Figure Drawing for Beginners - Drawing Gesture, Poses, & Anatomy | Ethan Nguyen | Skillshare

Playback Speed

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

Figure Drawing for Beginners - Drawing Gesture, Poses, & Anatomy

teacher avatar Ethan Nguyen, Portrait Artist & Art Instructor

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Class Trailer


    • 2.

      Drawing the Manikin Figure


    • 3.

      Drawing a Super Hero Pose


    • 4.

      Drawing a Sitting Pose


    • 5.

      Drawing a Throwing Pose


    • 6.

      Drawing Figure From Imagination


    • 7.

      Drawing the Torso


    • 8.

      Drawing the Back


    • 9.

      Drawing the Arm


    • 10.

      The Arm in 3/4 View


    • 11.

      Drawing the Leg


    • 12.

      The Leg in 3/4 View


    • 13.

      Drawing the Whole Figure (Heroic Pose)


    • 14.

      Drawing the Whole Figure (Sitting Pose)


    • 15.

      Drawing the Whole Figure (Back View)


  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

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





About This Class

Welcome to this course on drawing figurative gestures, poses, and anatomy.

Here's what you'll be learning:

Firstly, we'll explore the basics of constructing a simple figure using basic shapes like boxes, cylinders, and spheres

Next, you'll learn how to draw this manikin figure in various action poses. You'll discover how to use gesture and perspective to give the figure energy and motion.

Then we'll build on this knowledge and add muscles to the poses to make them look even more realistic.

We'll explore different body parts like the arms, legs, and torso as well as draw the anatomy of the whole figure.

By the end of this course, you'll understand how to construct the figure in various poses as well as drawing the basic anatomy.

Meet Your Teacher

Teacher Profile Image

Ethan Nguyen

Portrait Artist & Art Instructor


I am a professional artist and teacher and have taught thousands of students how to draw the head and figure through my courses and online videos. 

My strength as a teacher comes from my ability to deconstruct complex subjects into manageable concepts. And my attention to detail helps me to explain these concepts in a way that is very approachable to students.  

In order to make sure my courses contain the best available information, I am constantly researching, studying, and training to improve my artistic skills. 

