Figure Drawing - Line Art and Value

1. Introduction to this Class: Hello everyone. My name is Robert Marzano and welcome to my class figure drawing, liner and value. You find yourself getting into a certain part of your illustration and stopping, maybe starting over or feeling like you just can't draw that specific thing. I'm here to tell you. We all do that and there's nothing to worry about. But one of the things that you can do to combat that is specific areas of study. And that's the purpose of today's class by focusing our efforts on these studies of specific areas of the body that we're a little bit less knowledgeable about. I find that we can catapult are further faster and feel more accomplished. In this class, I'll be sharing studies of the human torso, both male and female. An area of the knee that I find is important to pay attention to. So you'll learn about bony landmarks, anatomy, terminology, things like that. Keep in mind that for your project file you can work on whatever part of the body and angle that you want. Just use some of these techniques to create line art and value studies. And I'd love to see what you come up with. Thank you for considering my class and good luck with your art. 2. Spine of Scapula: In this section, I want to show you some different studies that you can work along with me. And we can really address some of the tricky and sometimes subtle and not so subtle areas of the body. And just things that generally I feel are good to practice. So these are things I've practiced daily now, but then also I want to look at it in a way of if you're a younger artists, more aspiring, what are the things I could tell somebody that I wish I would have practice sooner. So this particular study, I want to start with the spine. And we're gonna put a line going, getting that S hook of the spine in place. Bend something like this. So there's that noticeable S hook to the spine. This would be the neck here at the very top. And so what I want you to do here, as good in the three masses. So the torso. Remember it's gotta be oriented with a bit of a tilt. If you if you need a little bit of assistance with creating the tilt, then go ahead and use the primitive first. Something like that. I'm going to jump pass this and go ahead and introduce the oval with the divides of the shape of the ribs there, something like this. And then likewise for the pelvis, if you need a little bit of assistance getting that tilt visually in place, you can use the primitive, something like this. I'm going to see probably very little that top plane change, but you can get that that tilt and orientation. Shoulder will be roughly in here somewhere for the pelvis, I'm actually going to bring this back. So I want the, I'm going to draw a couple of versions for a real quick so that you get the idea of what I'm going for here. I want the look that the pelvis is twisted back towards our view a little bit more like this, the severe center line. There's that floating underwear. So if you were to notice that this top one, the shoulder opening would be here. So there's a very distinct difference in twist and orientation that we're gonna go for on this one. The other way that you can think about this, if that floating underwears too complex for you and it's not looking right, just remember that you can first establish the primitive of this area. Something like that. And just remember, each time you adjust any plane of this in a different orientation, obviously the rest has to follow. So if you adjust this plane, you have to just everything else. Proportionately connected layer or whatever. But again, you can easily transition and shift that if you need to. I think that's actually about right. I probably a little bit more of a tilt away. When I go back to the initial starting point, I'm going to bring that back to about here. I don't want to twist it too far. It seems entirely unnatural. And so I'm going to convert this to the pelvis shape, the floating underwear opening for the body up here. You see when convert that back to the initial shape that, and again, I generally will freehand this n. But that took practice, so don't rush it. You'll know when that time is, get a nice sense of comfort. Withdrawing it. The basic primitive way, if that feels better for you, go with what feels right. Over time, you will jump to that next level. So now I can put the opening for the shoulder again. I said that's up here. Really getting a twist in there. So this would be the side of the body. Okay, this would be the front. Can't see that cross-section because the body is going to be turned away. Okay, so now let's go ahead and touch the head. I want the head to be facing away. Something like this for primitive head shape. Here, back here. I feel like that's a little too much of a profile. I want to turn it away even further. So I'm going to go back to boy here. What I want to think about to do this is I have to get more of the back of the cranium kinda figured out and then bring that oval. That basically implies the side plane change of the head that needs to be brought over here more. Just use the IRR as a placeholder. The more you bring the ear towards the front of the face, then the more that head is turned away. Alright, because the profile of the face is going to. Get closer and closer to the ear as it had turned away. Just like if you are looking at the back of somebody, it would look like the ear is basically right against the front plane of the face. You really see that back connection point of the ear and the hair would overtake a lot of the rest of them. You won't see any of the facial features. You just see the line change of the side of the face. So it's all about getting that ear and the right place. And then you're also going to change the look and shape of the jaw line. So pay special attention to those areas. And I'm not going to worry about drawing the neck yet, just gonna kinda connect across this way for now. Okay, so there we go. So we've got this idea going. A little bit of a connection point. And really the spine would be way underneath there, but this doesn't represent the spine. Think of this more as just a line for the back of the neck. But we've got those three main masses kind of working. We've got some twists and orientation differences going on. So now what I wanna do is I really wanted to show you a couple of things in this particular pose. One of which is that the body gets way more expressive when we do turn these. That's the main thing. But also we're gonna get into areas like the back and the pelvis. Specifically, areas like the deltoid, which are tricky from different angles. And those are things that escape a lot of us and they require a lot of practice. So what I wanna do here is show you that if we bring this arm up, so