Beginner's Guide to Figure Drawing | Anime and Manga | Sensei Teaching | Skillshare

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Beginner's Guide to Figure Drawing | Anime and Manga

teacher avatar Sensei Teaching, Anime and Manga Drawing Made Easy

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

    • 1.

      Class Trailer


    • 2.

      The Head for Measuring


    • 3.

      Constructing The Figure- Part 1


    • 4.

      Constructing The Figure- Part 2


    • 5.

      Constructing The Figure- Part 3


    • 6.

      Things to Always Consider


    • 7.

      General Gesture and Details


    • 8.

      Common Mistakes


    • 9.

      Line Rhythms of The Figure


    • 10.

      Landmarks and Contours


    • 11.

      The Female Figure


    • 12.

      Natural Posing of The Figure


    • 13.

      Demo: Putting It All Together


    • 14.

      Demo: All In The Female Figure


    • 15.

      Demo: A Different Pose


    • 16.

      Demo: Reverse Engineering


    • 17.

      Final Thoughts


    • 18.

      Bonus Demo: Ipad Demonstration - Male


    • 19.

      Bonus Demo: Ipad Demonstration - Female


    • 20.

      Bonus Demo: Live Demo (x2 Speed)


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About This Class

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Drawing / Drawing Fundamentals / Classes / Courses / Tutorials / Anime / Manga

In this class, I will introduce you to successfull Human figure Drawing!

I will be giving you a ton of super-valuable information, from the basic stuff like understanding the head as a tool, to more advanced like how to construct the human figure from scratch.

If you have already tried to draw the human figure, and you want to learn how to do it without relying on reference the whole time, you probably know that there needs to be more than just copying.

You will learn the proper mindset, understanding how to breakdown the figure, the importance of proportion, the flow of the limbs, and great-looking variated posing to make your characters look alive.

I'll be your best ally, showing you the dos and dont's, smoothly guiding you through this complex topic.

The same principles taught can be applied to any artstyle, so even if you are not a fan of anime and manga this class will teach you a lot.

By the end of the class you'll be able to draw your own characters from memory, in a natural, thoughtful and skillful way.

So! What are you waiting for? Let's get started!


Sensei Teaching does not own any of the commercial, distribution or creative rights of registered Anime and Manga characters that appear in its classes.

They are not being used for commercial or distribution purpose themselves, they are only being used under fair use, as an informative, commentative and educational medium to exemplify, comment and create a new transformed content, for the offered classes of the website,

The respectively taught art topics and knowledge in each of Sensei Teaching classes, are the main focus of its content, which in general is learning how to draw, and learning how to draw characters in Anime and Manga style.

Thank you! All characters belong to their respective owners. All rights reserved ©