See full profile

Level: Beginner

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

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


1. Class Trailer: Hi, and welcome to this course on drawing figurative gesture poses and anatomy. Here's what you'll be learning. Firstly, we'll explore the basics of constructing a simple figure using basic shapes like boxes, cylinders, and spheres. Next, we'll learn how to draw this manic and figure in various action poses. You'll discover how to use gesture and perspective to give the figure energy and motion. Then we'll build on this knowledge and add muscles to the poses to make them look even more realistic. We'll explore different body parts like the arm, legs, and torso, as well as drawing the anatomy for the whole figure. By the end of this course, you'll understand how to construct the figure in various poses, as well as drawing the basic anatomy. Well, I hope you found this video helpful, and I'll see you on the inside. 2. Drawing the Manikin Figure: Now that you know the fundamentals of the figure, it's time to take one step forward and learn about gestures and poses. This is important in figure training because through gesture and pose, the figure gains life and becomes an interesting element in any composition. So that you understand why this part is important to know. Think of the following scenario. You want to draw a swordsman in his fight stance. Thus, you will want to make him look like he has a steady foot, but also flexible and fluid to indicate that he can move as well. You absolutely do not want to make him look stiff or too rigid. I will show you a few examples and guide you for the drawings. But before any of that, we need to build a mannequin. The manikin will be based on the diagram used in the proportion video. Only this time, we will use freely shapes to define the figure, namely spheres and cylinders. We are going to start this diagram with the total height and divide it into eight equal parts. Now, we have the basic guides that we'll need to draw the figure. After this, we'll use free ovals for the head, chest and pelvis. Okay. Now, we have this done. This is our main structure for drawing the figure in three D. We are always going to start with the spine. In this case, the spine is a straight vertical line that is also used as dymmetry axis and the line for the toll height of the figure. And afterwards, we have the free ovals for the head chest and pelts. These elements will be the backbone of the figures from now on. After this, we'll have to find the main joints and articulations that are going to be drawn with spheres. So let's try to find the shoulders. So we have there and here. Just going to drag these lines down as we did with diagram, the original diagram. Let's draw the shoulders with these spheres. Now for the volume of the limbs or the hand the arm in this case, we'll use cylinders. Okay. Generally, the cylinder from the upper part of the arm is going to be bigger than the cylinder for the forearm. Let's to the legs now. Okay. Remember how the femur looked like. It had a starting point from here from the pelvis. It went out a bit, and then it curved back in towards the knees to the interior. So we had it like this. Now, this part of the leg is going to use a cylinder, but the cylinder is going to be slightly curved. I'm going to have that curve right there because of the construction of the femur. But leaving that aside and following the figure, we now have to draw the knees. Again, to simple spheres and the lower part of the leg. Again, to cylinders. To small spheres for the ankles, and we are nearly done. For the feet, I'll use some simple pyramids. This is the best shape to close the feet in. And for the hands, we can either use a rectangular shape like this or a fist outline. Depending on the case. Since we have this, we can give a little more definition on the torso. And why not give the neck some definition? And we are done with this. I'm just going to take this marker and the outline. Okay. M. It up so you have only the polished lines, and there we have it. This is going to be the main we're going to use throughout. I'll use this line to define the rib cage. And after defining the pelts and drawing the figure, I'm going to do this to it. I'm going to define where the legs start and where the abdomen starts. And this will be our mannequin. Okay. 3. Drawing a Super Hero Pose: I have used cylinders to give the volume the limbs needed. But remember that the cylinders are in perspective. Depending on the position of it, we'll ears see more or less from each cylinder. I'll draw a cylinder in three different situations so that you can see what's happening in each case. Here is a normal cylinder in the free four view and below the eye level, plain and simple. But what happens when we look at it from the eye level? Something like this will happen. We'll see a straight line on the top surface because we are looking at it exactly from the edge, and we will see very little from the lower surface. And we'll have a very short and wide ellipse. Moving on to the third case, This is when we look at the cylinder from almost from the top. The ellipses are now almost circles, and it seems that it's very. This is an effect of foreshortening. And now, Something like this is going to happen when we will draw the figure and put it into perspective. The cylinders are going to behave like this From eye level, we're going to see a straight line. And as we look down, the surfaces are going to show more. That means that the ellipses are going to become tall. This is also a combined effect of perspective and foreshortening. This is something that is going to be encountered with dynamic poses. And some specific static poses. And now, I'm going to show you free figures in three different poses, a generic superhero pose, a figure sitting in a chair, and a very dynamic pose of a baseball pitcher. This is the generic superhero pose. Free quarter view, slightly in perspective. Eye level is around here. One leg is slightly raised. One hand pointing down, the other is raised from the elbow, both fists clenched. Despite the fact that this pose is static, it brings forth some nice tricks on how to avoid making a doll. Let's start from the top. The head is rotated away from the body, and because of perspective, we have the impression that it is tilted back just a bit. The chest is wide and open like the lungs are in heading at maximum. This gives us a definition to the pectorals and the abdomen. The pelvis is a bit rotated towards us because one leg is on an object and lifted above the ground. The strick with the leg is to give the overall figure a curve that is more appealing than a straight line. The center of gravity should be right below the neck, and if we take a line and drag it straight down, it will be near the ankle. This will make the figure look very stable because one leg holds most of the weight of the body, and the other leg is almost resting. Lastly, because of the leg being lifted, the pelvis is tilted sideways. Like this. So to compensate the shoulders are tilted sideways on the opposite. So you see, even if the figure is static, it does not have to be boring. Now, I'm going to show you have to draw this figure step by step. First, we have to establish the height of the finger. Now we can divide the height into eight equal parts together the right proportion and have some guides that we use throughout the figure. The figure will always begin with the spine and the head. So the spine was curved. So the spine was curved, and it will be something