we've got the Delta up here. I've got the arm coming out away from the body. And we'll just get the back of the arm here. So I'll just drop in a cylinder rolling and that'll be the best way to jump too far into the anatomy yet. So you get the back of the arm. Elbow will be in here somewhere. So we've got an arm out like this. And then on the back I want to show what happens to the spine of scapula. This is going to be a very important area of the body for us to study. Very important bony landmark. And it does so much for a lot of different poses, really great for females and males as well. But, but a lot of times males, the muscles will overtake the look of the spine mount. It helps you to place the trapezius really well. But we'll get into that. We'll get into different examples and what to look for in different instances. But in this particular one, the scapula is very noticeable. It does a lot. It's a really big place holder for getting the back drawn incorrectly. So as we connect some of this, I'm just going to put a little bit of curvature for the lower, lower back, I would say the lower lumbar, but we're starting to see more of the front. This is more of a perimeter. So this could almost be more of the oblique from this viewpoint. But if the pelvis was turned away, this would be our lower lumbar and our lower back muscles, and we'll get into those in detail as well. So from here as we work down, you get a little bit a lot. This and this area back here. A little bit tricky. What I like to do is find the center if you can see it. And again, that's another big placeholder. So I'm going to get in rather early race back some of these construction lines for you. Then from the center line, like to figure out how much of this other side are we going to see a really quick and easy way to get a bank to look better on your illustration. And the more dimensional is to show from an angle like this, is to show the separation down the middle and that spine and then a little bit of the other side. So that shows that there's a twist there. And a lot of times that's something that gets missed. So again, I want to do some studies where I tried to point out areas that we often overlook. And then we flatten out our characters because we just don't incorporate certain area like this. Now the other spine of scapula and the other shoulder blade or or scapula gets lost over here a bit. The area on the side is very narrow. There's not a lot of room for definition. We know that if we were to look straight on the two spine of the scapula come down like this. That gives us a look of the trapezius. I get something like this. You get a little diamond of separation back there. The trapezius kind of dip in around the shoulder blades and those other muscles were getting into. But it does something like this. That's really shorthand method. But it's knowing that's one thing. But then when you go to draw a more steep angle, it's some of that gets lost. And you have to sometimes be a bit more subtle. You can't force in all the information that you know. And that's something we traditionally wanna do in the beginning, is we learn all this anatomy and these muscles. And then we go to implement them and we forced them into a view that they otherwise don't get seen him. And that's where your studies are very important. So we just have to sometimes pull back from what we know. And less is more sometimes that applies. We'll get the breast kind of sitting against the ribcage there. The other perimeter shape, the twist is occurring here. We know the navel is about in the mid sections and we'll place that right about there. The hips right here. So just like that, we've got a fair amount of this worked in. Remember to status and neck as a curve. You don't want to stack the head right on top of the body. I think we've talked about that a few times, but I'll keep reiterating that as well. You some nice curves there. Just like that. We've got some construction in place. We've overlaid some aspects of the anatomy. We're focusing on some specific areas that require a bit more knowledge and study. So I want to refine this a bit more with you and talk more about it. Let's stop here and head over to our next lesson. 3. Spine of Scapula Refined : Okay, so now what I wanna do is 0 in on this a bit more. And we're going to go and soft erase this back. Okay, so the main focus of this particular study is really want you to see a bit more clearly into this area. So this is a popular kinda thing, you know, characterizes their arm up. Person raises their arm up. And what is the delta two? What is the spine of scapula? What does the scapula do? The spine of scapula, again, like I mentioned, travels down this way. It gives us a great reference point for what it does to the trapezius on somebody that has less overall muscle. And definitely on the female forms, you can really see pretty defined shoulder blades. So it's a really good landmark to almost start with because of the reference points that gives us two the other major muscles of the back. The other thing is the way that the deltoid encompasses it. So it goes down here. You get the rear head. The posterior head of the deltoid is down here. Now if I was to trace this completely out, it probably looks something like this. You're you're gonna get the medial head up through here somewhere. I don't want to be that rigid and trying to explain it. A lot of times, it's hard to really look at it that way anyways, when you're doing figure drawing because everybody's muscle composition is a bit different. I mean, there's definitely consistencies to know about and look for for sure, but they kind of blend together, right? So what I'd rather do is show you the overall shape that I would go for. And then just explain to you that part of it is a rear delt, a posterior, the medial. And then on the other side of this you're going to see the interior. So a big portion of getting the deltoid right is knowing when you're going to see two of the heads, I say that three of the heads would probably be if the arms were fully back, stretched back. And we might do an example like this where the arms are fully back. What happens is your arms rotate back. The deltoid spins back this way and becomes more in full view of the back. So when your arms go up in the front, it looks like you're seeing more of the doubt when the arms are up. But you start to see more of the pectoralis major go in front of the deltoid. Trapezius is here, your collarbones are here. Just a quick illustration of it, but this is a front view of the arm going up the bicep in here, coracobrachialis and their tricep here. We'll definitely do an example like this because it's a popular poles. You get the latissimus dorsi here, serratus through here. And again, I'll do an example with