Beautiful music by: Tsundere Labs | Ujico | Moe Cafe | Seiun

Thank you! All rights reserved to the respective owners©

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Sensei Teaching

Anime and Manga Drawing Made Easy


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Level: Beginner

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1. Class Trailer: Hey, this is the Beginner's guide to successfully introduce yourself into human figure drawing. In this class, you'll be giving a lot of super available information from the basic stuff, like understanding the head as a tool to more advanced like how to construct a figure from scratch. If you've already tried to learn how to draw the human figure and you want to learn how to do it without relying on reference. I know you probably feel that there needs to be more than just copy it. You will learn the proper mindset, understanding how to break it down to master proportion, the flow of the limbs and great posing to make your characters feel natural and look alive. You don't have to know, think about the subject. But some experience on simple drawing is required. However, the class will be your best ally on showing you the dos and don'ts to smoothly guide you to master this complex topic. The same principle thought can be applied on any art style. Even if you're not a fan of anime and manga, this class will teach you a lot. Al goal of the class is to get you from zero knowledge. To be able to draw your own characters from imagination in a natural, thoughtful, and skillful way. What are you waiting for? Go get your pencil and let's get started. 2. The Head for Measuring: 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, everyone has its own way to approach the human figure. You can find all kinds of different approaches from all different teachers. This approach specifically focuses on giving you an introduction to this very complex subject. Some artists like 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 figure into very simple terms. To know that there are certain measures and there are certain proportions that should be respected. 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 with that. Further, 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 measurings to base yourself to draw the human figure properly. All right, please start the class by drawing. As I draw the first measure that I would 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. I'm going to simply be representing this with the number 1.2 letters. The first one H in upper case or as a capital. And the second one another H, but in lower case this means head height. Then if we divide the overall height of the head, we have another two new measures. This is what we're going to be calling half a head. And it's going to be represented as shown on the screen, 12 followed by capital H and lower case H. Again, it means half a head height. If we divide the head into two even parts, for obvious reasons, we'll get two exact measures. Now if we take that measure and we divide it also into even parts, we will have a quarter of a head height. Every time I'm referring to this measure. Always think about the head and the even a small fraction which if we sum four times, will give us all of the head height. Great. Now let's see it right in the opposite, which is the width, If I'm referring to one head width, it takes place on all of the space that goes from side to side of the head. If I'm referring to half a head, it means to divide the head exactly into two even parts, basing ourselves from the overall width, same as the previous, for obvious reasons. If we divide evenly, we have two even measures which are half a head width, and the last measure a cutter head width, which is the result of dividing the head into four even parts. Okay, now let's apply this with all the details of an actual drawing. If you want to learn more about how to draw a phase, don't forget to check this class on this subject, okay? So having the head in the face. I'm signaling in here simply how you should consider one head height, okay? If I divide one head height into two even parts, then we have half a head height. If we divide this new measure into two even parts to we have a quarter of a head height. Very simple. Now let's do it with the 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, half a head width. Again, if we divide this measure evenly, we have a new measure which is a quarter of a head width. This may look pretty simple right now, but it's of such importance that you should have it clester clear because it is what is going to be a foundation for allowing ourselves to properly draw the human figure with the correct measures and correct proportion. 3. Constructing The Figure- Part 1: All right guys, now, based on the previous video, we're going to reply what 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 how I'm doing it here with blue color. Based on that, let's place now the neck for the neck height is very simple. We just need to take 14 head height as a measure and then extend it to no overall height. The neck attaches to the torso. We just need to divide this 14 head high space into two even parts. 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. We do it by calculating 14 or a quarter of a head width. This measure is usually just twice a width of an ear. Knowing that extension, we're going to place two diagonal lines that go outwards that are going to be resembling the trovicousmcles, which are the ones that are going to be attaching to the torso. Simple. This leads us to know that all of the extension or width of the Tpcous muscle is an equivalent to one head and a half width because we're now considering the extension that there is between the overall head and the two quarters that both some have a head with. Okay, now let's start with the chest. The first part of the Dorso, we're going to consider the tal height of this part, which is simply one head height and a quarter head height, or one fourth of a head height. All right, I'm going to be alternating between these two words, so know beforehand that both are referring to the same thing. A quarter head height or a quarter head width and 14 head height or one fourth head width, they're both the same. Then we just proceed to close or rectangle. Great. This rectangle represents the common proportions that we all have on the torso, especially where the rib cage is located. Now what we're going to do is just to complete the neck. To do so, we can simply replicate this half of, one quarter of a head height and close in it just two diagonal lines that are going inwards There we can intuitively place two vari, end elongated rectangles. Please try to make them symmetric. What they're going to be representing is in a very simplified way, the color bones or the clavicles. All right, let's stop for a little bit in here. I want you to think about all of this video lesson as the first step to be introduced to how to construct the human figure. All right, 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 intrusive this becomes. Less measures you will have to be constantly placing. All right? Don't be afraid of approaching drawing from this very logic and geometric point of view. Because this is to serve us to understand and to learn and to practice. Not to be the ultimate way you will always have to recall to draw. All right, the more you practice this, the more you're going to be able to draw without having to draw all of these guidelines. This is just for you to storage all of this information inside of your brain. You can keep on making your drawings to look consistent. You don't have the necessity to be observing every time you're drawing. What I want you to achieve is to be a good draft without having to take a look every time on a reference, but to rely on your own knowledge and your own experience. Great. Getting back to the construction, we're now going to place two simple circles that are going to help us to know the structure of the arm, which starts with the shoulder. By taking the measure of one quarter of a head width and replicating it, we get half a head width by extending this measure to create, based on that four 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 to our chest. 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 the 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 closing it. 4. Constructing The Figure- Part 2: Next we're going to fill the structure with the inside details, which are the chest and part of the shape that the rib cage displays. To do it, we just consider all of the extension that there is on all of the height of this part of the torso. We are going to divide it into two even parts. After that, we're going to place, intuitively, two small fractions similar to one eighth of a head height, which corresponds to the half of a four 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 rip cage, the clavicles, and where the chest muscles are going to be attached. 