like this. It's going to have a diagonal for the neck, and it's going to curve because of the chess going to make an arch, and then tend to straighten as it goes towards the pelvis and towards the lumbar region. Okay. So we'll have that tilt there. The curve, the arch. And where it's getting straight. Let's draw the head. That you do it? Okay. We're going to use some simple lines to indicate some important landmarks of the figure. First, there's the line of the shoulder. This, and then the line of the pelvis. These two lines will help us when we are going to draw the chest and the pelvis. Having this done, let's sketch in the limbs using some simple lines like these. Now, due to the curve nature of the spine, the and the pelvis are going to be. Let's get those in. Okay. Okay. If you want to check and verify the perspective of one of the elements, you can enclose them in a box. I'm going to do that with the So there is that box I was telling you about. If the box is in correct perspective, then that means the element within the box is incorrect perspective as well. Now we can finally build the limbs. We're going to start with the arms and then dele. Let's find shoulders, first of all, So if the chest is here, this is the rib cage, then the navel should be around here, which means that the nipples are going to be here and here. Now we can calculate where the shoulders will be. And here is the first one, and there is the second one. Now, since this figure is in three quarter view, we won't see that much of the arm right here. But we'll see the entire arm on the other side. So we have the first cylinder? The elbow and the second one. And we have that outline. Okay. All right? Now, let's draw the other arm. Now that the shoulder is there. I don't see much of it, but that's not an excuse not to draw it. The elbow should be around here. And there we have our cylinder. And the other cylinder and the elbow. Once I'm done drawing the for I'm going to erase the lines that I don't need anymore. I'm going to use the marker to redraw the lines that I want to be there. Now, let's focus on the legs. Checking to see if they are right. And I'm using the initial eight parts to figure out the proportion to check if it's correct, and I'm using them as guidelines. I'll have the right there. And here is the first cylinder. That means that here is going to be the second cylinder. Another sphere for the ankles and the pyramid. This is going to be the pyramid. We have the triangle. And here will be the tip of the pyramid. Okay. And for the second leg? Not that I've used the eight head proportion ratio. The initial height was divided into eight equal parts, and I'm using that as reference throughout the entire figure because I'm able to do that. We don't have too much for shortening happening here. And therefore, all of the elements are seen at almost full length. Even the leg that is lifted above the ground is still at full length. So I'm not worrying about foreshortening in this case. So I made the first cynder the knee and the second one. Note that some cylinders will overlay one another when the arm is bending or the knee is bending and you don't have to worry about that because anatomy will solve those problems. Remember that the human body is made of soft tissue, flesh, and muscle, and They will fit together in different positions, so don't worry about that. But at this stage, the only thing you have to worry about is drawing the mankin right, even if some parts overlay each other. The ankle small sphere. And that perm once again. So this should be done. I want to give it some definition on the side. I'm going to take eraser and erase one we don't want in there. Some transparencies, some guidelines, part of the initial sketch, and leave it only to finish drawing. Okay. Some simple definition for the neck. Basically, there are two lines connecting the oval for the head to the point on which the sphere makes contact to the Let me show you here. So we have this line coming from there and going to this point where the sphere makes contact with the chest and on the other side, the same story. I'm going to take this marker and redraw what we actually need. And there we have it. This is our finished far. Now, let's move on to the next one. Okay. 4. Drawing a Sitting Pose: This is the figure sitting in the chair. It's not a dynamic pose, but it's good for learning, foreshortening. And I really like this pose due to a variety of reasons. The first reason would be that it's in the free quarter view and the eye level is around here, so plain and simple. But because of the fact that the spine is arched and the upper body is leaning forward, The head is going to overlay a bit of the chest and the chest is going to overlay a bit of the pelvis. The second reason would be that we have foreshortening happening and not. For instance, this femur is oriented towards us and because of that it is foreshortened, whereas this one is viewed from the side and it is at full length. And the same thing happens with this forearm and this one. So not only we have foreshortening happening within the figure, but we also have ways to compare elements at full length and the ones that are foreshortened. And lastly, the figure isn't just plain and simply staying. It's interacting with something. It's interacting with the environment. And it's also interacting with itself because it's leaning forward and the hand is resting on the femur. And not only resting, but it's also holding somewhat of the upper body weight. So without further ado, let's start drawing this figure, and you'll see that it's not that hard to build. This time we're going to start by sketching in the spine and the other main lines. So I want to make the fine, nice and arched lean forward. This should be the line of the shoulders. And let's just indicate the position of the arms, and here indicate the position of the legs. So that should do it. In this case, we don't see the figure as we did before it does. We could not start with the total height without sketching in the main lines first. Now that we have done it, we can start to divide the lines and figure out the right proportion. So here is where the pelvis will end. And that means I should have about three units from here to here, and this should be the first unit or the head. But since the perspective is taking place and we have foreshortening because the torso is leaned forward. We're going to have here only from here to here, about 123 half units. Is. And from here from the beginning of the femur to the bottom of the knee, should be about two units and two units from here to the floor. And here as well, but since port shortening is making some distortions, we can't really appreciate the proportion unless we start building the main shape. So let's start with the head. During have the head. And now let's build the chest. That should be and the pit Not how these rough shapes are overlaying each other, slightly, not by much, but they are making some kind of contact. All right. So we have these main shapes in. Now, let's build the legs. And we're going to start with this one because it's at full length and it's viewed from the side. So we have the knee. And about two units up to that point. So the sphere for the knee and the cylinder for the femur. Great. Now, we have to this part. Okay. P another cylinder. A sphere for the ankle and the foot. All right. Now, now that we actually build more elements, we can start to correct some of the mistakes that might have came along. Let's try the other leg. Since we have the first leg now, we can make a few