you in more detail. I just want you to know that when the arm raises up like that, you're dealt spins back. Let me show you this. Spins back lands more to the back of the body. You may or may not notice that, but it's something to think about. But from this angle of what we're studying now, I really want you to see that it goes around that spine of scapula. So again, the spine of scapula being a very predominant bony landmark to be aware of. And so now, once we have that reference point, we would say that the doubt kind of blends down into here, sweeps up. I find this part right here to be tricky as far as subtleties go. I don't want it to look like really pointed line coming up to that looks too segmented. What this really would be is as I incorporated any rendering, I would want to fade and blend that. Okay, so let me just show you real quick. I would really soften this up. It would be values that would really convey this or just some soft cross hatching it. So just keep that in mind. I'm trying to show you a little bit more visually. But when I tend to draw things and so defined like that, it takes away from the look of it. So you've got to be subtle with your conditions. You got to think of these forms as blending in and out of one another. So draw the arm, I've got the overall volume of the arm. Like this. You've got a tricep back here at the elbow in here somewhere. It's kinda bent and the rest of the arm is facing away from us. So what would happen here as you Soften up some of those transition here. If the person is very defined, you'd get in some of the tricep definition. But again, you have to be subtle with that. I think even that I feel that it's too much unless it's a very muscular individual. So you have to play around with the subtleties of it. Hopefully that makes sense for it. Even back here. The definition on the very back right here is a bit too much. It would be more of a blend, something like that. Again, if it's more of the hatching, you would use some softer lines and just kind of establish a bit of what I'm thinking about. Is it the bulk and the form is like this. But as it gets to here, it has to blend into the spine of scapula, flattens out a bit and not completely flat. But I have to convey that without drawing these lines. And we can get in here and do these types of lines. He's wrapping lines. It becomes a lot easier to see some depth and dimension here. These are great for studies. I recommend you do this quite a bit. It's something about, it just gives you a better visual representation of space and depth in there. Then if you were to get very critical of it, bring this back a bit. These real quick. We'll kind of conveyed the space and the depth. They're a bit better than just a line drawing. But then what if I wanted to really bring out these triceps? Now maybe it was a good amount of definition here that I want to see. Then you would curve these around each head of the tricep. Then that would blend back into this larger form. Alright, there. So again, this is all dependent upon what you're after, how much definition you want to see there. But these can be a good way to explain that. I'm going to bring that all back about right there. Okay, So now likewise here I can blend some of these lines. A little bit of shadowing. Okay, so as I work down into here, so to shade some of this back, push some of this information back. And we just get rid of some of our construction lines though. The other thing to look at here is the trapezius goes up the back of the neck. Right? We know it goes right through here, blends down into the back. Unless the person is very defined, you're not going to see as much of it, but it kinda does like this. It goes around the visually, it goes around the spine of scapula, visually goes up the back of the neck click that. You can see that as soon as I do that it looks too rigid. And the approach, so I would want you to know where the kind of direction and flow of it as. But again, I would convey this with a little bit of rendering to make it look and feel softer. Like I need to bring the face over more. What's the position is letting me know that is that I know that down here I've got the sternocleidomastoid that needs to come up behind the ear. So again, this is another example of where these different connection points were really tell you when something's off and when you need to nudge something over and move it this way or move it that way. So that's why they're so important. That's why landmarks are such a great aid and getting this stuff right. So the other thing that's appearing to rigid to me here is this line. Okay. So again, I'm just trying to show you that spine of scapula, but I would convey this with a softer transition to the forms, whether that's crosshatching, value study, whatever I would blend that. That's what I'm doing there. I'm pulling this way as well. Then on this other side, it gets a bit tricky because the space is very condensed. You're getting a little bit of the shoulder, the perimeter shape of the deltoid, little bit of this portion of the back. And then as you see some of the trapezius and the way that it reacts to the scapula. Gotta kinda bend this this form. And again, I think it's better to show that with rendering versus linework. And you're probably not gonna get a little bit of shadow and separation instead of a line down the middle of the back. So again, lines are great for showing direction in a very specific approach. But we have to blend those and convey form with a little bit more. Generally, value is gonna be better for convenient form. But there's obviously some styles out there that do pretty well with line work, right? So it's not a it's not a Always type thing. It's like, do you have to use a value? You can get a pretty good with crosshatching and developing it. And cross hatching doesn't have to be pretty imperfect. A lot of times, a lot of artists will recommend that you go with the forums. So you wrap in the direction the forms are heading. But some of it's going to obviously go away from it because your cross hatching, whereas here you're going to angle it away a little bit for the cross hatch, for the darker tones. Okay. So there's just a little bit of line work. But again, I just want you to think about the specific area of the body. I think it's very helpful to do lots of studies at this particular area. What I'll go ahead and do too is I'll, I'll blend this a bit for you. So let's go ahead and time-lapse that. I'll blend this and allow you to see at a bit more clearly. And I think that'll give you a better overall study of it. But these are the directional lines that you should pay attention to in the landmarks of this part of the back. That really helped to, just really helps to do a lot. We're going to do more angles and versions of the back because such an important thing to spend a lot of time on what that, Let's stop here and head over to our next lesson. 