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 rib cage display. Okay. Based on this width, which is one head and a half head width, we can just easily place the height of the belly being this just half a head height. We close it by drawing a rectangle as a 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 a shape where we are going to place later the crotch, the end of the torso. Very simple for this part of the crotch where the pelvis is located. You can just intuitively place by copying this shape that I'm making in here how it displays on the human figure. By considering the pelvis and where the rip cache lines we drew before are, we can link them together, giving us the abdominal area. This is how we conclude the torso. Just remember that the diagonal lines that are on the pelvis area should be present. They're not as straight as the previous lines where we place the aly, 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. 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 long rectangle so we can do it symmetrically on both sides. Now for the fore arm, 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 shape results from considering just a fraction of half a head width. I would say that this fraction is very similar to two thirds from this measure. Okay, But you can just go ahead and place it intuitively in here. I'm going to draw it better so you can have a better grasp on how this shape works. Now I just proceed to a two 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 the hand. Okay, 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 a proportionate head for the extension of the width of the hand. We can use an estimated measure because the hand is a part 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 view that the hand display and having a steel hand for that, I would say that a bit more of how headwi is, what will serve us. Try to intuitively draw it by seeing how I place this measure on the screen. Just follow yourself by copying what is being shown on the screen. You can check on this subject, another class apart on only this subject. Soon we just proceed to, at the other hand, by mirroring what we just did on the other side. Something good to know when you're drawing the hand in a frontal opened view that displays the palm is that the thumb usually goes opposite to the pelvis. That way you can guide yourself that no matter which hand you're drawing, if the left one or the right one, the thumb is always going to be opposite again from the pelvis. 5. Constructing The Figure- Part 3: That's it. Now let's go with the rest of the body, starting with the remaining limbs. For drawing the leg. If we start with the tides, the usual measure that you can use is three quarters of a head width. This one comes from dividing the tal width of the head into four even parts and just taking three of them. This width can vary. 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 slim body, or a more muscled one. Now considering one head height, we're going to extend two lines to create this 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 into it. From there, we're going to draw another shape that will complete the upper part of the leg closing with the knees. This one will have half a head height extending and closing. Also narrower to a width of around a half a head with. All right, as I said before in this part is where the knees are located. So we're going to represent the knees with just a simple oval. But this oval is not going to be located right in the middle of this shape. Seeing here that if I were to draw the oval off the right leg, it moves towards the inside part of the leg. It applies for both ovals. Now for drawing the remaining parts of the legs, let's divide it into two simple parts. Draw this shape, very similar to an inflated tube, This is what corresponds to the calves. It also has one head height and closes on around half a head width. From there, we base ourself another one head height to the placement of these last parts. In here, we draw two slightly thinner tubes to the extension of around two thirds of one head height. From there, we draw the feet. Thinking of the height of the feet as one third of one head height. Notice how the extension only covers to the heels. And from there it goes to your intuition, seen 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 basis of how draw the feet is on the works. All right? The ankles are basically placed on the joints of the feet on the previous tube, which just true. Something very important to notice in here is that the ankles placement create altogether this triangular shape. All right, 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 rally display of themselves. Sometimes they are not even 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 three quarters ahead with, 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 a body. Understanding all of the different structure that it has and acknowledging that each of the parts have its own measure, which is going to serve us as artists, to have control over the human figures that from now on we're going to be drawing, being able to rock consistent human figures and to recall them from our imagination without having the need to look to any reference. 6. Things to Always Consider: I know that we have learned a lot of information for learning how to draw the human figure. Depending on how we break down each of the forms and the structure, we may result with a lot of information to grasp. Especially on this method that I've developed that I want you to learn. A great way to lose yourself between a lot of detail and a lot of information is to try to find the simplicity on the structure of the figure. Let's quickly draw it again, paying attention to the measures and the proportions we already learned, but this time paying special attention to the three main masses that I want you to always seek and keep in mind every time so you don't get lost into the Deedle. 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 half a head height. If we also divide this half, we have one quarter of a head height. After that, we remember that the distance of the chin to the torso, where the neck is located, of only one quarter of a head height. In there we draw the torso and the first part of the torso which corresponds to the rib cage. We go with a rectangle shape, which we know that its length is one head height and one quarter of a head height. Noticing here how I'm drawing the valley and how I drew the neck on a different tone if we compare them, how I drew the head and the rib cage as I'm now drawing it on the pelvis. These three are the main messes that you should always think about when learning to draw the human figure. Right now, we're not thinking about three dimensionality, but structure and proportion. But even when you're drawing the human figure and a lot of different pulsing and gesture, it is wise to always think about only these three shapes. If we learn to train our eye to look for this simplicity, the rest is always going to be just title. I'm very aware that all of the limbs are also as important as the torso because they are also part of the human figure. But when you train your eye to see, to perceive it this way, the main pulse and gesture and mechanics of the body composed by the head, the rib cage, and the pelvis are what are always going to dictate the nature of the pulse given by the rest of the body. Okay, now considering these three main masses, or in this case shapes, let's review how the limbs work. The human figure can have a lot of different gesture. We have a lot of articulations or joints that can give us a lot of different motion and a lot of different poses. Even on a resting state, our limbs usually tend to have a certain kind gesture that it is important to pay attention to. Especially if we want to make our drawings to look natural, to look alive and not stiff. In a very general sense, this is how you should think about it. Starting from the shoulder to the hand, I have sin at three different lines on each line. Each one represents a different rhythm. See how each rhythm has a different degree or angle, which goes inwards? We see that from the solder to the middle of the arm, we have one tilt, that middle to the wrist, we have slightly another tilt from the wrist to the knuckles and the fingers articulations. Notice how this remains true. They're all slightly turning inward. It works pretty similar for the leg starting from the pelvis to the knee, from the knee to the ankles. We can see a certain reding. It is not going straight ahead like a very rigid tube, but our flesh and bone have a slightly but very visible reding 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 all together. And it works the same for both ways. Both of our limbs are mirroring each other. Great, This may be obvious for some people, but I want you to see it in a very visual way, what is right and not to say wrong, because it is all subjective and depends on the context. But what I don't want you to do on this stage of your learning process, If we were quickly to run a new human figure, the limbs shouldn't go, just straight ahead to the bottom. They should have this flowing gesture. All right, the same goes for the opposite way. We know that we have a general and certain gesture on our limbs, but do not overmake it. All right, please make sure you don't exaggerate too much all of these curvatures. Because if you do it, this can be a factor