perspective lines. Okay. So here's the knee. And here is the cylinder for the leg. And there we have the back. And now, the second cynder for the angle There we have it. Uh huh. Pretty simple up to this point. And now, we can build our arms and we're done. So let's find the n should be around here, which means that the nipples so be here and here. Since it's a free D shaped, lines are going to warp roundval when intersecting with the shoulder line will give us the shoulder here and here. You're going to start with this arm, the one that's going to be foreshortened the bit. Now, the first cinder is done. We know where the elbow is going to sketching a sphere there. So let's build the cylinder that is part. We'll start with the first ellipse, then the second one and connect the lines. And that's it. Now, a rectangular shape for the hand. And that's it. The same thing happened with the femurx would have the first ellipse, the second end, connecting the two extreme points. Now, lastly, the arm that's resting on the back wrist shoulder elbow. And cylinder. Now, forearm and a simple rectangular shape. Now that the figure is done, I can correct any mistakes that might have occurred. And I think that the head is a big too big so I'm going to adjust it. I'm going to make it bit smaller. It's a bit better now. I'm going to connect those lines for the neck. And we are and going to clean it up a bit and show the result. Okay. Okay. And there you have it. Now, we are going to move to the last figure. And then I got a little surprise for you. Okay. 5. Drawing a Throwing Pose: This is a baseball pitcher as he is right about to let go of the ball. I like this one because it's very dynamic and it's not very foreshortened. So it's a simple drawing. When you want to make something dynamic, you have two options. You can make an exaggerated perspective, or you can make diagonal intersections. This is the second case. As you can see, if we drag a line all the way from the foot to the neck, we'll have a line that will intersect with a line going all the way through the arm and shoulders and the other arm. So let me use this marker and the pencil to demonstrate that. And here you clearly see that intersection. Now, if we take these lines further, we'll get a figure. This is not a complex figure to draw, as I said before. We only have one hand that is slightly foreshortened, and the position of the legs is somewhat different because of the technique of the frog. The one beneath the body holds all the weight and is highly tensed. The chest is rotated away from the pelvis and is orientated forward, which makes the spine rotate, and the head is pulled back towards the spine. And because of the position of the legs, the pelvis has a tendency to somewhat be rotated towards us, but That is not entirely correct, and I will show you exactly what's happening here. That's because of the throwing technique. Now, let's start accurate drawing it. We're going to start like last time and sketching all the lines. And we will begin with that primary line. This one right here. And the secondary line that's going to create that intersection. Okay. This. All right, we have the main intersection, and the lines that are giving the composition, it's dynamic. From this point, we can start to add the shoulder line, the pelvis line, and of course, the spine. We're going to start with the spine as always. So the head is pulled towards the spine. And the chest is rotated, which makes pelvis rotate a little bit as well. To look like something something like this. We would have here the shoulder line and here the tevis line. Of course, the arms and the legs. And the lengths and I should be enough for a beginning. Now, let's start to draw in the first and most important elements. The head and pelvis.'s been with the head. I just want to sketch them loosely in. So I have an idea of what's happening. So I'm going to use some very simple lines. And these lines should do the job nicely. Now, I can make those parts for proportion based on these lines right here. Since it's a dynamic pose, it's pretty hard to estimate the right proportion. So that's why I wanted to add these major shapes first. So I have here the head, which would be one unit. I have about 2.5 so Okay. So almost the right amounts. From here, I should have about two units to here, That's correct. And since here I have some foreshortening, I will have only about a unit and a half. The pose is rotated, on the opposite side, which will be there. You have two shorter units to the me there and foreshortening again on this side, another two shorter units. About that. Okay. The shoulder should be the end of the pelvis is here. One unit, we have here the naval We should have the nipples here and somewhere there. If we do lines, we will have here one so and on the other side, which is not visible, but it's around here, the other. Okay. Okay. And I'm going to have about two units and a bit. And here again, two shorter units because there is a little bit of for shortening and perspective with this and. Right, so I have the major shapes and about all the guys that I need to finish up the figure. Now, let's move on to defining the chest. The chest is viewed from this eye level here. So there's not much perspective happening with the chest, but since it's very rotated and tilted, Something is happening with it. And I'm going to use this to show you exactly what's happening. Let's start with the pelvis. The pelvis is viewed from almost free quarter view. So let's say this would be that. Now, rotating that further from us so we see a little bit more towards profile view. Here we have the chest. Now, another bit further to profile or side view entirely is the head. So here we would have the chest. And here should be to tell All right, so you have that. And now let's define that a little bit. That should pretty much be enough. So we see a little bit of underneath the chin. And this line is for the line of the eyebrows, which is wrapping around the head. All right. So we have the main building blocks there. Let's finish it up with the legs and the arms and clean it up. I'm going to start with this leg because it's almost at full length. So we have here the knee. And that means the rest is a cylinder. Just like that. And this part again, another cylinder. Wanting to rotate the paper that you can see what's happening and you're having a hard time drawing certain lines, simply rotate the paper. It's much more easier and it will help you get better lines. All right. We have that done now for the foot. That should be. Remember that even though the foot is back and stretch back, this is the top of the foot, the surface right here. Okay. Okay. Okay. And now let's focus on this one, which is a bit foreshortened. So we have here the first joint. But moving that on the other side, it would be right behind it, and we will not see it. But we know where it is and we can measure from there to the knee two units, and find out where the knee will be, which will be here. And from there, you can draw the clinder Now, we can draw the other cylinder as well. The small sphere for the ankle. And we are done with that also. The pyramid and that's it. Now we are almost ready. What is the hands and your arms, and we're done. Let's start with the hand that is stretched out and foreshortened a bit. So we have here the shoulder, first of all, very important. And somewhere around half of that distance, we have the elbow, so we can sketch it in right there and draw the cylinders. First one, and the second one. And the outline of the hand holding the baseball. And