4. Spine of Scapula Value Study: Alright, so now what I wanna do is take this and introduce some value. So just remember value is really just shades of gray, everything from dark to white, and everything in between. And it's just really a nice way to describe forms throughout this course, I want to show you ways to describe things with wines and value as well. So value is going to typically give you realism. It takes lots of practice to get a sense of realism, but recommend it whatever level you're at, you just start doing it. And keep in mind that you can do this with just a regular pencil and a rolled-up piece of paper as a blending stump. That's actually how I started. I moved into charcoal for awhile, but now I just use a smudge brush. But if you notice I introduce some lines and then I just smudge them around. Now another way is just to take a soft brush and turn the opacity down and use it really lightly and slowly build up. And then scaling the brush up and down to get more defined edges. If you need help with that, i'd, I'd be happy to make a, another lesson that's more specific on that. But here I don't want the education to be about that as much as I just want you to see the difference in what the art looks like as we start to introduce value. It's just a different way to explain the forums. Again, I like to do most of it with line art, but I think it's important to show you a variety of ways to accomplish these techniques and really the effect that it has as you develop the forms. So one thing that I find helpful to do is not really look at this like some instances as I'm doing this is not to look at each of these areas like the anatomy that I'm trying to describe. So for the most part, I'm trying to be aware of the shapes and forms mean a shoulder blade or the scapula or deltoid or trapezius. But then at certain points, I find it helpful to block that part out and simply focus on the gradation, the value in the light source. If not, it's very easy to overdo describe a certain shape that you might be used to drawing and then not describing the neighboring form. Okay, So again, I think it's helpful to do both parts where you definitely want to focus and 0 in on the very thing that you're studying very specifically. But then, as I think I've mentioned before, not to be so rigid in that way of thinking so that you don't overdo describe the form. You don't make the description of it too harsh with the shadows, too overly drawn out with the lines. It's, it's a idea that these forms are blending in and out of the larger masses. Very important, and that's the area we're going to need to soften things up. So sometimes you can have something described really well and you just need to pull it back a bit. You need to blend something. You need to use a softer edge where you have a hard edge. Simple things like that. But one thing I will tell you about this way of doing things is, well, like anything, you have to be very patient. It doesn't come to you immediately or at least it didn't for me. And I still find areas like this to be difficult. I would say that more than likely for me, it's because I spend more time describing things with lines. But it's not like I don't ever paint. I paint good amount. I went on areas of my work where I did a lot of painting. So I'm very used to blending it and trying to describe forms with it. But I think that naturally I'm more comfortable with line work. So again, all of this really is, is a smudge brush. You can find it in any software. And you just want to play around with the intensity of the smudge. What I like to do as well is increased the size of the brush and make it bigger than the area I'm trying to smudge. So what I mean by that, if you can see that the size of the brush, that little circle that's moving on the screen. It's larger than the area that I'm actually thinking about smudging. So if I want a better blend, I'll increase that brush size considerably. But I have to be careful because I can destroy some of the harder edge shadows that I'm trying to convey. So again, it's just a very subtle approach or a subtle blend that I want. And that's why you'll see a lot of artists that do this. They go right to a soft brush and less with the smudging. The reason I kinda like this too is when I'm introducing these lines, it feels like I'm working just like I would on paper. So that's exactly the way I would use charcoal. I would throw in some little sketch lines. Generally those lines are gonna go right with the direction of the form. I think that's helpful to do anyways, because when you go to do, you'll see as we do more examples and our line art versions that you want the lines to go with the direction of the forums. I'll be honest, that's something that I didn't do. A lot of recently learned that from different artists that I've studied. And it's something that I just need to approach more, need to apply more in my own work. But luckily, I can share that with you today. And I'd say, you know, when you're doing these lines, make those wrapping lines or those, those shadows and forms at crosshatching even make the primary look of those lines go with the shape of the form that you're trying to describe. Here. Introducing some soft brush just because it helps me fill in the rest of the major forms of the body. So the entire torso and I'll do that with the arm and everything else. I find that to be a better way to blend the white to a deeper value. So what I'm generally doing this, I will work off a colored background. And you pretty much never want white in there. You want white to be very sparingly used. It's very powerful for one. And it's not as evident in real life is we would suspect. A good way to really pay attention to this is to take any photo that you admire, just any photo really, and convert it to a grayscale and a software like Photoshop or Procreate or Clip Studio. They all have abilities to convert to a gray scale. And not without adjusting and don't adjust the values. What I mean is simply convert it to a real grayscale. What's neat about that is you'll see, you'll get a better idea and representation of the values of skin in a table and an ashtray or a wall behind something else. You'll start to see that white is very rare around us. Generally, the only time we do see it isn't something that's been constructed and fabricated or sheet of paper or something like that and even still very rarely bright white. So once you start to pay more attention to that, you realize that when you're creating your value studies to use very, very little white and they use it just for those tiny little highlights and those extreme peaks of