am refereeing to these measure, always think about the head. And they even small fraction, which if we sum four times, will give us all of the head height. Great. So now let's see it right in the opposite, which is the width. So if I'm referring to one head with it takes place on all of the space that goes from side to side of the head. If I'm referring to how far ahead it means to divide the head exactly into two parts, basing ourselves. So same as the previous for obvious reasons. If we divide evenly even measures which are half a headwind. And the last measure, Carter had width, which is the result of dividing the head into four parts. Okay, so now let's apply this with all of the details of an actual drawing. If you want to learn more about how to draw the face, don't forget to check this class on this subject. Okay, so having the head and the face, I'm signaling in here simply how you should consider one head height, okay? If I divide into two parts, then we have half a head height. And if we divide this new measure into two parts, two, we have a quarter of a head height. Very simple. Now let's do it with a width from side to side of the head in a horizontal manner. We have one head width. If we divide this evenly, we get a new measure. How far ahead width? And again, if we divide this measure evenly, We have a new measure, which is a quarter of a head with these may look pretty simple right now, but is of such importance that you should have it cleared because is what is going to be a foundation for allowing ourselves to properly draw the human figure with the correct measures and correct proportion. 4. Constructing it - Trunk: Alright guys. Now, based on the previous video, we're going to reply, Why do we have learned as a first step for opening, the next steps that we're going to take for now, constructing the human figure. See home doing it here with blue color. So based on that, let's place now the neck. So for dynamic height is very simple. We just need to take one forward head height as a measure and then extend it to not divert all height where the neck attaches to the torso. And so we just need to divide this 1 fourth head, hide this base into two even part. And on the first part, we're going to locate the tubular neck. After that, we're going to now take the width where the neck is going to be placed. And so we do it by calculating one fort or a quarter of a head width. This measure is usually just twice a width of an ear. So knowing that extension, we're going to place two diagonal lines that go outwards. Or we are going to be a resembling the trapezius muscles, which are the ones that are going to be at that chin to the torso. Great, very simple. This leads us to know that all of the extension or width of the trapezius muscle isn't equivalent to one half and half width because we're not considering the extension that there is between the overall head under two quarters that both some half a headwind. Okay. Now let's just start with the chest. The first part of the dorsal. We're going to consider the middle height of this part, which is simply one hit hide in a coder head height, or 1 fourth of a head height. All right, I'm going to be alternating between this towards so know beforehand that both are referenced to the same thing. A quarter had hide or a quarter had width and one Ford had hide or 1 fourth head width. There are both the same. So then we just proceed to close or rectangle. Great. This rectangle represents the common proportions that we all have from the dorsal, especially where the ribcage is located. So now what we're going to do is just to complete the neck. And to do so, we can simply replicate this half of a one-quarter of a head height and closing it with just two diagonal lines that are going inwards. And there we can intuitively place to very elongated rectangles. Please try to make them psi metric. And whether they're going to be represented is an, a very simplified way. They call our bones or the clavicles. Alright. So let's just stop for a little bit in here. I want you to think about all of these media lesson as the first step to be introduced to how to construct the human figure. Alright? This is because I want you to now start being aware of what are the measures of everything. As a starting point, we need to learn how to construct in a very technical way. But the more you do this, the more you practice this, the more intuitive this becomes, the less measures you will have to be constantly placing. Alright? So don't be afraid of approaching drawing from these very logic and geometric point of view. Because this is two service to understand and to learn into practice. Not to be the ultimate way you will always have to recall to draw. Alright? So the more you practice this, the more you're going to be able to draw without having to draw all of these kind of guidelines. This is just for you to storage all of this information inside of your brain so you can keep on making your drawings to look consistent. And two, don't have the necessity to V, observing every time you're drawing. What I want you to achieve is to be a good draftsman without having to take a look every time on a reference, but to rely on your own knowledge and be your own experience. Great. Getting back to the construction, we're now going to place two simple circles that are going to help us do now destruction of the arm, which starts with the shoulder. So by taking the measure of one-quarter of a head width and replicating it, we get half a headwind. And so by extending this measure to create based on that for even parts to create a square, we're going to place a circle. Notice that half of this circle is right inside of the torso. Okay? This is very important because the shoulder is very well attached or chest. So always remember that this shape, which resembles the shoulder, goes half in the middle of the torso and half outside the torso. Okay. Then what you're going to do is based on that new extension that we have thanks to her shoulders. We're going to put it together to the edges that are at the end of the torso, right in the bottom. And we're going to be close in it. 5. Constructing it - Arms: Next, we're gonna fill this structure with the inside details, which are the chest and part of the shape that the ribcage displays. To do it, we just consider all of the extension that there isn't all of the height of this part of the torso. And we're going to divide it into two even parts. After that, we're going to place intuitively to a small fractions similar of 1 eighth of a head height, which corresponds to the half of a quarter of a head height. From there, one above and one below. On the above one, we are going to place the bone that attaches the ribcage with the clavicles and where the chest muscles are going to be attaching. Don't worry about anatomy at this time. On this class, we're mostly seeing all of the landmarks and most important parts in a very simplified way. Anatomy will come later. After that, on the remaining distance that we calculated on the bottom, you can copy this shape, which is how I like to consider how the ribcage displays. Based on this width, which is one head and a half head width. We can just easily place the height of the belly. Bean these just half a head height. We close it by drawing a rectangle, simple shape. And we're going to remember that right in the middle of this is where you're going to find the