maybe even make that hand a bit larger than it should be because of perspective, and it's closer to us than the other hand. Now, if it is done, let's move on to drawing the other shoulder, which is on the opposite side, the same story with the pelvis joints and the socket for the femurs. So it's on the other side. We don't see it, but we know where it is. So we can draw it should be around here and there should be the elbow. And this is the second cylinder for that arm. All right. And here we have the baseball glove. Okay. And there we have it. I'm going to use the eraser and clean up a bit. And use the marker to define the final lines. Okay. Just going to zoom and show you guys some of the details. And this is it. As complex as you might have at first, it's a simple drawing once you know how to the figure and work with the mannequin. Okay. 6. Drawing Figure From Imagination: Here's a homework assignment you can do to practice poses. Best way would be to draw from life, get a friend or a relative and draw them like hydro Dmqins. Start with the lines, divide them, check for proportion, and add volume. Draw a figure in about 10 minutes or so. The point of a manqin figure is not to spend a lot of time on one, but to spend a little amount of time and make many of them. Each in a different pose. At this stage, you need quantity. The more figures you draw, the more comfortable you will be with the figure in general. Ideally, would be to get a group of friends and all draw the same person, but each from somewhere else so that afterwards, you can compare your drawings to help out each other and to learn from each other. But if you can't do that, look for pictures or images on the Internet and books and comic books anywhere and draw the figures you'll find interesting, but draw them like mannequins. It's very important to not make it passively, make it actively. Think of what you are drawing and why you are drawing it like that. Like when I said about the shoulders and the pelvis, detailed oppositely to compensate each other. So think of what you are doing and not to copy it blindly. Once you are comfortable with the mannequin, it's time to start drawing from imagination. I'm going to draw a figure right now from imagination, I'll guide you step by step. All right, so. As before, I'm going to search for some interesting intersections. So I'm going to sketch a few lines and see if we can find a starting point. I think I found something. So just going to try to see if I'm on the right track. Going to sketch in the head. So a simple sphere. Then chest. And then he So I think this might actually work. So I'm going to try to find the shoulder line. Try to try to see how I can give this shape some definition. So I have the three main building blocks. And now I'm trying to find a position for the legs and the arms. And I actually think I've found something. All right. So this will work. It's at this stage, I'm thinking of tracker or something like that, some fantasy teamed character. So that's why I want this figure to be in light. It's searching for some tracks. So that's why he's actually kneeling and has one hand on the ground. And what to do with the other hand. This might be an interesting idea. I'm going to make this character carry a staff a long staff. So we have here a arm that is foreshortened, a leg that is foreshortened. And the other two elements are going to be a full length or almost full length. Right. And I've started from those initial first couple of lines. I've checked for some interesting intersections, and I've winded up with this. And it's a good exercise to start from interesting lines and see what kind of figure you can get starting from those lines. But since this is now here, I'm going to work with it. And I'm going to start actually with the legs. So I have here. The pelvis, I'm going to zoom in. So I have here the pelvis at a free quarter view and the upper body is leaning forward and the chest is actually almost facing us. So it's a pretty twisted shape, but we can work with that. So we have here the knee. And here we have the first cylinder. Okay. Actually, I want to need to be a little bit above the ground. So it's going to be there here is that first cylinder, right. Now I'm going to build the second cylinder. Should be around there. And there we have it now. The foot And dad should pretty much do it. All right. Now. One down. Want to go? So I have here Dane. And I have here first cner's a bit long, I'm going to shorten it to put it here. So I'm racing first attempt. So I have the knee there. And the first cylinder here. All right. Since we have a little bit of perspective here. We're going to have the foot here a bit lower than this one. And the arm is going to be around here. So we have the ankle. And the foot. And do we have our length. Now, let's move on to the chest. So the chest is almost facing us. That means we'll have here. And it will go up in that direction, which makes the back come along that line right here. If you remember that stretch bean shape, I used to build the torso from the side and free quarter view, it will help you understand what I just did here. So there we have it. I'm going to draw this arm for someone sharpened pencil. All right. So the naples should be around here. The nipples and on there. So if we drag those lines, we will get the shoulders here and there. Okay. So I drawing the spheres for the shoulders right now. There go. We have here the elbow. And here is the first cylinder of the arm. The elbow. And here is the forearm just overlaying a bit of the elbow. Then we have the hand. And there is that staff. No I initially sketched it, but sits near there. All right. So we have that. Of course, we can always till that a bit to the sides if we're not happy with its position. So I think I'm actually going to tilt it. A bit. So it won't overlay this area right here. Going to raise that action right now. Now what's left would be to define the head bit. And now, the remaining form. So I know where the shoulder is. I'm building that sphere. And somewhere half of this distance should be the elbow right here going to draw the elbow right now. And we have Okay. Okay. Okay. The first cylinder. And the second one, going to correct this area a bit. I want to make this a bit longer and this one shorter put in the po lastly, and right there. Han, are pretty much done. Now, I want to clean it up a bit and show you the result this fast sketch. So I think it took me about roughly 10 minutes or so time in which I had to concentrate on explaining what I was doing. So to make a drawing like this should take about 10 minutes less than 10 minutes. Okay. And here it is. 7. Drawing the Torso: Hi. And this video we'll be covering anatomy. To be exact where we're going to apply some basic muscles to the maaqin to make it a complete figure. Keep in mind that this is orientated for beginners to dust. I will use a simplified style to draw the muscles, and they might be exaggerated in certain situations just so that you can see what's happening better. For this video, I will demonstrate how to add muscles correctly to the Makin in stand alone diagrams of body part, the torso, the back, the arms and the legs. I will show you how the muscles behave in different positions of these body parts. And lastly, I will sum up all the information from this video and give free Mannequins an atomic definition. To begin with, let's take a look over the torso. The torso and the back are the only individual parts of the that are symmetric if divided in half. I will explain to you on one side of the diagram