the form. Something that's glossy or there's a strong glare, strong light source. And then what it does is it uses that are, that starts to be a lot better representation of a powerful device. So I could direct CI really well. And it, it really finishes off the work. So you start to really utilize that sparingly and more effectively. But I think in the beginning, when we try to do stuff like this, we're very, we go for what looks cool and then all sudden we see that white is very powerful and then we overuse it. And then it comes across as more amateurish. I haven't mastered that myself yet. It's something that takes lots of time, lots of studies. But first you have to be aware of it, and then you have to make sure that you develop that particular part of your skill set as you create your studies. So another thing is I've also made sure to shadow the form a little bit darker from the bottom. So another way to convey scale, tomos, anything but definitely things that are larger you really utilize this technique is you always shadow the bottom just a little bit more. If it's something dramatically large, it's usually a little more apparent. But in this case just a little bit more of a shadow on the base of anything. And then obviously the side away from the greater light source skin is very reflective. So that's another reason I wanted to introduce some of these studies into this course is because it's very apparent when you do value studies that you can see that reflectivity in that dual light source and that's usually pretty apparent and almost anything, it's very rare that we have just one strong specific light source. Again, scan is actually pretty reflective and you see that more I think, in value studies. So I thought it would be important to showcases also introducing a little bits of lines as I go here, just trying to kind of point out certain areas. I think there's a little bit too much space in-between the way that trapezius is on the back of the skull there to the sternocleidomastoid that mounts. Just blow the ear behind the ear. So that's something to be aware of. There is some definite space in-between those, but I think there's a little bit too much distance there. Now. I want you to know that that's something that I think we all have to do. We have to analyze our work as we get through it. None of these works of art are perfect. But the idea is that we get closer and closer and we, you got to stay excited about that process. You have to look at it, say, I know it could be better. I know that I'm missing something here, but you have to look for the areas within your work that are less than perfect and become excited about figuring that area out. Being intrigued about the pursuit. Now, I also think it's important to look at areas and say, Wow, I really liked the way that came out. So for me, I wasn't liking the way I was explaining in the forums and the volume on the back, the trapezius to the spine of scapula, and the separation of the back there as it starts to approach the lower lumbar, which we can't really see from this angle, but that area with the trapezius and the scapula. I wasn't really enjoying it first, I was thinking that it just wasn't coming out as good as I had hoped. I kept going and kept pushing forward. And now it's actually in this illustration. It's one of my favorite parts of this illustration. Again, it's allowing yourself to have those wins. And acknowledging the loss is acknowledging the things that could be better. And then going into it with a productive, happy state of mind. Not getting, not beating yourself up too much where you're like, Oh, I just can't draw that all voided. All I'll get to that later. You don't wanna do that instead. Acknowledge it, make notes of it, and come back stronger and really go for that area. I think that's super important that you're gonna get a lot more mileage out of your studies by going against the grain, against the things that you don't understand. But again, also making time to appreciate the things that come out, right? That's a great thing as well because it does boost your confidence and let you know that you are making some improvements, which is highly important. But the main thing is the actual amount of time that you put into these studies. So I think that a good thing to think about is when you're a novice, when you're a beginner, is to spend half of your time studying and half of your time creating the next amazing work of art that you want to see finished. And so you might think of that and say, well, if I'm drawing the next work of art or an eye studying, then I think there's a very different mindset from studying in considering it in a study and looking for things that you need to study versus that next work of art. So again, I think that in the beginning it's more of a 5050. And then as you become a professional and you segue to more and more time of completed works. I think you still need to make time. I don't think you'd ever go to a point in your career. Be personally anyways, where I would take it below 20% of my time, creating studies to improve my skill set. So hopefully you've enjoyed this video. We'll continue on and do more studies and talk about more areas of the body. So with that, let's move forward. 5. Clavicle and Sternum: All right, we're gonna get into drawing the torso some more. But what I want to show you is that a very simplified approach to the collarbones is a bit of a handlebar like look, if you just picture the dip down an angle across horizontally, little bit of an angle up an angle back. Now obviously there's more curves, organic curves associated with this. But this is a very simplified way to look at collarbones. It's better than getting in the habit of drawing collarbones like this. And some people do have a little bit straighter look to their collarbones. Generally, if you're looking up at the body, you might even see it where the collarbone center area looks a bit more like this. That's just because of the difference of the orientation from our viewpoint. But again, as a simplified approach, you can think of it as this bit of a shape right there. You could draw these with some dimension. The pectoralis muscles are going to go against here. And the sternum would come straight down. And it has a bit of a diamond like shape at the base. Something like that. And again, that's just a very simplified way to look at it. Now if we're tilting this away from our view, might do something like this. It's good to really just practice this one area, draw it from some different orientations, different scales. Really tried to figure out the, the curve and the band. Lot of times I'll start from where the deltoid is and work in. That feels a little bit more natural to me for the most part, but but really just focusing on