belly bottom. We take again and replicate the previous same height, just half a head height. Then we intuitively place two diagonal lines that go outwards. And we're going to close it to create the shape where we're going to place later. The crutch, the end of the torso. Very simple. For this part of the crutch where the pelvis is located. You can just intuitively place by copying this shape that I'm making here, how it displays in the human figure. So by considering the pelvis where the ribcage lines we drew before, we can link them together, giving us the abdominal area. This is how we conclude the torso. Just remembered that the diagonal lines that are in the pelvis area should be present. They're not as straight as the previous lines where we place the valley, but they are going outwards. Let's go with how to draw both arms and the hands. Now, for the arm, the general width is half a head width. And the extension that it takes, if we are not considering the shoulder, It's usually of a head height. There we can simply place a very elongated rectangle. We can do it symmetrically on both sides. Now, for the forearm, it goes almost the same. We start with half a head width. We extend lines of one head height. But this time we're not going to make the other side of the rectangle evenly. This kind of shape results from considering just a fraction of half a head width. I would say that this fraction, it is very similar to two-thirds from this measure. But you can just go ahead and place it intuitively. Here. I'm going to draw it better. You can have a better grasp on how this shape works. Now I just proceed to small ovals, which are a way to display the structure of how both parts of the arm are articulated. Great, Now let's go with a hint. Okay, so if we take in consideration one head height as our starting point, we can calculate three-quarters of a head height by dividing this measure into four even parts. This is what we're going to use to draw proportion at hand. For the extension of the width of the hint. We can use an estimated measure because the HENI support that has such gesture and a lot of mechanics and movement that we can only try to intuitively calculate this measure just depending on each of the abuse that they hand displays and having a steel hint. So for that, I will say that a bit more of half a head width is where it will serve as, try to intuitively draw it by seeing how I place this measure on screen. Just follow yourself by copying what is being shown on this screen. You can check on this subject, another class apart on only the subjects soon. 6. Constructing it - Lower Body: We just proceed to the other hand, by mirroring what we just did on the other side. Something good to know when you're drawing the hint in a frontal view that displays the palm, is that the thumb usually goes opposite to the pelvis. So that way you can guide yourself that no matter which hand you're drawing, if they're left one or the right one, the thumb is always going to be opposite, again from the pelvis. And that's it. Now let's go with the rest of the body is starting with the remaining limbs. For drawing the leg. If we start with the tight, the usual measure that you can use is three quarters of a head width. This one comes from dividing the window width of the head into four even parts in just taken three of them. This width Canberra. Sometimes you can use a complete head width for drawing the leg. It just depends on the kind of body that you wish to draw. If you want to draw a very skinny or a slim body, or a more muscle one. Now considering one head height, we're going to extend two lines to create this kind of shape. After that. Notice how this shape closes a little bit narrower from what it started. No need to measure it right now. Just try to make it intuitive. And from there we're going to draw another shape that will complete the upper part of the leg closing with the nice. And this one will have half a head height extending and closing also narrower to a width of around a half a head width. Alright, so as I said before, in this part is where the needs are located. So we're going to represent the nice with just a simple oval. But these are wall is not going to be located right in the middle of this shape. Seen here that if I were to draw the oval of the right leg, it moves towards the inside part of the leg. And it applies for both ovals. Now for drawing the remaining parts of the legs, let's divide it into two simple parts. So draw this shape very similar to an inflated tube. This is what corresponds to the cuffs. It also has one head height closest on around half a head width. From there, we base ourselves another one hit height to the placement of these last parts. Here we draw two is slightly thinner tubes to the extension of around two-thirds of one head height. And from there we draw the feet. Thinking of the height of the feet as 1 third of one head height. Notice how the extension only covers to the hills. And from there, it goes to your intuition. And seeing here how the feet are very simplified and are broken down into two very pyramid-like shapes. Don't worry at this stage, another class on the basics of how to rather feed is on the works. Alright, the ankles are basically placed on the joints of the feet. And the previous tube we just drew. Something very important to notice in here is that the ankles placement create altogether these kind of triangular shape. Being the ankles that are towards the inside of the legs higher than the other ones that are on the opposite edge. The ankles that go outwards vertically display of themselves. Sometimes they're not even be visible. For the feet, same as the hand. It has its own logic and its own gestures and proportions depending on the angle on the pose. We're just going to intuitively place an estimated measure of three-quarters ahead width, which is going to help us to have a guide to draw them. All right, that's it for this part of the class. Now you know how to construct the body. Understanding all of the different structures that it has. And acknowledging that each of the parts have its own measure, which is going to serve as, as artists to have control over the human figures that from now on we are going to be drawing. Being able to rock consists in human figures and to recall them from our imagination without having the need to look to any reference. 