and draw on the other. The torso is quite easy to understand. You have the packs here and they go under the deltoid or the shoulder muscle around here. This point will be an intersection point between the deltoid, peck and biceps, and it will help you draw this entire area. Afterwards, you have three important muscle groups. The abs, external obliques and the rib muscles. These three are strongly related to each other. The abs are actually four pairs of two muscle groups. And usually the lower ab is not defined as well as the top three. And therefore, only the top three are usually visible and they create the six pack. Next to them, we have the external obliques. Usually, we have one oblique for each ab. So we have one, two, three, and four. The lower oblique goes all the way around the hip, all the way to the back, and it does not intersect with the rib muscles as do the top obliques. Afterwards, we have the lat muscle. It's more visible from the back. It's a muscle of the back. But from the front view, we have only this small portion right here. This muscle stretches all the way from the lower back, goes over the lower oblique, and then goes all the way up to the deltoid. Lastly, we would have here the trapeze, another muscle of the back that is also visible from the front view. And next to that, we have here the muscles of the neck. Just to be complete, here we have a part of the upper arm, the biceps, and this is just so that we can draw the deltoid with that intersection point I was telling you about. Right. Now, I'll show you how to draw it. We will begin with the deltoid. I'm going to start the deltoid from this point of the sphere, the shoulder and a third of the slender around here. I'm going to draw an oval there. Going to have to make it. Okay. All right. And now I'm going to make another oval for the bicep starting from the top of the cylinder going all the way to the end of the cylinder. And now I'm going to have two intersection points here and here. Is going to cleaned up. From this intersection point, I want to drive a line all the way to half of the color bone. The color bone is going to be here. And half of that distance is around here. That is the general shape of my deltoid. Now, from this second intersection point, I want to start the peck. It's going to go over the bicep bit then down towards the nipple beneath it, then up again. If you pay close attention to this side, we also see a small amount of the triceps. So I'm just going to double the line of the oval to do that. Okay. There. Let's make this line a bit more curved, so it wraps around the bicep and give it some definition. Now we can make another small arched line like this. To add some extra definition to the entire construction. All right. Now I'm going to focus on this area. For the neck muscles. You're just going to start from next to the jaw line here, and you're going to make a slightly arch line towards the color bone, like that. Afterwards, for the trapeze, at the chin's height at this point to about near the near the beginning of that first oval with which we started the deltoid. It's going to look like this. Before drawing the apps, I want to point out two important things. The first is that they are found in the chest cavity. So right here, it's inside the cavity. And the other thing is that the two top pairs have a descending line here. All right, would that sets them. Going to use vals to figure out their volume and skate out their position. All right, this should do it. Okay. What they pay attention to is this line here and here. They won't go all the way and touch the cavity just on the top. The top pair makes that arch and touches the cavity or the sternum to be more exact. Okay. And the other pairs are simply following the edge of the first pairs. So we have here the end of the first pair of pbs. And from there, there's this straight vertical line that will limit the other pairs. And the lower ab is a bit more different than the rest. You see that these pairs here are made up of individual groups of muscles. But the lower one can be considered both a pair and a single individual muscle because we have here some tendency of a pair, but the lowest part of it is actually an entire single muscle. Now, let's tackle the obliques. As I said, there's usually one oblique for one ab. So we'll start with the first ab. And we'll use these arch lines to make the blinks. We have the first blink for the first ab. Second, and the third. Note how they get bigger as I progress. And they will end where the test ends here where the rib cage will end. And here, we will have the lower oblique, which starts from the point where the ribcage ends and it goes a bit outward of the top of the pelvis here. Do we have it. Here are the rest. Now, I want to draw the lat muscle, going to start from that same point where I started the lower oblique and draw a line all the way to that first intersection point of the deltoid here. And that I want to give it a slight curve. And that's it. Now the last part is the rib muscle. I'm going to take a line from the nipple and drag it down, but slightly diagonally, give it a small angle, and I will have these intersection points. And now I'm going to start from the top of the upper line here the line. I'm going to start from there, make a very arch line like this. Then again down again. That's how you draw it. I'm going to clean up a bit. And this is it. Let's move on to the back. 8. Drawing the Back: As before, we have the major muscles of the back and a small part of the upper arm. Here is the deltoid covering the shoulder and the triceps this time. Next to it is the trapeze, which stretches over the rib cage to the neck along the spine. Here, we have the lat muscle that stretches all the way from the deltoid to the lower back and next to it is the lower oblique. What's important from this view is the detail to the deltoid. Now we see the deltoid actually covering more of the triceps and behaving as the part of the pec muscle that was actually next to the deltoid. And furthermore, we see that the deltoid is actually made of smaller muscles. So we'll use more ovals when drawing it. Let's begin. As as before. I'm going to select those two points, top of the sphere and firt cylinder. And I'm going to draw the oval. Now, from the top of the cylinder to the end of the cylinder. I'll have another wall. All right. And we have those two intersection points. Okay. Here and here. And note that I've made the oval bit than the cylinder. You can make it as long as the cylinder or a bit shorter than it because you will see later on how the trip looks like. Now let's try to sketch the color bone. It's going to be there. So half of it is going to be around here. And that should be it normally. But remember that this is the rear view and we see more of the deltoid this time. So I'm going to start from here, and make another short oval from here to here. This is the intersection between that line with the first oval, and this is where the line intersects with the circle or sphere, which we use to draw the shoulder of the mannequin. So I'm going to make an oval and you will see why a bit later. Okay. All right. So there we have it. I want to erase a bit. Right? Now I'm going to continue from here to cover the trips and this circle. Okay. Remember that when the circle touches the tricep, you're going to go over it like this. And from the first intersection, the same thing, you're going to go over it. You're going to form this curved shape for the deltoid and double this line a bit more to the interior. So that we give it that