of 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 role before trying to jump to something different. I wouldn't recommend you to think about the human figure limbs as this exaggerated focus on practicing them and considering them in this first way we just learned. Last part of this video lesson, I want to give you some tips into easier ways to approach it. All right, Tip number one. This human figure approach we're learning is based on understanding the human figure with seven heads high. Okay? A good way to understand this, know that there are three head high and half a head height from the top of the head to the end of the pelvis or the crotch from there to the heels on the feet. We have the same exact measure. Every time you want to draw a 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 finding your way successfully through all of this complexity is to know that right in the middle of the joint, where the elbow is, there's a certain diagonal that connects with the belly bottom. And that usually on most of the bodies also aligns to right where the upper part of the torso where the rib cage is located here, drawn and represented with green color is visible. Last tip for knowing also the extension of the fore arm and right where the hand starts is a great idea to find the relationship between the crotch or the end of the pelvis to this part on. Most of the bodies will find this relationship. Every time you're placing your hands, remember that they are aligned to the end of the pelvis. It is important to note that all of the previous videos and previous explanation applies especially to a human figure that goes with a head ratio of seven heads high. There are a lot of different body types, a lot of different head ratios. This can vary depending on the person and depending on the age of the person. But it can go from four head height to even eight head height 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 a seven head figure ratio, which is the most common that we can see from teenagers to adults around seven heads or seven heads and a half. 7. General Gesture and Details: 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 the body, and we have also learned with all of its parts on the right proportion. We have learned the things that we must pay attention to that may look obvious, but when constructing the body or not, we have learned also how the general gesture of the body limbs work altogether. Now we're going to put together all of that knowledge and we are going to draw by constructing all of the human figure. This time without having to make the evidence measured, by just trying to calculate it intuitively. Please remember that you should be following me the whole time drawing the same as I draw. If you don't draw, your skill won't be developed. All right? So as I said before, I'm going to draw this time without showing evidence 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. Don't be afraid of making mistakes because when you already know the measures, mistakes are only going to tell you just what to improve. I start drawing the head, adding the ears. I proceed to make the rectangle that is the base for us drawing the whole dorsal, especially the page area. I have the chest links to the shoulders and then the shape that shows how the Rikage displayed on the surface. After that, I add 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 palms were opened. We're going to try now more relaxed pose for the hand. 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. Right now, we're mostly focusing on how to construct the human figure. All right, so we continue with the legs, standing down to the knees and pay special attention here in the legs, how the general gesture we watch on the previous video lesson of this class is being applied. Keep on drawing, extending down to the ankles to end up with finally the feet. All right, the whole time. Remember that it is a great idea to consider the three main masses of the human figure. The head, the rib cage, 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. I'm going to make more evident if we were to not apply this line reading on the legs and see the difference between the left and the right. Now for this part, there are some other shapes that I want you to keep in mind that are going to help us to understand the body better now that we know how to construct the human figure. On general terms, we can think about them. They're as important as everything else we just learned. But on this class they have been put it in a way that they weren't overwhelming at first, we do not understand them. 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, on memorizing how they work. Anatomy classes are also a very important matter, but they are not going to be touched on this specific class. We're focusing on how to draw and construct a human figure. On very general terms now for drawing the shoulders, see how the shapes are working together, starting from the chest and where the clavicles are and extending down to be very close to where the end of the chest is or the pectorals are. Now from the beginning on the legs, right on the pelvis, we're going to place this diagonal line that flows down to the shape where the knee is. It shouldn't start. I'm signaling here in blue color, right from this distance. Somehow in the middle of the space that there is between the pelvis and the edge of the leg that goes outwards the body for the knee. If we consider a bit more of tal inside the op that represents it, we can place another two circles. They're the result of considering the two bones that are working together to connect the upper part and the lower part of the limb. If you look to your knee, you will find that its counter is very visible From there. We're going to go to the ankle that goes inwards the legs and this bone resembles how one of the bones of the leg displays on the 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 evidence at first, but that I were always considering starting with one head height and one head width after that, considering 1.5 head width for the chest and one head height and one color head height going down with half a head height for the belly and another half a head height for the pelvis. We keep on going down remembering that the measure from the pelvis to the shape that resembles the knee is of one head height, half a head height. The shape that resembles the calf is one head height. And the shape that goes down to complete the whole figure to the feet. Another head height for the width of the leg. Remember that it can go from three quarters of a head width to even one head width. Then for the shape where the knee is located, we have half a head width. It works pretty similar to the end of the calf, almost half a head width. On the last part, the width of the feet. We also try to same as we did with the hands calculated in twitty flee, which can fluctuate from three quarters of head width to one head width as same as the hand. Don't worry about the feet right now. Another class fell on the topic is to be available, just focus on coping these shapes. Now let's go with the remaining measure of the width. The al width from shoulder to shoulder goes around two head width. This is the general rule. It is what usually goes. Some people, depending on their complexity, which may be skinnier or slimmer, could have one head and a half head width. And some others, if more muscular, two head width and a half head width. For the arm, we have the height of the shoulder from around 14 of a head height and the height of one head height, the extension or width of the arm on around half a head width, and the same for the shoulder, Another half a head width for the fore arm, one head height for the wrist. Remember it narrows down to a round distraction of half a head width. I keep on signaling all of the measures I consider it, even if they were not obvious at first. Just remember that it is super important to always consider each of the measures of the whole structure of the human figure. They shouldn't be placed randomly if you don't want to get super technical. As I said in the beginning of this video, try to go as intuitively as possible. 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 and making it look balanced and proportionate. 8. Common Mistakes: All right guys, having understood the previews, 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 resemble the shoulders, it is key to always draw them inside. If you are going to draw them outside, the extension and width of the torso 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. This certain tilt should be reflected. 