getting that bend in there. It's almost like a bird flying through the air, right? So whatever you have to envision that helps you remember to get that bend in there. But again, I think the handlebars is a good device for that. Now let's go back to that. So from here, if we were to think in simplistic terms for the muscle, the muscles of the torso. Let's first get in our basic primitive of ribcage. Hey, we'll figure are deltoids will be over here. Something like that. We won't work too far down. We want to stay specific to this area because I really want to show you the relationship of these bony landmarks. Now another one that's really important. Remember you get this little bump right here. That's usually pretty noticeable on anybody that's relatively lean. What that is, that's the acromion process and that's actually part of the scapula. So just remember that it looks like it's part of the clavicle, but it's actually part of the scapula. And another error I want you to pay special attention to is in-between the deltoid and the pectoralis. This little triangular shape. And it's actually a gap in between the muscles. And that's actually called the infraclavicular fossa. You also have this indent right here, which is called the jugular Faso, like that. So those little areas just kind of help you remember placement. And actually this probably would be a little bit further over because what happens here is the deltoid really passes into this area where the pectoralis is. Now. You've got the pectoralis, minor and major. And the minor actually goes below the major and makes it protrude up. Or that combined with the fact that the separations of the the pectoralis, they all kind of spin and converge over here. And so you get this bulk of mass right there in that area. So it's something to pay attention to. Now what I wanna do here is show one side of the body here with the deltoid and the arm down. So I can show the difference that you get here. We'll have the bicep here, tricep here. And we'll just kinda stop there. The brachialis muscle in there. So all of these portions of the pectoralis spin and converge here at that coupled with the fact that the, the minor version of the muscle is beneath there, pushing it up and outward. So just remember that you are on a very defined individual, you get some of the latissimus are latissimus dorsi, dorsi. However you say that. And then the obliques, like this. On this side, I want to raise the deltoid up. And this is an interesting area of the buyer to pay attention to or something we need to dedicate a lot of time too, because something kind of unique happens here. So on the arm raises up, the pectoralis muscle, goes with it, as we see here. It inserts in-between the deltoid and on the lateral side of the bicep. So what happens here is as this bicep comes up like this. And you get the coracobrachialis here, tricep here, something like that and we'll stop right here. So what happens is you have to envision that all of these separations from the pectoralis have to wrap around and meet up to here. And also you'll tend to get a bit of a bump right here, are bowing out of the muscles. And I think that's a combination of two things. One is, again, all these separations of the pectoralis converging in that area. We know that the minor is also protruding out there. It's possible it's still pushing that outward a bit on the side. Then also the fact that it's wrapping around the arm. So it's creating this bowing effect. And see originally rule for years. When I studied this area, I always thought this was the deltoid because it kinda looks like that, especially with that bowing of that portion of the muscle. So it was very easy for me to misunderstand. But this is actually again, the pectoralis going up front and then the deltoid reverses to the back more so as we raise our arms up and we rotate them backwards, the deltoid is more visible on the back side. And you really only get the one head from this angle, visibility of the one head. We also have to imagine or envision that the muscles encroach upon the clavicle area and cover that more. So that's another noticeable thing is when you see somebody who's very defined, a lot of times you see less of the bony landmarks because their muscles start to get larger. And again, a culture encompass everyone to look at that. They start to cover that up more. Just like if you have fat deposits and the body has a similar effect. Obviously a little bit different overall look but same concept. And then back here, yet the trapezius. And what I tend to notice there is that as your arm rotates upward, it kinda pushes this back more, so that becomes less noticeable. In all of this starts to kind of take dominance and block that a bit more. But you do still see a noticeable dip separation than the deltoid. I think that's important to pay attention to over illustrated the acromion process there. So I'll push that back in the revision. But again, it's good to showcase that there is a good amount of separation there. And that it doesn't just blend in from the dip of the trapezius. The trapezius generally goes like this. Comes down more abruptly right here. And then over. And that's where it would hit the chromium process spine of scapula, something like that, but that's just another thing to watch out for. Then through here we would get the sternocleidomastoid. That also separates like this. The trapezius comes over it a bit of a shift like this. And then down here into the abdominal area, as long as the ribcage is not extruded outward, then you just get the abdominal muscles through here. You remember that the abdominal muscles, There's a lot of asymmetry that generally happens there. It's kind of strange because the rest of the muscles can seem pretty symmetrical and nothing is truly symmetrical in the body. But for the most part, visually they can appear pretty symmetrical. But it's very common for the stomach muscles to be very asymmetrical for the, for this particular exercise or keep them relatively symmetrical. And then so on the sides here you get the serratus. Remember, as I mentioned before, this is really the latissimus dorsi, dorsi. And that's going to protrude outward more with the raised arm. So we have to get a little bit of that in there. We might even see a little bit of the rear delt right here, which would be the posterior head. Back into here we would get the obliques come up like this. They would interlock with the serratus. You can notice once you interlock these together, it looks sort of like a blade, the teeth on a blade. So saturated, means a jagged edge. And serratus is actually derived from Latin. And the Latin meaning is to saw. So it's just a good way to remember these shapes here. So just like that, we get those in there. Representation