7. Simplicity and General Gesture: I know that we have learned a lot of information for learning how to draw the human figure, the banana, and how we break down each of the farms in this structure, we may result with a lot of information to grasp, especially on these method that app development that I want you to learn. So a great way to dumb loose yourself between a lot of ddo and a lot of information is to try to find the simplicity on the riddled the structure of the figure. So let's quickly draw it again. Paying attention to the measures and their proportions we already learned. But these time pay special attention to the tree main masses that I want you to always seek and keep in mind every time so you don't get lost into the detail. But you know, on general terms, how to consider things in a very simple way. We know that the measure of this head is one head height. If we divide it, we have, how, if I had had and if we also divide these health, we have one carted off my head high. After that. We remember that the distance up the chain to the torso where the neck is located, if only one-quarter of a head height. And in there we draw the dorsal and the first part of the dorsal, which corresponds to the ribcage. We go with a rectangle shape, which we know that its length, its one head height, and one-quarter of a head height. Noticing here how I'm drawing the valley in, how I drew than neck on a different tone. If we compare them, how I drew the head and the ribcage and sauce, I'm not drawing it on the pelvis, these tree or the main masses that you should always think about when learning to draw the human figure. Right now we're not thinking about three-dimensionality, but as structure and proportion. But even when you are drawing the human figure and a lot of different Bozeman and gesture. It is wise to always think about only these three shapes. If we learn to train our eye to look for the simplicity, the rest is always going to be just detail. I'm very aware that all of the lamps are also as important as the door so it goes, they are also part of the human figure. But you know, when you train your eye to see, to perceive it this way, the main bowls and gesture and mechanics of the body composed by the head, the ribcage, and the pelvis. Or What are always going to dictate the nature of the pose given by the rest of the body. Ok, now considering these three main masses, or in this case, shapes, let's review how the leaves work. The human figure can have a lot of different gesture. We have a lot of articulations or joins that can give us a lot of different motion and a lot of different Boesen. Even on a rest in the state, are usually tend to have a certain kind of gesture that it is important to pay attention to. Especially if we want to make or drawings to look natural, to look alive and not as stiff. So in a very general sense, this is how you should think about it, is starting from the shoulder to the hand, I have three different lines. And on each line, each one represents a different grids and see how each read him has a different degree or angle which goes inwards. So we see that from the shoulder to the middle of the arm, we have one tilt. And from that needle to the wrist, we have a slightly another tilt. And from the wrist to the knuckles and the fingers articulations. Notice how this remains true. There are all these slyly turning inward. And it works pretty similar for the leg starting from the pelvis to the knee and from the need to the ankles, we can see a certain read him. It is not going as straight ahead like a very rigid tube by their flesh and bone, half and slightly but very visible great hymn that goes inwards. It is a great idea to look to our own bodies as a way to understand the human figure. A great exercise is you to find a mirror and look at yourself how each of your limbs are working altogether. And it works the same for both ways. Both of our limbs are mirroring one each other. Great. This may be obvious for some people, but I want you to see in a very visual way what is right and not to say wrong because it is all subjective and depends on the context. By the way, I don't want you to do on V6 stage of your learning process. So if we were to quickly to run a new human figure, the limbs shooting go Joseph, straight ahead to the bottom. They should have these flow and gesture. Alright? And the same goes for the opposite way. We know that we have a general and inserting gesture and our limbs, but do not ever make it. Alright. Please make sure you've done exaggerate too much of this curvatures. Because if you do it, this can be a factor of a stylizing the human figure. Some artists tend to exaggerate them a little bit more than usual, but be very careful when trying to play with this. We need to know and learn how to play with the main rule before trying to jump to something different. So I wouldn't recommend you to think about the human figure lamps as these exaggerated. Focus on practicing them and considering them in these first way we just learned. In the last part of this video lesson, I want to give you some tips into easier ways to approach it. All right, deep Number one, these human figure approach where learning is based on understanding the human figure with seven heads height. Ok? So a good way to understand this is to know that there are three head height and how for head height from the top of the head to the end of the bell bees are the crotch. And from there to the heels on the feet, we have the same exact measure. So every time you want to draw human figure, it is a great idea to remember that from the head to the end of the torso, we have the same measure that from there to our feet. All right, the second tip to find your way successfully through all of this complexity is to know that right in the middle of the joint where the elbow ways there is a certain diagonal that connects with the valley bottom and that usually on most of the bodies, also aligns to rightwards. The upper part of the torso were the ribcage is located here, drawn and represent that with green color is visible and less steep for knowing also the extension of the forearm in rightward the hand is starts is a great idea to find the relationship between the crotch or the end of the BLOBs. Today sparked on muscle of the bodies will find this relationship. So every time you're placing your hands, remember that they are in a line to the end of the pelvis. And it is important to know that all of the previous videos on previous explanation applies, especially to a human figure that goes with a head ratio of seven heads height. So there are a lot of different body types and a lot of different head ratios. And this can variety depending on the person and depending on the age of the person. But it can go from foreheads, hide, to even eggheads height, so on art, this is a method to understand the proportion of the body and to break down the figure so we can make it better to understand. And so to represent it. Please remember that all of this goes directly applied to seven head figure ratio, which is the most common that we can see from teenagers to adults. Around the seven heads are seven heads and a half. 8. Inside Structure and Detail: So far, we have learned how to consider the head for measuring all of the proportions of the body. We have seen how to construct a body. And we have also learn with all of its parts on the right proportion, we have learned the things that we must pay attention to lead may look obvious, but when constructing the body are not. And we have learned also how the general gesture of the body limbs work altogether. Finishing with a couple of tips on the relationships of the parts of the body for making the process of understanding it and drawing it easier. Now, we're going to put together all of that knowledge. And we are going to draw my constructing all of the human figure. This time. We don't have enough to make the evident measured by just trying to calculate it intuitively. Please remember that you should be following me the whole time. Drawing this same as a draw. If you don't draw, your skill 1B developed. Alright, so as I said before, I'm going to draw this time with us show in evident measuring. But I'm going to be thinking the whole time on all of the different proportions we just learned. Please try to do it even if it feels a bit challenging. This is the starting point of a practice that will help you develop the needed intuition for