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. As a quick resume, the shoulder goes attached right in the health to the torso. From the shoulder we have our arms, which are not going straight ahead in a vertical position, but with a very slight tilting. And this tilting creates a very slight triangle that we can use to guide ourselves right between the arm and the torso. Okay, now for drawing the details of the chest, for the bone that attaches the clavicles to the chest, which goes right in the middle of the torso. We should pay special attention to these measures we just learned on the previous video lesson. If we had a bit of contrast in here, the end of the chest shouldn't be aligned to the first measure that we got, which is above, indicated here in blue color. Neither we should align the chest to the one that is below, or even worse. Passing this measure, we should think about the chest going right in the middle of all of the upper part of the torso where the rib cage is located. This bone aligns to the first line of the first measure, right above the middle of the rib cage where the end of the chest should be located. Knowing this, now we just play the rest of the details of the rib cage, how it usually displays on the surface, which aligns to the bottom line that we have right below the center of all of this measure here in blue color. All right, now for the pelvis, it is important in here to always remember that it is not to the same extension on the width as the belly is. 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 attaching the pelvis. Always remember that there is a certain degree in there and that you should respect it for drawing the pelvis. It 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. Many artists usually draw in this part something that is very similar to underwear. Please pay attention to this. Here we're trying to draw with these simplified lines, the human figure as it is. Don't think about this as underwear. If you want to draw the underwear, you can do it on top, but knowing what is underneath. Now, for the last part of this video lesson, remember on the previous videos where I told you that the measures are very important because it is what is going to help us to keep on drawing the human figure consistently. 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. This is pretty normal and pretty common. If you're a beginner, I'm over exaggerating it. In here, you have more clarity on what I'm trying to explain. If we don't know which measure goes on which part of the overall body structure, it is always going to be super likely that we are going to make these mistakes. Where our limbs and our torso and all of the different body parts are always going to look very off. Focus yourself on please remembering the measures, they are going to be your best ally. Every time you want to draw you construct the body or the human figure from your imagination and without having to look to any reference. 9. Line Rhythms of The Figure: Wow, I'm really impressed. You're still here. You really want to become better at drawing Anja. 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, I'm going to be giving you a more whole approach where I will also be including different counters to make the figure look more accurate. I start by drawing the head again. If you haven't watched the class and 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 must. Having drawn the head, I start now by drawing the neck and applying the geometric shapes that are resembling the part where the rib cage is going to be located in the shoulders and the clavicles. 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 pectorals and the rib cage part, which displays on the surface. After that, I add the shoulder shape, just like we watch in the previous demonstration. Adding the arms in the valley, the rest of the trunk with the crutch, and now the fore arms. All right. You can see in here that even if not obvious, I'm thinking the whole time on each of the proportions we've previously learned. Also, I'm thinking about a more organic flow. When it comes about the caters. I'm not attaching too much to what the geometric shapes, but instead I'm thinking about them allowing them to be a guide for me to help better and more accurate contours which resemble more how the human figure actually displays. 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, adding all of the details of the structure we learned previously. The contours of the muscles of the legs that are going from the pelvis to the knee, the bones that are resembling the knees structure. After that, I just go down and complete the rest of the legs by thinking on the calves, then going down to the ankles to finally end up with the heels. For this part of the feet, do not overthink them right now, just attach to the previous proportions we already reviewed. Just copy the shapes that I'm 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 clear that the current proportion of all of these figures made for learning in this class is of seven heads height. Remember this to don't create confusion when exploring different body types and proportions. On the other hand, this Hyder head ratio was chosen for this class because it is the most common to be seen on the average from teenagers to adults. We're very familiarized with it, although these ages can also be portrayed in mango style drawing with different head ratio proportions. As mentioned previously, this one is key to have a starting point for learning more complex and more variated stuff Later know that every time you're going to be drawing, as you learn and as you practice, you may have some minor proportion changes or mistakes. As you learn to properly measure, the seven head ratio can be of great help to also minimize the distortion and 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 a half, that's a great trick. All right, now let's go with line rhythms. This is my approach on understanding the line rhythms of the body. These line rhythms are what are actually making the figure to look more accurate and more believable. Going a step further from what we have been practicing first, which was geometric shapes for construction, please focus on copying them. I'm signaling in red color to make them more evident. To insinuate them more. Right, So the counters of the body more than energy are usually curvier. And you can see here in the line rhythms, they help us to make our figures to look more alive. Yet there's still just one interpretation of reality. This can be made in multiple ways depending on the way you perceive. This is just my approach. If you want to come up with something different or addapt to this approach, feel free to do it something of high relevance to see. And remember is the patent here that the most prominent curvatures of all of the limbs and its parts are showing, which are usually on the outside, how them relate with a diagonal relationship, which I indicate here with just the 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. All right, 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 a human figure, think about these line rhythms to take the lip to make your figures do not look as mannequins or just robotic figures, but fully alive. 10. Landmarks and Contours: Cool, let's talk about the landmarks now. The landmarks of the human figure are the key points and parts of the body's structure that help us to simplify and understand many of its complexity. Allowing us to navigate mentally on it to construct a much easier way. 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 rib cage where the pectorals are attached. Number two, the nipples of the pectorals. Number three, the joints that are located between the arm and the forearm, just where the elbows are. Number four, the belly button. Number five, the crotch. These are the ones that correspond to the upper part of the body. For the lower part, I'd like to think on the knees as another landmark, finishing going down to the ankles as number seven. Think about them as a references. When drawing your figures, no matter if it is from imagination or construction, they are a grade aid for you to make it easier to your brain to connect all different parts of the structure to remember how they all work together. Now, based on the previous demonstration where I showed you a more organic and complex human figures structure 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 were to normally draw the human figure. This is how we think. When I'm drawing in here, I'm using blue color to draw, to show in evident way how I think tracing over the previous drawing. But on a real scenario I wouldn't be drawing over, but directly drawing 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 or a guide for showing counter of the figure. The Coors can always vary because of each character, each pose, each gesture and mechanic. Nonetheless, because of the way you as an artist prefer to show it on your artwork. These coors may vary from artist to artist, but they're the result of understanding the human figure, muscles and overall structure relationships and simplified shapes that we can come up with. To break down the 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 for you, just copy it this way. Better idea is seeing yourself in the mirror or nude model photos that allow you to detle the way muscles and inside counters of the human figure displayed. That way you can apply them to your own strokes and your own artwork. Take a look at the neck muscles, the clavicles, the shoulders, the rib cage, the joints of the elbows, 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, the dimension they had. Endboral 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. 