those anyways, the obliques come all the way down into here and flow into the side of the rectus abdominis. You've got the sternum down the middle clavicle there. And so again, this is all just mean this particular example. I really just want you to focus on the bony landmarks that allow you to get to the deltoid and the pectoralis muscles. But then also keeping in mind that when you raise an arm, that you get a very distinct difference there. And I think that's very important to pay attention to since it's easy to get wrong. So we want to definitely focus in on this. So in this next lesson, we're going to clean this up a bit more. It's a bit messy right now, but we'll refine this a bit. And I also feel like the arm is too detached away from and therefore making the pectoralis to really needs to be back into here more. So I'll try to fix that as we revisit it. And then also I want there to be a very distinct difference from the, the lat on the one side to the other. Because we have a very different being out of the body when we tend to raise and rotate our arms back. So let's stop here, head over to the next lesson and continue on. 6. Clavicle and Sternum Refined: Okay, so now soft erase this back. She was like a kneaded eraser. If you're working traditionally, push all that information back and get, get to where you can look through it confidently and then start to draw through it and really defined some more of this. So the anterior head of the deltoid sits more on the front like this. It's usually a little bit higher than the medial head from this angle. I want to get in that difference there. Also want to get that separation of that in for navicular fossa. The pectoralis major in there. Get the striations of the muscle, the biceps, brachialis, and the tricep will be approaching arms in more detail. So don't worry too much about that. I just want to get really this area right here, I want to keep pointing out. So this chromium process here, the curvature of the clavicle, the jugular fossa right there, the curvature. And then on this side, a really thick, it needs to be noticeably hidden. There to be some separation of the pectoralis muscles, but not too much. I feel like there's a bit too much there. But right here is the arm starts to raise, these muscles, start to get pulled in that direction. That collarbone is really going to get covered up. I need to really explore that. And again, if you're looking at somebody with a lot of muscle mass, that's going to happen even in a more relaxed state. So it's good to pay attention. And that's why the bony landmarks are one of the reasons why the bony landmarks are so important. We've got to also envision that the arm is pulling this muscle away from the point on the work connects on the sternum and against the ribs. So where there might be a lot more volume to the base here was gonna be a lot less volume on the other side because it's being pulled and elongated. So we have to think about that as well. We have to stretch these outward, kind of wrap this around. Again. This is the anterior deltoid, biceps, coracobrachialis, tricep, and the rear delt, posterior. And then some of the light or latissimus dorsi. Your obliques on the side here. Rectus abdominis. Remember the navel is right about here. And then you have the obliques that converge into the serratus. Give you a bit of this saw like a saw blade, tooth like effect. These kinda flowed down into this area. Alright, and then appear the neck, the trapezius. I'm purposely making the one side of the trapezius more abruptly inward towards the body like right here. I'm making that more distinctly different than the other side because it wouldn't be right if you're raising an arm up, it's going to have an effect on that area. And they shouldn't be even. So if I made this the same distance all the way over to here, I feel like that would actually hurt the overall look of what I'm going for. I do feel like the the deltas still too far away. Like that needs to be back into here. So I'm going to adjust that again. Yeah, I feel like that's starting to look better. Like it just shouldn't be that far away from the body. It looks a little disjointed. I can work with that. So this would be a little bit cleaner version, but now what I would like to do, I'm going to time-lapse this and I'm going to clean it up one more time. And I actually want to do one example with you where we go right down the middle of this and do one that's a value study and the other one that's left with line art. So it can give you a nice reference point for what you might see from one to the other. So let's conclude here. And with that, let's move on to our next lesson. 7. Clavicle and Sternum Value: Alright, so in this example, like I mentioned before, we'll do half of it in a value study and the other half will be line art. Hopefully this gives you a nice reference point to spot the differences from one to the other. And I think that ultimately one does help the other. Anyways, I tend to notice that the more I practice doing value studies or even colorizing my work, the more it changes my perception on the way that I draw my line art. So it's, it's really important that you practice all variations of what you can do to create depth and dimension on the page. I don't think that any of it is wasted time or effort. So what this I'm taking a very simplistic approach and laying in a medium gray and then blending it back with the smudge brush. And the difference from using this technique versus a soft airbrush is that you generally will get a little bit more of a painterly look. But again, there's no right or wrong way. You can use whatever method you want. I've seen people use both together and separately and yield amazing results. It's all about the artists, a lot less about the tools that you're using. Just make sure that you can get the value range that you want. And so one of the things I like to do here, as I turn back the opacity quite a bit in it, let it slowly build up. Now that can sometimes hinder the process level as well. So you gotta be careful because it can get a bit monkey. There's a lot of artists that we'll just pick 34 or five different gray tones that they like and work with those at full opacity. And that's a nice look as well. It's really, again, just depends on what you're used to and what you'd like to see. The reason I like to do it this way is I can slowly watch it buildup. And it gives me a chance to stop things that are heading in the wrong direction a bit more, I think. But again, it's really just whatever you're comfortable with. So I'm blending back some of the segmentation. So that's another thing to watch out for that you want these forms to look like they flow in and out of one another. Even in somebody that's very defined, you want