drawing the human figure. Just trust the process. Allow yourself to go with the pencil and correct yourself as much as you need. Not be afraid of making mistakes. Because when you already know the measures, mistakes are only going to tell you just what to improve. And that's so much better than not knowing what you should be addressing to get better. So I start drawing the head, hiding the ears. I proceed to make the rectangle that is the base for us drawing the whole torso, especially the ribcage area. I have the chest that links to the shoulders. And then this shape that shows how the ribcage, this place on this surface. After that, I had the arms and the rest of the torso for drawing the hands. As you have seen on the previous video lessons of the class, different than the first video lesson where you watch how they were if the figures bombs were opened. We're going to try now more relaxed pose for the hand. And so please pay attention to the way the hands are built. Right now, just focus on copying them. And I'm trying to memorize this view. We're not going to be diving too deep into this topic. Another class full on this is going to be covering everything in better detail. So right now we are mostly focusing on how to construct the human figure. Alright, so we continue with the legs, sending down to the knees and pay special attention hearing the legs. How did general gesture? We watch on the previous video lesson of this class is being applied. We keep on drawing, extending down today ankles to end up with finally the feet. All right, the whole time. Remember that it is a great idea to consider the tree main masses of the human figure, the head, the ribcage, and the pelvis. Knowing that also check how the general gesture we also understood in the previous video lesson is also working on this body. See how in here with black pencil, I'm signaling on top of each of the limbs. And we're gonna make more evident if we were to not apply these land, redeem the lex, and see the difference between the left and the right. Now for this part, there is some other shapes that I want you to keep in mind that are going to help us to understand the body batter. And so now that we know how to construct the human figure in general terms, we can think about them. They're as important as everything else we just learn. But on this class they have been put it in a way they'd, they were an overwhelming at first. So we do not understand them. So it's starting with the neck. Here you can find a very simplified way to break down the neck and its muscles. Right now, just focus on copying them and on memorizing how they work. Anatomy classes are also a very important matter, but there are not going to be touched on this specific class. We're focusing on how to draw and construct a human figure. Very general terms. And now for drawing the shoulders, see how this shapes are working together. It starting from the chest and where the clavicles art and extending down to V, very close to where the end of the chest is. Or the factorials are. Now from the beginning on the legs, right on the Belle-V is, we're going to place this diagonal line that flows down to the shape where Denise, and it shouldn't start. I'm signaling hearing blue color right from this distance. Somehow in the middle of the space that there is between the Belbin is on the edge of the leg that goes outwards the body. For the knee, if we consider a bit more of detail inside the O that represents it, we can place another two circles. And they're the result of considering the two bones that are working together to connect the upper part and the lower part of the lamp. If you look to your name, you will find that the it's counter is very visible. And from there we're going to go to the ankle that goes inwards, the lex. And these bone resembles how one of the bones of the leg this place on this surface. And that's it. Now see how I'm here. I'm going to check on all of the different proportions that I didn't make evident at first. But then I, we're always considering so as starting with one head height and one hand width. After that, considering one hand and a half head width, chest and one hand hide and one-quarter head height. Going down, we'd have a head height for the valley and unlearn how far ahead hat for the pelvis. We keep on going down. Remembering that the measured from the Belle-V is to the shape that resembles the knee. So one head height. How if I had had the shape that resembles the caliph is one head height. And the shape that goes down to complete the whole figure to their feet and other head height. For the width of the leg. Remember that it can go from three-quarters if I had with two even one head with them for the shape word that me is located, we have how far ahead with and it works pretty similar to the end of the cuff. Almost half ahead width. And on the last part, the width of the feet. We also tried to same as we did with the hands. Calculated intuitively, which can fluctuate from tree corridors have had width to one head width, also same as the hand. Don't worry about the feed right now. Another class full and the topic is going to be available. Just focus on copying these shapes. Now, let's go with the remaining measure of the width. The vo with from shoulder to shoulder goes around to head width. This is the general rule. It is what usually goes. Some people, depending on their complexity, which may be a skinnier or slimmer, could have one head and a half head width and some others, if more musical or two heads width and a half head width. For the arm. We have the height of the shoulder from around one-quarter of a head height. And the height of one hit Hide. The extension or width of the arm on around how far ahead of width? And the same for the shoulder. Another half a headwind. For the Ford arm. One head height. I'm for the wrist. Remember it narrows down to around these fraction of how far had for width. And so I keep on signalling all of the measures I can see there, even if they were not obvious at first. Just remember that it is super important to always consider each of the measures of the hallway structure of the human figure. They should then be placed randomly. If you don't want to get super technical. As I said in the beginning of this video, tried to go as intuitively as possible and don't be afraid of making mistakes. Just every time you find something looks off, go yourself and check on the measure and correct it as much as you need. Over time and experience and practice. You will start to get better at drawing the human figure without having to measure the whole time. Making it look balance and proportion. 