11. The Female Figure: Up to this point, we've learned how to draw the human figure through the male version. But learning how to draw the figure without learning both the male and the female versions, besides being incomplete, will be pretty boding, right? Let's take a quick look at it and learn how to construct the basic female body. Same as before, we start drawing the figure by drawing the head that we go down to draw the neck, which measure of one quarter of a head height. Here is where the first difference is. The female neck tends to be slightly thinner if compared to the male one. We keep going down to construct the base of the torso, which length is of one head height and one quarter of a head height different than the male torso. The female torso narrows down to the waist, creating a tire end when compared to the male version, like the inside conter that resembles the shape of the rib cage below the chest is less angular. We now go down with one quarter of a head height to draw a rectangular shape. To then go down again with one quarter of a head height to draw a trapezoid shape that resembles how the waist in the female figure starts. Now we draw a measure of half a head height to draw the pelvis and complete it with two tilt rectangular shapes on each side. Do you see the difference of the female figure if compared to the male one? In the female, the waist is tighter and the pelvic area tends to be wider. We continue by drawing the arms on the forearms symmetrically with one head height each, same as the male version. We can draw the hands on the same size of approximately three quarters of a head height. Now to draw the legs right from the end of the pelvis, where the crotch is, we draw two tubular shapes that start by connecting with the pelvic shape. Remembering the inner gesture the leg displays with a proportion of one head height. If ting pass the crotch, then we draw where the joint of the knee is with a proportion of half a head to go down exactly the same as we did with the male version. Applying the same proportions as well until we complete the feet. Great. Considering the three main masses, just like we did in the male figure, we cannot proceed to draw a bit more of to on top of the structure. To complete what defines the structure of the whole figure. The neck muscles remain almost the same, being the Adam's apple, a bit rounder in the female, the shoulder shape keeps the same to attaching to the inside of the chest and torso. Now a new feature gets in the breast, which shape doesn't fall straight, but in a tilt direction. Which shape isn't circular but more like to appear or the drop of water. The top part of it tends to be smaller, increase in size as it falls down to the breast, barely goes outside the chest area in regular size, and the nipples follow their tilting direction. The rest of the counters remain the same as the male one. The rip cage shape gets complete below the tights, get a curbline that connects to the knees. The knees get two circles to show the joint of the bones to finally connect down to the feet. Another simple line to the ankles. That was a lot right now, let's add the counters that make the figure more organic and natural looking. The procedure is really not much different than the males. One, we take the geometry of parts we attach to create our solid structure. We focus on mostly the outside counters that define the form first. Then we only add the bits of the inside counters that we want to show it on our drawing. Something important to consider is that of course the breast of the female figure can change its size to look to our and design, we can extend them to increase their mass. But remembering that increasing them should be mostly placed towards the bottom rather than above respecting the gap there is between them and between the sides on top of the chest. Another important thing to consider is that the size of the shape of the waist and hips can also varrive from the previously present general rule. The waist can become tighter or narrower towards the location of the belly button depending on the anatomy of the woman. In the first drawing of the structure, we mainly focus on an intermediate size and shape to take as a general rule for learning how to draw first. But this can change depending on your drawing style. Clarified that, Let's add now the facial features here and details of the rest of the character to see our figures structure more defined and working in action. Nice, We're almost done with the lesson in a more direct way. If we compare the male and the female figures one next to the other, we can see better their differences. As mentioned before, the female figure neck tends to be thinner. It has breasts, its wait a tighter, its hips are wider, its muscles are less defined. In general, the figures contexture is slimmer or thinner because it is less muscular, which is more evident on its limbs. Just remember the main differences of it compared to the male figure by holding on your mind the most important aspect which is the main difference between the torso, waist, and pelvic areas. 12. Natural Posing of The Figure: 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 to avoid the stiff, unnatural looking pose 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 relax pose. Here you have a brief selection of poses that I want you to learn to make your figures look great, not just stiff, unnatural looking people. For the first pose, which is going to be explained in this video lesson, we start by drawing the three main masses in the regular way, calculating the proportions and placing it just like we have previously observed. What is going to vary this time, different from the others, is just the way we're going to place the hands and the legs. I start by drawing the arms, by holding the same proportion, even if the pulsing is different. I make sure that the palm of the hand is not going to be inside of the dorso, but outside. The only thing that is going to be inside of the dorso 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 pose work. I go now down to place the feet. Starting with the legs. There's something in here that I want you to pay special attention to to maintain balance. If there's a certain distance between feet to feet, we can think about a triangular shape, but for the pose to look more natural, it is great to come up with a triangular shape that is equally distributed on both sides. A very idea 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. This one looks more realistic. A common mistake that we tend to make when placing the arms and the hand is to put them too much in the upper part of the torso, closer to the rib cage. This is not a very natural posing. Even though our limbs have the capability to extend to that place, it is not very common that we are making that in. Always think about when placing the arms to place the hand to do it in a way that the hand is going to be always touching the pelvis, not the rib cage. We can also see in here how I still maintain the flow that we learn that the limbs display. Going inwards to the body. Look how the arm, the forearm, and the hand are all going slightly inwards. Notice how we're just using very simplified shapes with non details at all as a way to delete all distraction and focus only and mostly on the core elements of the human figure. For example, the rib cage and the pelvis. Just two rectangular shapes. The head is just a noble shape with a cross line on the inside, which is helping us to somehow have a sense of that there is a face in there. But we're not actually drawing the face or we're not actually drawing any muscular detail in depth. Same for the limbs. The limbs are just represented through simple curve lines. The hands and the feet are also very simplified shapes that try to mimic on a coreessence, how the human figure looks. But they're not full of detail. All right, let's go now with the second pose by thinking on the one quarter head high distance of the neck, right in the middle. We place the upper part of the chest as a diagonal and we close it down. Thinking about the same, making sure it is well replicated. Thinking about the same, holding the right proportion right in the middle. We place the pelvis tilting out this time but different from the chest. The shape won't be skewed or distorted, it will maintain its original counter. If we compare this outcome to the previous placing of main masses, we can find this very noticeable difference. The dorso is expressing now a more dynamic gesture. It is not just sitting straight as the previous posing we have been doing throughout the whole class. A great way to remember how both masses, pelvis and chest are tilting and are related one to the other, is to think about an invisible starting point from where the force of the tilt is being applied. Being one side compressed and the other one extended. There's a common mistake of invert them without noticing when drawing the full figure. This is a great aid. For placing the arms as one shoulder moves upwards, the whole arm slightly moves with it too. It is easy to remember this new variation by seeing all of the arm joints, elbow to elbow and wrist to wrist. It is also common to not consider this. What this will create is a deformed perception of the