definition. Okay. All right. And now from here the top of the circle, we're going to connect a line to this circle like this. Now, this is the general shape of the deltoid. Now we can make these smaller inside that shape. To give it that exact definition there. Yeah, I'm going to draw the lad and the lower oblique. To find the starting point of the lat, you're going to make an like this. And a little more to the inside of the center of the x would be where the lat muscle is going to start. And it's going to go along the root cage. Like that. And the same thing as before, the lowest point of the root cage is where the lower oblique is going to start. Like that. Now, the lad is going to go up a bit, make that arch here. It's going to go up an arch, then a vertical line. And from here, we have the So we're going to start from here. We're going to make a line arch line like this so that it forms this S shape. Okay. Not that pronounced, something like this. And within this, we have three ovals. One, two, and free. Let me darken them out. O two and free. I'm going to seen them out, make a nice transition. And that's how the trapeze looks like. Now for the last part, the same as we did with the front view with the torso slightly lower than the a drag that line here. Dalines going to go a bit inwards. Then we'll have this part right here. This is the muscle of the neck that's going to go forward. And there we have it. Now, I can't clean it up. And this is it. Just to be sure that everything is correct, if we select the center of those circles for the shoulders and the middle of the top line of the pelvis or where the pelvis ends and the spine starts. So here. If we connect these free points, we'll have that specific V shape of the back. And the lads should make a nice curve and transition from the deltoid to the oblique and lower back so that we have that natural v. 9. Drawing the Arm: Now, it's time to move on to the arm. The arm is pretty tricky to draw, but once you understand the basic mechanical function, it should not be a problem to draw it. I will start with the arm in front view and back free quarter view. Afterwards, I will explain how it works from a mechanical point of view. The easiest part of the arm is the upper arm. Here, we have the deltoid biceps and a small part of the triceps. The forearm is more complex. It has two muscle groups, extensors on the outside here, and flexors on the inside here. These two groups allow the rotation of the forearm. After that, we have a number of smaller muscles here and here that allow the bending of the arm. Here's a quick tip. Think of the muscles of the forearm as if they wrap around the arm up to the biceps in a spiral motion. It will help you understand the drawing method I will use. We know by now how to draw the upper arm. What you need to add to that is the fact that the biceps gets stretched as it nears the sphere, which is the elbow. And that should be in with the biceps and the deltoid. Now, for the triceps, I'm just going to double the line of the biceps. Like this. I think to this one out a bit. That And, what's going to happen with this part? I said that it's going to be stretched, so it's going to come up and a tendency to fade in. It's going to be smaller around this area. Can we just erase that? There. Now, as I said, think of the muscles of the forearm wrapping around the arm up until the biceps. So we will have a spiral like motion to these muscles. Go to begin with the first one. This is the stem. And it is going to look like this. Then we have another one. Then the last one there. Let me just start them out a bit one to four lines. There we go. Now, these two here are extensors and this one allows the bending of the arm. This one pulls the entire forearm up together with this one from here. Okay. Now, for the elbow, it's barely visible from this angle. You only have a small tip of a bone here, this small bump. And then we have the flexors. That should be the two, this one right here and the smaller one here. Let me just correct this part Okay. And this should be it. Of course, I've exaggerated. This entirely is more of a body builders arm. It's very thick and defined and the muscle mass is huge. But I've done that so you can see these individual larger muscles, the more important ones, and to demonstrate this drawing method. What I like about this drawing method is that it gives you a certain flexibility in deciding the outcome of the drawing. You can leave it like this, darken the lines a bit, clean them up, and erase some of the construction lines, and you will have a drawing in which the muscles are very defined as if the arm is flexed, or you can erase most of them and leave the outline and a few of the interior intersections and get a arm that is defined but relaxed. 10. The Arm in 3/4 View: Here is the back free cord view. Note that the hand is pulled back so you can see how the forearm behaves in this situation. We'll start with the biceps. This time, it will be smaller because we won't see much from it from this angle, then the triceps and the deltoid. We have here the bones showing, which means that they are not entirely covered with muscle. The elbow is going to have this angle here. As for the forearm, it's going to be leaner in this case. Remember that here is a bone visible. Father said, Let's draw it. For the triceps, I want to start from here from this point of the circle and go two furs down the up until here. All right, that should do it. I want to zoom in a bit more and show you what's going to happen with the elbow. We have a bone here, and that starts from the middle of the cylinder to that angle of the elbow. So from here to here. It's a flat surface. We're going to draw it like this. Then the elbow is going to have that angle like this. Now, the triceps is going to cover it. So it's going to start from here and go like this going to start from there, go up and down again beneath the deltit And the triceps is actually up two muscle groups. So I want to make this line here just to emphasize that. All right, I want to clean it up a bit. Okay. All right. Now, what's going to happen to this part? How are we going to continue to the forearm? SMS before, but we're going to start here from the triceps. We're going to continue these two lines down up until here, the end of the cylinder and from there, just the angle. And from here, we're going to make those lines that are wrapping around the forearm. But because of the hand is pulled back, these are going to be a lot leaner, they won't have that much volume. So we have the first one. Second one and the one, which is going down. Then we'll have this one here and let me just darken the mouth I'm going to clean it up. Okay. And 11. Drawing the Leg: The legs are fairly easy to drop once you are familiar with the forearm because they are drawn with the same method. Let's start from the front view. The knee is going to be the major landmark in this diagram. Above the knee, we will have these three large muscles. You see those two are actually behind this one in the middle. So you see these two on the outside are behind this one in the middle. And below the knee, we will have the shin bone that's going to be the second important landmark to one side of the shin bone, we will have some muscles wrapping around the lower leg. And on the other side, on the inside of the leg, we will have the calf. Above here, the bridge between the leg and the pelvis or the hip area, we have a number of ligaments and small muscles. But those are pretty complex draw. And at this stage, at the beginning, you don't need