9. Common Mistakes: All right guys, having understood the previous, we're now going to check the most common mistakes that we all tend to make. Once we have just learned all of the previous information. I know that all of the human figure has a lot of structure and a lot of different body parts. When drawing the circles that resembled the shoulders, it is key to always run them inside. If you are going to draw them outside, the extension and width of the dorsal is going to be very off. It is not very obvious when learning, but the shoulder and the arms are coming from the inside of the torso, not from the outside. You also need to think about the arm that comes from the shoulder as something that has a certain tilt. These certain deal should be reflected. And a great way to think about it when drawing it, is to know that there is a negative space of a triangle from the arm to the torso. So as a quick resume, the shoulder goes at that writing the health to the torso. From the shoulder we have our arms, which are not going as straight ahead in a vertical position, but we'd have various like Tilton. In this tilting creates a very slide triangle that we can use to guide ourselves right between the arm and the dorsal. Ok now for drawing the details of the chest, for the bone that attaches the clavicles today, chest, which goes right in the middle of the torso. We should pay a special attention to these measures we just learned on the previous video lesson. So if we add a bit of contrast in here, the end of the chest shouldn't be aligned to the first measured that we got, which is above. And we indicated here in blue colour. And neither we should align the chest to the one that is below. Or even worst. Passing this measure, we should think about the chest going right in the middle of all of the upper part of the torso were the ribcage is located. And so these bone aligns to the first line of the first measure, right above the middle of the ribcage where the end of the chest should be located. Knowing this, now we just plays the rest of the details of the ribcage, how we'd usually displays on this surface, which aligns to the bottom line that we have right below the center of all of these measure here in blue color. All right, now for the Belle-V is, it is important in here to always remember that it is not to the same extension on the width as the Belize. We should think about this as something that goes outwards because in here is where the legs are going to be born and where they are going to be at that chin, that bell B's. So always remember that there is a certain degree in there and that you should respect it there for drawing the pelvis is pretty common to confuse this because depending on your experience, it is highly likely that you have seen a lot of different approaches and drawing the human figure. And so many art does usually drawing this part something that is very similar to underwear. So please pay attention to this. Here we're trying to draw with this simplified lines the human figure as it is. And so don't think about these as on there where if you want to draw down there where you can do it on top, but knowing what is underneath. And now for the last part of this video lesson, remember in the previous videos where I told you that the measures are very important because it is what he's going to help us to keep on growing the human figure consistently. So here we have a better example of it. If we wouldn't have control over them, we will find ourselves making a lot of very silly mistakes. And this is pretty normal and pretty common if you're a beginner over exaggerating it in here. So you have more clarity on what I'm trying to explain. If we don't know which measured goes on which part of the overall body structure. It is always going to be super likely that we are going to make these kinds of mistakes. Where lamps and our torso and all of the different body parts are always going to look very off. So focus yourself on, please remember in the measures, they are going to be your best ally. Every time you'll want to draw you construct the body or the human figure from your imagination. And we now have into Luke to any reference. 10. Line Rhythms and Organic Shape: Wow, I'm really impress your steel here. You really want to become better at drawing dungeon. Remember, we're exploring an introduction to the human figure. And as a base, we were just starting with the male form, the male body type. We will explore the female figure and another class. It is better to separate them both to don't create confusion at these beginner stage. Cool. So what we're going to do now is we're going to be covering and applying all of the previously learned, but this time all at once. And I'm gonna be giving you a more whole approach where I will also be including different counters to make the figure look more accurate. So I start by drawing the head. Again. If you haven't watched the class on drawing the head, you can always go back to it and gain more confidence for drawing your human figures. But if you don't want to, it's not a Mosque. Having drawn behead, I started now by drawing the neck. And so applying the geometric shapes that are reassembling the part where the ribcage is going to be located in the shoulders and the clavicles. So this time I'm applying the detail of all of the structure we previously learned. You can see in here the simplified shapes of the neck going down to the pectoralis and the ribcage part, which displays on the surface. After that, I add this shoulder shape, just like we watch in the previous demonstration, are in the arms hiding the valley. The rest of the trunk wood, the crotch, and now the forearms. Alright, you can see in here that even if not obvious, I'm thinking the whole time on each of the proportions we previously learned. Also, I'm thinking about a more organic flow. When it comes about the contours. I'm not attaching to march to what the geometric shapes word, but instead, I'm thinking about them, allowing them to be a guide for me to help better and more accurate counters, which resemble more how the human figure actually displays. So remember when I said that they shouldn't be the step-by-step process, but a method to study. In here we can see the results. Now I'm drawing the legs are in all of the details of the structure we learned previously. The contours of the muscles of the leg are going from the pelvis to the knee. The bones that are resembling the nice structure. And after that, I just go down and complete the rest of the legs by thinking on the caliphs and then going down to the ankles to finally end up with the heels. So for this part of the feet, do not overthink them right now. Just attach to the previous proportions. We already reviewed it and just copy this shapes that I'm kind of doing in this demonstration, we're focusing on the overall structure of the human figure. This aspect needs to be reviewed on its own in another class. It is important to have cleared that the current proportion of all of these figures made for learning in this class is of seven heads hide. Remember these two don't create confusion when exploring different body types and proportions. You know, when creating manga stories or any ME stories, we have a lot of different characters in a lot of different styles. So we can always use different proportions, but that needs to be fully address it as another class on its own because it covers a lot of different aspects that we need to memorize. And it is always better to go a step by step to be able to digest a naturally learn properly each concept. All right, that is going to be explained it as some denoted sound. On the other hand, this Hyder head Rachel, was chosen for this class because it is the most common to be seen on the average, from teenagers to adults were very familiarized with it. Although these ages can also be portrayed in manga style drawing, we'd be friend head rachel proportions, as mentioned previously. One is key to have as a starting point for learning more complex and more variated the stuff later. Know that every time you are going to be drawing as you learn and as you practice, you may have some mean or proportion changes