overall pose on the arm itself. Try to keep this in mind, small details are what can create a huge difference between different artworks. For the legs, we need to consider the alignment with the torso for maintaining the balance. The belly button can be of great help. We need to make sure that at least one of the legs and feet aligns with it, which in a natural pose, should be the one that attaches to the upward tilt of the pelvis. This leg usually maintains the flow of both parts of the leg, the tides and the calves. Making one big elongated shape or curve line as you can see in here. Allowing the opposite leg to just relax and show a small fold given by the knee. Now take a look at the veral pulse and see how at the left side of the screen in the figure, the chest, the arm, the pelvis, and the leg compress, while at the right they are all relaxed down as I previously named. Right in the beginning of this Vito lesson. Please always remember that the torso needs to maintain balance with the feet on extending pulses. If none of both feet are aligned to the middle of the torso, easily seen here with the belly button, our pulses will not look natural at all. We need to be mindful about distributing the weight of the legs and the feet. This directly relates to the torso and a great way to look at it is the belly button. Now let's see the same posing in the opposite side by holding the next proportion right in the middle of the chest. We skew distort a bit the chest, tilting it in a small degree. We later draw the pelvis or the crotch tilting opposite, remembering. There is no need to distort it like we did with the chest. Then we draw both hands by remembering one of them is slightly above given by the pole the shoulder creates from above. See how, as I explained before, considering an invisible point that causes this force to compress one side and to extend or relax to the other one gives us a lot of clarity over this matter. Then we place the legs by remembering how one of them should align to the belly bottom while the other one folds relax. This placement is given the balance that the weight of the body distributes on all of the limbs to can stand naturally. As I said before, this is the placement of the weight of the body to find balance. It is super common to get confused on this posing while trying to juggle all of the different concepts and variables. Just focus on one thing at a time and give yourself time to grasp each part without rush to dissipate all confusion and make this knowledge easily part of you. Now the last pose, this one is going to be a mix of the two previous ones. We start by drawing the same gesture of the previous pose, tilting the chest and the pelvis, but we are going to draw the arm that is located on the compressed part of the puse, touching the pelvis and not just hanging off. We draw the other arm normally in a relaxed hanging way. Look at how the invisible point at one side is where all the compression comes from. Again, see how the hand that is touching the pelvis is related to it. This hand needs to be there, not on the opposite where there is all the relaxation. This can create a visual contradiction. Then we place the legs by considering the balance of the weight with the belly button, remembering that the one on the compressed side aligns to it. But what we're going to add now is a much more relaxed leg, which will also extend more outwards compared to the last pose. Here we have our great new pose, super helpful and great looking to the viewer when coming up with our own drawings and characters. All right guys, Now let's pay attention to the following. These are the common mistakes we can make when drawing this pose. Remember that the chest tilting is given by the distortion of the rectangular shape to be skewed and distort and not completely tilt different from the pelvis which its shapes moves as a whole and maintaining its regular form. The pulse we have as a result is over exaggerated and not natural looking to the eye. Many artists like to use this exaggerated gesture on purpose, but I wouldn't recommend it to you right now. In this beginner stage, what we want to do is to understand how the body behaves within the natural loss we live in. Remember that the hand that bends and touches the pelvis needs to be on the side where the whole torso is compressed. Placing it where all of the relaxed limbs of the pulse are will immediately create unbalance. The same happens for the leg. If you place the leg and the feet to align the belly bottom, but opposite where the compression is located, you will create incoherence. Remember that the leg that goes inwards to align the belly bottom holds the compression. The other one that is extended holds relaxation. This is why each of them needs to correspond to the proper part of the overall pulse of the figure. Try to think about the holds figure gesture as one. Even if we have lots of details and limbs, movement and mechanics, they are part of just one unit where one side is compressed and the other one is relaxed, just like the second post. If you consider all of these relationships to be made in the opposite way, the post can be constructed while maintaining the natural look. I would recommend you to make sure you become comfortable with drawing the first one successfully without trying to draw the opposite direction first. Otherwise, it is highly likely you will confuse your head. 13. Demo: Putting It All Together: Okay guys, get ready. We're finally going to put together all the learned through the whole class. What 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 structure of the human figure in a more understandable and accurate way. And on the third step, we're basically going to join all the in into one final piece of drawing. We will start with one pose and progressively complete the other two without further do. Let's get started. I want to start with pose number two. The one or character just stands with all its limbs relaxed and the chest and hip compressing at one side while extending at the other. First, I start by drawing the head as always. Second I go with the two biggest remaining main masses. Then I just complete the pose with the limbs. I'm now making sure the chest shape is skewed, the hip is tilted in a relaxed manner, the feet are imbalanced, the joints are well placed, and the row compression of the pose is working altogether. The whole point of this practice and three, a step breakdown, is to progressively start 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 the same exact mindset I'm drawing now, all of the structure we learn for the figure by keeping special attention to the proportion of each limb. I'm drawing this by focusing first on the three main masses. Just like it did on the previous drawing the head, the chest, and the pelvis. It is not that this is the best way to draw it, 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 you. 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 stay attached to the same order that I'm displaying on the screen. Finally, on the third step, I proceed to apply it all, the general gesture, imposing that all structure and proportion as a mindset, rather than a guideline to store drawing a complete character. If I were to do it for a real project, I add here and there 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. Here we have it. You can apply these same steps on different types of characters once you already know 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'd like to show from your figures structure. Also with the kind of body type that you prefer. If you want your character to look more muscular or, 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: All In The Female Figure : You now know all these steps to learn how to draw and how to practice the drawing of the human figure. Watch the previous example. Let's give it another try, this time with the female figure to see how to put it all together on it too. Just like before, we start by making a very simplified drawing of the figure. Focus on the three main masses of the body, But different than the previous drawing, we are now considering the rip, H and pelvis shapes with the proper female shape. The pose we're focusing on this time is the same as the previous one, just switching or flipping its direction to the opposite. To add dynamism, the torso is skewed, the pelvis is falling down, and the feet that gives the balance to the pose comes from the compressed part of the figure by aligning also to the belly button or navel. Finish this simple drawing. We now proceed to our second step, which is to apply all the top base of the pose into the complete structure. Thinking about proportion the whole time, to respect the harmony and size of each part of the figure, while considering also the relevant changes of the female figure. The neck, the breast, the waist, the Elvis or hips, and the less muscular tone completed it. Now we proceed to our final steps to make the full drawing. Considering all of the previous concepts learned throughout the entire class, just like we did in the previous video demonstration, we focus on drawing the whole structure, fitting it on the main pose. But now directly thinking on the organic counters and natural look of the figure. Again, making the full drawing, considering all of the previously learned, but now directly doing it on a final piece, Remember we're drawing it to hope everything learns and mindset rather than a method with guidelines. If it feels too difficult for you, it's okay to just draw the structures. And under drawing, to draw on top of it and then completed, it is only a merit of practicing to achieve the final look. Another way to practice it is to just keep repeating these three same steps on the same drawing of the same pose on multiple different types of characters, while coming up with your personal ways of body types and drawing styles. 