to know all of them. You just need to focus on the more larger muscles that will make your mannequin look good and be an atomic correct. So with all that said, let's start drawing. We'll start from the knee. The knee is going to be simplified into a diamond shape, and we are going to place it slightly above the sphere and going to make it long and thin like that. You can also place it right on the end of the cylinder. With that done, let's move on to the large muscles above. I'm going to start from here from the edge of the cylinder, go out and inside again. The same thing on the other side. Note how the most point is down here on this side and up here on the other side. If we connect those two points, we'll have a 45 degree angle at this line here. Now, from the knee, we're going to begin with the muscle that's on top of these two. Okay. Okay. And that's about it. Just going to darken these lines now. And now, I'm going to clean up bit to clean up as well and show how you can turn that dam shape into something more realistic. So here was that diamond shape. What you can do is actually make this small arched line. And that will be the knee right there and another one there, and that's it. I'm going to do the same thing above. And I've turned that diamond into a knee, very simple and very efficient. Now, I'm going to continue with the shin bone. First, it goes inwards, then it goes outwards, so then out. And we'll make this slide angle. Now, we have these two lines right there. They are going to finish the knee overall. Actually, going to make them a bit taller. These two lines on the side of the knee are actually made of tendons and ligaments, and so on. Because the knee is supporting an immense weight and all of pressure. So it has not only have to be strong, but also flexible. After that, they're going to draw these muscles. Okay. All right. And sally. The count. I don't want to exaggerate too much with this part because if I make this one go out too much, then it won't look natural. And here we have the ankles and we are done. Okay. 12. The Leg in 3/4 View: This is the three quarter back view of the leg. Behind the back of the knee, we have a group of long muscles, and above that, we have the glottis maxs. Below the knee are the calf muscles and Achilles tendon. What is to remember here, especially is that behind the knee, there is a diamond shaped space that is empty. It is like this to allow the knee to bend. At this point, you should be fairly familiar on how to tackle this drawing. So let's get right into it. I'm going to start with this shape. And I want it to be here. Even though it's a diamond shape, it's longer on top and shorter down. And that should be enough. You're going to position it on the end of the top cylinder of the leg. Now, can draw these muscles here. I'm going to use a to get down the main shape. The same thing with the calf. The next step is to create a smooth transition from here to the knee to the calf to the tendon and to the foot. Remember that the ct is actually made from two separate muscles put one next to each other. So we have to suggest that at least. I'm going to do that. With these two lines, a long line that's going like this and a short and going up and there we have it. Okay. Now, up here is the same issue. There are two muscles here. I'm going to take this line from the diamond and drag it up and give it a slight curve like this and now I can darken this line here. Now we can draw the. From this angle, it's going to be a small bump like this, slightly above the middle of the circle. From here, I'm going to have two lines. Here and here. Then this. These lines are from the muscles that were in the front view to the outside of the leg. How to finish the upper leg. Let's draw the gloats maximus. This so be the shape of it Okay. Okay. Now, let's finish this part. We have the heel. But before we actually draw the ankle, we have to draw the shin bone. Here's visible. Then we have here a straight line that's going down and we have here with the ankle. Okay. And that's it. With this last diagram done, we have finished all the standalone parts of the body. Okay. 13. Drawing the Whole Figure (Heroic Pose): These should be the stepping stones that you will use when applying muscle to the maquin in order to create a simple realistic figure. As a last part to this video, I will demonstrate how to use the information I just gave you and turn free mannequins into free figures. This figure should be a combination of the diagrams I showed you earlier. The torso is slightly turned and a bit arched. Lastly, one leg is lifted above the ground and bent. Other than that, you should be able to draw it without any problems. I'm going to draw over the mannequin and we'll be zooming in so you can follow me. Thank you. This leg, even though it is lifted, it has the same anatomy as any other leg. You see this is the muscle that was on the inside of the leg. And this is the one that was above it. And there you have it. There. The knee is bent, and you can actually draw it using two circles have the first part here and the lower part. That's all there is to it. And we have the coal here, the other part there. Okay. And that's it. He and ankle and this leg is done. Okay Okay. Okay. Okay. And there is a figure from Hanan. Moving on to the next figure. Okay. 14. Drawing the Whole Figure (Sitting Pose): This figure has been dealt with in the previous section, and you should be familiar to it. Don't worry about the effects of foreshortening. The distortion is not that heavy. Pay attention to the position of the arm. The arm is held backwards and lifted, and that makes the shoulder rotate. And in return, the deltoid is rotated as well. The knees are bent, and therefore, we can no longer use the diamond shape to draw them. But you can draw it, in fact, with two circles above, being larger and then correcting the lines. It's an easy method to tackle the knee when it's bent. Just don't forget the shamble. A let's draw it. Let's begin with this leg here. I'm going to start with the knee. I'm going to make that f circle or oval in this case. And then the other And there is the knee, going to race those construction lines. And there we have it nice and easy. Now, let's continue with the shin bone. Okay. And the camp here. And we are done with the lower leg. Yeah, for the muscles of the upper leg. Okay. And that's the. I'm going to try the second leg. I'm going to use the same left. And there is the knee. And that you do. Now, let's focus on this arm. I draw the color bones. And now I can start to dt Okay. Okay. So there's the biceps. And there's the Peck. And for the trips. Elbow. And for. Okay. I have. Yes almost. I was trying to figure out the shoulder. And that's it. Now, we are going to move on to the last figure. Okay. 15. Drawing the Whole Figure (Back View): This figure focuses on the back. Let's take a quick view over it. One hand is very foreshortened, and the other is in a three quarter angle. Due to perspective and the position of the legs, one seems larger because it's closer to us, and the other seems smaller because it's farther away from us. What is more to that is the fact that the head is stuck down, which will give the spine a certain curve, and one shoulder is closer to us than the other. Which will make Traps behave accordingly in perspective. This will be and this will be smaller. This effect is also enhanced by the fact that this arm is held normally, and this one is pushed forward. This should cover the explanation. Let's get started on drawing it. Okay. Okay. Okay. Okay. And we are Okay.