or mistakes as you learned to properly measure. So the seven hedge ratio can be of great help to also minimize the distortion and is still create balanced and accurate figures. Since we can see a lot of human figures in the real world with seven Heads and seven heads and half. So we can always use this gap of how far ahead to be filled in, kinda hide the mistakes that we make with all of the different measures. So that's a great trick. Alright, now let's go with line items. This is my approach and understanding the line rhythms of the body. So these Lane rhythms are what are actually making the figure to look more accurate and more V livable. Going a step further from what we have been practicing first, which was geometric shapes for construction. Please focus on copying and them. I'm signaling in red color to make them more evidence and to insinuate them more, right? So the counters of the body more than edgy or usually curve here. And you can see it here in the line rhythms. They help us to make our figures to look more alive. Yet, there is still just one interpretation of reality. And this can be made in multiple ways depending on the way you perceive. So this is just my approach. If you want to come up with something different or adapt to this approach, feel free to do it something of high relevance to see and remember, is the parent here that the most prominent curvatures of all of the limbs and its parts are shown, which are usually on the outside. And see how them relate with a diagonal relationship, which I indicate here with just a line from the outside to the inside. This is a great idea to know how to place the curvatures of the line rhythms of the limbs. Alright, so now that you know the proportions and the construction and how each of the parts of the human figure are related one to each other. Next time you want to draw human figure, think about these line rhythms to take the leap to make your figures, to not look AS mannequins or just robotic figures, but fully alive. 11. Landmarks and Contours: Ooh, let's talk about the landmarks now. So the landmarks of the human figure or the key points some parts of the bodies is structured that help us to simplify an understand many of its complexity. Allowing us to navigate mentally on it, to construct it on a much easier way. So here on the screen you can see the landmarks that I like to think about when drawing the human figure. Number one, starting with the clavicles and the bone that goes on the ribcage where the vector else or attach. Number two, the nipples of the factorials. Number three, the joints that are located between the arm and the forearm. Jokes were there both are. Number for the bellybutton and number five, the crotch. These are the ones that correspond to the upper part of the body. So for the lower part, like you think on the nice as another landmark. And finishing going down to the ankles as number seven. So think about them as a references. When drawing your fingers, no matter if it is from imagination or construction, they are a great aid for you to make it easier to your brain, to connect all different parts of the structure and to remember how they all work together. Now, based on the previous demonstration, where he showed you a more organic and complex human figures is structured if compared to the geometric one we started with. I want to show you how this knowledge directly applies to a real case scenario where you are to normally draw the human figure. So this is how we think when I'm drawing in here, I'm using blue color to draw, to show in an evident way how I think tracing over the previous drawing. But on a real scenario, I wouldn't be drawing over but directly drawn with nothing underneath. The thing is, you must consider this structure we have been learning throughout the whole class in a mental manner without having to draw it exactly as learned, but allowing it to be a mindset and a guide for showing counter of the figure. The counters can always verify because of each character, each pose, gesture and mechanic. And nonetheless, because of the way you as an artist prefer to show it on your artwork. So this counters may vary from artist to artist, but they are the result of understanding the humans figures, muscles, and overall structure, relationships and simplified shapes that we can come up with the breakdown they figure in a simple and understandable way. I'm adding more detail to the figure as I have a bit more knowledge about anatomy at this point. So for you, just copy it this way. Or measured idea is you're seeing yourself in the mirror. Or Nude motive photos that allow you to detail. Noway muscles and inside contours of the human figure. Display. That way you can apply them to your own strokes and your own artwork. Take a look at the neck muscles, the clavicles, shoulders, ribcage, the joints of variables, the legs muscles, the knees and the feet. Do you see that the strokes and line rhythms are similar to the geometry we established at the beginning. But yet they are built around them where they were placed. That I mentioned they had an overall form. Use this structure to guide yourself, to know how to draw, not to draw it exactly. And make your figure drawings to look more accurate, organic, and natural. 12. Natural Posing: We know that the human figure has basic general gesture, which can be easily identified in a very evident way. On the way the limbs are drawn. We want avoid this stiff, unnatural looking both we tend to draw in our beginner stage, but there are also many other ways where we can draw a much more natural and dynamic looking and relaxed pose. So here I have a brief selection of poses that I want you to learn to make your figures look great. Not just a stiff, unnatural looking people. For the first pose, which is going to be explained in this video lesson. We start by drawing the tree main masses in the regular way, calculating the proportions and placing it just like we have previously observed. What is going to override this time different from the others, is just the way we are going to place the hands and the legs. So I started withdrawing the arms by holding this same proportion, even if the posing is different. And I make sure that the palm of the hand is not going to be inside of the torso, but outside. The only thing that is going to be inside of the torso are the fingers. You can have a better idea by checking yourself in the mirror and simply putting your hand on your hip to see how the both work. And so I go now down to place the feet. It started with the legs. And there's something in here that I want you to pay special attention to, to maintain balance. So if there's a certain distance between feet, two feet, we can think about a triangular shape. But for the post to look more natural, It is great to come up with a kind of triangular shaped that is not equally distributed on both sides. So a very b-a would be to extend one of both legs just a little bit further. Because when we extend our legs, we usually distribute our weight in such a manner that is not perfectly symmetrical. So this one looks more realistic. 