15. Demo: A Different Pose: Great, let's go now with pose number one. Let's start with the simplified posing of the character. Analyze the bonds between both legs as described before, making sure the palms of the hand are outside the dorsal and only the fingers are making contact with the tevis. Then passing the very simplified manikin, let's throw the more complex manikin. 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 holding the whole time, the same posing on my head. Locating the limbs and the rest of the figure. I'm fixing all of the things that I consider that are off or that are unproportionate. Now the third final step again guys, I'm thinking on all of what I've just previously did. All right, so you should be trying to focus on the same thing. The whole point of drawing all of them next to the other and on the same page especially, is because I want you to progressively absorb this kind of mindset. This is more of a mindset to always bear on mind. This is not a step by step guideline. All right? You must be thinking on all of this structure. You must be thinking on all of the proportion of all of the parts of the structure. 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. 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're going to be giving your first steps in this subject, that you are going to make mistakes, embrace them. Think about them as something that are telling you what you should be addressing to practice and get better to improve. Okay, make mistakes as much as you need and correct yourself until you get the desired results. Learning is an ongoing process, no matter the experience. We're always going to make mistakes and we're always going to learn from them. All right? So I fix all of the mistakes that look after me and finally end the character. 16. Demo: Reverse Engineering: Okay guys, now I want you to look at this drawing and pay special attention to all of the mindset that I had while drawing it. All right, first look at how I'm thinking about all of the line rhythms of the body. Starting here with the upper limbs, the shoulder, the arm, the fore arm. See how these curves are related one to the other, extending down to the legs. Pay special attention to how I'm thinking about each of the curvatures. All right? Going from the tides to the knees, to the calves. A great way to approach this is to think about them with just intuition. All right? Don't overthink them, just allow your pencil to be very flowy. And of course to remember that the bombs, or the most 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 ships more organic and less stiff or robotic mannequins. I was also thinking about the whole structure. I'm thinking about on all of the simplified shapes and especially on all of the right proportion of each of them. Remember that each of them hold a specific measure that comes from considering the head. All right, then you can see in here home signaling, basing myself from the overall height of the head. We have one head height, one quarter of a head height for the neck. We have one head height and one quarter of a head height for the chest. We have half a head height for both the belly bottom and the Belvis. We have one head height for the tights, half a head height for the knee area, one head height for the cops, and another head height from there to the heels. Now for the upper limbs, we have one head height for the arm, another one head height for the forearm, three quarters of a head height for the hand. The height of the head is what usually comes on mine for thinking the overall placement of all of the figures. Also remember that the width of the head is as crucial and as important as the height of the head. Let's quickly review also the width of the head. I was thinking about one head width and a half head width for the distance that there is on the neck muscles that correspond to the trapceus and that attached to the shoulders from shoulder to shoulder. I remember that there is two head width. All right, Passing down the end of the rib cage, we know that there's one head width and a half a head width. And it goes the same for the beginning of the pelvis. All right, now extending down to the crotch, since we have our tights well attached to our pelvis, we know that this extension goes a bit further, which usually extends to two head width from there. Most of the time what we're going to find is half a head width to the end of the tides, to the end of the knees. And from there, based on that measure, we intuitively place a little bit less for the end of the calves, for the ankles placement. We finally end up the leg with a round tricks of a head width or sometimes one head width. It's up to you, great. Now for ending the whole figure for the arm, the upper part and the lower part, we have half a head width and we finally end up with an intuitive measure of around two thirds of half a head width. For the wrist review, this, I was also thinking about the three main masses of the human figure, which are the head, the rib cage, and the pelvis. At the same time, I was considering all of the landmarks, the clavicles, the nipples, the joints from the elbows, the belly, bottom crotch, the knees and the ankles. Even if they are not visible in here, they were helping me to navigate through all of the body proportion and structure. And at the same time, I was thinking about the gesture that each of the limbs display. Even if on this posing, they are 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 slightly inwards the doors. All right, so this is why my shapes didn't come out a stiff or very tubular and straight ahead. But they had more life and more shape for what corresponds to this pose. Only I was thinking about the balance that there is between the rib cage and the pelvis, which is straight. This is how this Vitolescen concludes guys. So even though I did this review on only this video lesson, on the previous video lesson where I was drawing another post, I was thinking about the same variables. All right, I was thinking about the three main masses of the human figure, the head, the chest, and the pelvis. I was thinking about the general gesture and general structure. I was thinking about the line readings of the counter of the whole figure. And I was thinking the whole time on the proportion of all of the parts and the structure of all of the posing. Thinking about the height and the width. All right, 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're going to approach to draw a human figure, at least from the front view, think about all of these variables. I know there 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. 17. Final Thoughts: Thank you guys for having taken this class. Here are the final thoughts that I want you to keep in mind. Number one is this is an introductory class. Please take it as you're learning the core and write the 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 will 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. All right. Another one is the human figure, depending on age and genetics, can have much more different proportions and head ratius. This one approaches from the most common one for teenagers and adults, all right, which is seven heads high. For more variated proportions and head ratius. There are more classes on the topic that will be common. I know that all of this may seem a lot technical and academic. With all of these measurings, proportions structure, there's a lot to keep in mind. But the measurings are a tool to help us improve the way we perceive. To develop confidence, to develop consistency and balance on the whole figure. To see great mindset, keep practicing it in a mindful conscious way. And it will all start to make sense to you better. It will also be absorbed to a point, it will become intuited. Also, there's no need to rush. Remember that to become a good draughtsperson, you must consider yourself involved in drawing. As a path to walk, not as something to take instant gratification from. You must 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. Finally, we have approached this through breaking down a structure, simplified shapes and common gesture of the body on its limbs, overall 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 gesture posing and thinking. Also on three dimensionality and form rather than shapes. Again, this is an introductory class. I hope that all of these have helped you to start. Now, daring yourself to draw your characters and your human figures. 18. Bonus Demo: Ipad Demonstration - Male: He s same F Se.