13. Demo: How to Put It All Together: Okay guys, get ready. We're finally going to put together all the learn troll the whole class. Consider this as urine class project or assignment, where we're going to apply all the Learn and reinforce or new skills through practice and guidance. So, well we're about to do in here, is we will be progressively drawing the human figure by breaking it down into three simple steps. The first one, we will draw the pose as simplified as we did on the previous video lesson of the class. The second one, we're going to redraw the same pose, but now adding the shapes and the structure of the human figure in a more understandable in accurate weight. And on the third step, we are basically going to join all the scene into one final piece of drawing. So we will start with one pose and progressively complete the other two without further ado. Let's get started. I want to start with bows number two. The one where a character just stands with all its limbs relaxed and the chest and hip compressing at one sidewall extending at the other. First, I start by drawing the head as always, second, I go with the two biggest remaining main masses. And then I just complete the post with the lamps. I'm now making sure that chest shape is skewed. The hippest still didn't in a relaxed manner. The fever imbalance, the joints are well-placed and the compression of the Bose is working all together. The whole point of this practice and career step breakdown is two, progressively started learning to see things in the correct way by using very simple shapes and concepts to get rid of distractions that may make things more complex. Then by holding these same exact mindset I'm drawing now, all of this structure will learn for the figure by keeping a special attention to the proportion of each limb. I'm drawing these by focusing first on the tree main masses, just like it did on the previous drawing. The head, the chest, and the belt is it is not that this is the best way to derive, but rather the process that we've been introduced to in this class. With practice, it will flow in a much more natural way to allowing you to start with the parts that make more sense to you. And in any order that feels right to you. But right now, please, as they attach to the same order that I'm displaying on the screen. Finally, under vertice step, I proceed to apply it on the general gesture imposing their will always structure and proportion. All IS a mindset rather than a guideline to start drawing a complete character. If I were to do it for a real project. I add here and there are a couple of details that can make it look more resembling to a real figure. And also, I fix every part of the body that I see is off or not in proportion until I complete the drawing. And over and over and over and over and over and over. Again. Over. Here we have it. You can apply these same missteps and different types of characters. Once you're ready now that match the proportion, or once you can come up with that you may create. You can also come up with your own personal ways to define which kind of counters you would like to show from your figures and structure. And also with a kind of body type that you prefer. If you want your character to look more muscular or slimmer, or skinnier, or a bit fat with less defined muscle. It's all up to you. So feel yourself free to explore all of these aspects to come up with your own ways. 14. Demo: A Different Pose: Great. Let's go now with bows number one. It starts with this simplified posing of the character. Analyze the bonds between both legs as described before. Making sure the bombs and the handler outside the dorsal and only the fingers are making contact with the pelvis. Then passing the very simplified mannequin. Let's rather more complex management. So same, I start by drawing the head, but now I'm adding more detail, thinking about the three main masses. And then going for the shoulders and the arms. I'm hoping the whole time the same posing on my head, locating the limbs and the rest of the figure. And I'm fixing all of the things that I consider or that are proportionate. And now that third final step. Again, guys, I'm thinking on all of what I've just previously there. Alright, so you should be trying to focus on the same thing. The whole point of drawing all of them one next to the other. And on the same page, especially is because I want you to progress if we absorbed these kind of mindset. This is more of a mindset to always bear in mind. This is not a step-by-step guidelines arrived. So you must be thinking on all of these structure. You must be thinking on all of the proportion of all of the parts of the structure. And even though the human figure is complex and has a lot of different body parts, we always should be seeking to think about it as a whole, as one unit, which is the sum of all of the parts. So we don't get lost by only thinking on one or some of the body parts. It is highly likely since this is a beginner class, that you are going to be giving your first steps in this kind of subject, that you are going to make mistakes. So embrace them. Think about them as something that are telling you what you should be addressing to practice and get better to improve. Ok? So make mistakes as much as you need and correct yourself until you get the desired results. Learning is an ongoing process. So no moral experience. We're always going to make mistakes and we're always going to learn from them. Alright? So I fix all of the mistakes that look after me. And finally, in the character. 15. Demo: Reverse Engineering: Okay guys, now I want you to look at this drawing and pay special attention to all the mindset that I had while drawing it. Alright, so first look at how I'm thinking about all of the line rhythms of the body. Starting here with the upper limbs, the Schober, the arm, the forearm. See how these curves are related one to the other. Extending down to the legs. Pay special attention how I'm thinking about each of the curvatures are right. Going from the tides to the knees to the couse. And a great way to approach this is to think about them with just intuition. Alright? Don overthrowing them. Just allow your pencil to be very flowing. And of course to remember that the bombs or the mass pronounced curvatures are related by these diagonal lines that are going from above to below and from the outside to the inside. This is a really useful trick. Of course, while also thinking about the line rhythms that are making our shapes more organic and less steep, or robotic mannequins. I was also thinking about the hollow structure. I'm thinking about all of this simplifies shapes and especially on all of the right proportion of each of them. Remember that each of them, and a specific measure that comes from considering the hat. All right, then you can see in here com, signaling Bayesian myself from the row height of the head, we have one had hide, one-quarter of a head height for the neck. We have one hit Hide and one curve I hit Hide For the chess. We have how far ahead height for both the belly button and the bell b's? We have one-hit height for the diets. How if I hit Hide for Denise area, one-hit hide for the cops and another hit hide from their heels. Now for the upper limbs would have one hit high port of the arm and the other one had HIV for the forearm. And three-quarters of a head height for the hand. And the height of the head is what usually comes in mind for thinking, oh, placement of all of the figure. But also remember that the width of the head is as crucial and as important as the height of the head. So let's quickly review also the weight of the head. I was thinking about one head width and how paired with four, the distance that there is on the neck muscles that correspond to the trapezius and they'll attach to the shoulders and from shoulder to shoulder. Hiv Remember that various to have width. Alright, passing down the end of the ribcage, we now that there's one head wave and half a headwind. And it goes the same for the beginning of the pelvis. Alright. Now it's coming down to the crotch. Since we have heard tights while attached or pelvis, we note that this extension goes a bit further, which usually extends to two headwind. And from there, most of the time what we're going to find these helper head width to the end of the tides, to the end of the knees. And from there, based on that measure, we into deeply plays a little bit less for the end of the calves, for the ankles placement. And we finally end up the leg with around triggers of a headwind or sometimes one headwind. It's up to you. Great. Now for ending the whole bigger for the arm, upper part, on the lower part, we have half I had width and we finally end up with an intuitive measure of around two thirds of half a headwind for the wrist. Revered this, I was also thinking about the three main masses of the human figure, which are the head, the ribcage, and the pelvis. And at the same time, I was considering all of the landmarks, the clavicles, the nipples, the joints from the elbows, the valley bottom, crotch, Denise, and the ankle. Even if they are not visible in here, they were helping me to navigate through all of the body proportion and unstructured. And at the same time, I was thinking about the gesture that each of the wings display. Even if on these posing, they're not just standing straight ahead for the arms and the hands, and the legs and the feet. I was always thinking about the curvatures that are going to slightly inwards, the dorsal. Alright, so this is why my shapes bidding come out the stiff or very tubular and a straight ahead by the hat, more alive and more shape. And for what corresponds to this pose, only. I was thinking about the balance that there is between the ribcage and the pelvis, which is a straight. And this is how these video lesson concludes skies. So even though I did this review on only these video lesson, on the previous video lesson where I was drawing another post. I was thinking about the same variables. Alright. I was thinking about the tree main masses of the human figure, the head, the chest, and the pelvis. I was thinking about the general gesture and generalist structure. I was thinking about the line brilliance of the counter of the whole figure. And I was thinking the whole time on the proportion of all the parts and the structure of all of the potion, thinking about the height and the width. All right, so the next videos are going to be demonstrations where I will be applying the same principles, the same mindset that we have learned on each of the video lessons of this class. Even though they are not very evident, I will always be thinking about them. And this is what I want you to start developing on your mind. All right, every time you are going to approach to draw human figure, at least from the front view. Think about all of these variables. I know they are a lot. But if you focus on learning and mastering one at a time, you're surely going together and make them all part of your work. 16. Final Thoughts: Thank you guys for having taken this class. Here are the final thoughts that I want you to keep in mind. Now that you have learned a bunch of information and that probably will be merging one to another. So I want to clarify things as much as possible for you. Number one is, this is an introductory class. Please take it as you're learning the court in writers steps to keep on walking through later more complexity. It is not like, again, this is a step-by-step tutorial. But rather than that, I'm transferring the knowledge and the mindset that we'll be serving you to introduce yourself to keep on learning how to draw the human figure, which is a very broad topic with a lot of different complexity and a lot of different approaches. Number two is, this is based on only male human figure. Female figure will have a class on its own because the female figures has a lot of different shapes that I wanted to properly explain. And so it is better to understand first the core aspects of one of both. And after that, proceed to learn the second one. Alright, another one is the human figure, depending on age and genetics, can have much more different proportions and hit ratios. This one approaches from the most common one for teenagers and adults, alright, which is seven heads hype for more variated proportions and head ratios that are more classes on the topic that will be common. I know that all of these may seem a lot technical and academic with all of these measuring proportions is structure. There's a lot to keep in mind. But the measurements are a tool to help us improve the way we perceive, to develop confidence, to develop consistency, imbalance on the whole figure, to seed grade mindset. So keep practicing it in a mindful conscious way. And it will always start to make sense to you and matter. It will also be absorbed to a point. It will become intuitive. Also, there is no need to rush remembered that to become a good drafts person, you must consider yourself, embark on drawing as a path to walk, not as something to take instant gratification from. Umass put the time, you must put the practice to patiently and joyfully practice each of the steps of the learning process to make sure you digest every single topic at a good pace for you to properly learn. And finally, we have approach this through breaking down a structure, simplified shapes and common gesture of the body and its limbs. And there were all placing of the weight. There's a lot more to be covered to understand this topic. Which will include a lot of different views, a lot of different proportions, a lot of different design methods, a lot of different gesture, posing and thinking also in three-dimensionality and form rather than shapes. So again, this is an introductory class, and I hope that all of these have helped you to star now, daring yourself to draw your characters and your human figures. Thank you again guys for taking this class and see you on the next one. You can also find me on the personal art accounts on Instagram and Twitter. I may not be uploading a lot of art right now. But if you like the class, there might be interested in things and contents in the future. There are a lot of reference pictures that I have data for my own studies that may be of help for you to expand your visual library. Meconium artists find inspiration and learn from different tutorials. You can find them all on my hinders profile, which you can click below in the description. And finally, don't forget to leave a review if you found this class useful. To follow me. If you want to stay updated to all of the new classes that will be coming to ask me anything if you need any help. I'm always happy to help. Thank you guys. And see you next time. 17. Bonus: Ipad Demo : So that will be beneficial for you. And then we'll go back and forth. And then we go back to week two. So there we go. Hello. And welcome to the and then back up. And then I found out. And then by 2004, why 18. Bonus: Traditional Real Time Demo: Yeah. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Okay. Mm-hm. Okay. Okay. Okay. Okay.