to be careful to not take that too far. I was definitely going for a very chiseled effect or features on this character. But again, you have to sometimes play around with blending those shapes together and softening up those transitional areas. Now there are some areas that you want a very defined, hard edge. Bony landmarks, large muscle mass that is rounding away from your view, shows a definite segmentation there. But then there's others where you want things to blend in. So I started to over define the obliques. You'll see that shortly and I had to blend that bag. So again, sometimes being careful of not overly segmenting the anatomy and also not making the things look too bubbly and having just the right amount of sense of rigidness where it's needed. But also a lot of organic feeling forums as well. And again, in the next example, I'm using a bit of bounce light. Here you see me applying a little bit of white to bring out the roundedness and the secondary light source on top of the forms. I really like the effect of bounce light on skin. I know I've already talked about that, but I think it really does a lot for showing how the body looks, what that secondary light source, how it basically shapes and forms into space. I think that's why it's so popular when you see good photography. They'll almost always bring that out. Or it's, it's a pretty common tactic because it just looks a lot more impressive almost immediately. Singular light sources are nice as well. They typically can be pretty dramatic. Definitely sometimes can provide a nice eerie look. So you really want to play around with all sorts of lighting environments. One of the things I like to do is take pictures and either up to contrast or bring out certain elements of it. When I want something that appears a bit more stylized and a bit more dramatic. But there's a lot to be said for just paying attention to the subtleties of a regular photo. So I really do recommend taking photos, converting them to grayscale, and paying attention to the areas that you want to improve at specifically. And just really, really trying to capture those subtleties. It's something that requires a lot of time and dedication because I think at first our eyes don't really grasp those subtleties and those variations. But with time you'll start to figure it out and it's definitely worth it. You get a very, you can get a very realistic interpretation of your studies. And then you can bring that into your stylized work. So far. It's all, it's all good food for thought. So just notice some very simple things are going to the sides that are further away from the light and then under the arm, obviously darkening there. Another thing to notice too is when you do the secondary light source, you'll generally start to notice that you have the brighter light source. And right beside that you have a shadow. That shadow then blend into the medium tone or gray scale of whatever it is you're doing. So always remember that generally that brighter light source, coupled with the secondary light source, will usually have a deeper shadow in the middle of the two. And that's something that generally will make it look pretty dynamic, are pretty interesting, I should say. But that's always something I tried to capture as well. This is about the area where I start to over define the obliques. So again, this is something I want you to be careful of because it's easy to want to do. It's kinda like when I mentioned overusing the bright white light source or the specular highlights on certain things. So we tend to find something that looks cool and I'm guilty of this is what I'm saying, is that I find something that looks cool and then I overuse it. And that's where getting up and walking away and coming back to your studies can be a great thing. You generally will spot those errors. Maneuvering the work in a different way, rotating it, flipping it, things like that, asking for somebody else's perception on it there, their insight is always a good thing. And that's really where you gentlemen will spot those things that are a bit too overdone really. And again, I'm totally guilty that there's parts of my work where I see something that looks cool and I want to exploit it. And that's not what gives you that overall nice end result. What gives you that is through time and repetition, you start to find the subtleties and you start to see things in your work retrospectively that you're like, wow, I was totally misrepresenting that area of the body. It's like this particular illustration. I like it right now, but I can't tell you how I feel about it five years from now. Well, I can give you a good inclination and that's probably that I'm going to see nothing but flaws. But again, that's part of the process. We all do that. It's always going to happen. The human body is so complex, you're never gonna get everything 100% correct. But with years of dedication, you'll get a lot closer. And you'll also just see some things that were kind of like those face palm moments like Wow, I can't believe I used to draw the pectoralis major like that or whatever it is. So it's zeroing in on the things that you can improve upon slowly but surely. Trusting the process, relaxing and allowing yourself to keep revisiting the same thing over and over. I think that's the toughest part about anatomy. Figure drawing is that you have to do it over and over and over for you to really start to spot these things. Obviously some have a better eye for it than others and accelerate maybe a bit quicker. But I don't think anybody just wakes up and there are great Figure Drawing artists. It takes a lot of time and dedication and lots of studies and revisiting again the same thing over and over. And that's where that dedication and perseverance shows through in the work. Because most people will give up. Most people say, Oh, I'm good enough at this area, I'm onto something else on board. But that's not what brings out greatness in anything in your life. It is being aware that you can always get better and better and better in revisiting it because you want that end result that you want to be the very best that you can be at it. So as I mentioned before, I really wanted the specific area of study here to be the clavicle and the sternum, as well as the deltoid and the pectoralis major. And the way that it shifts and changes from one side of the other with the arm raised. We're gonna be doing more areas of study in this particular area. Because again, as I've said, it's one of those things where you have to see it from different angles. You have to pay attention to the way the forums change from those different camera angles and perspectives. So it requires lots of study. And we'll do one where we're looking at the back because we're going to delve into the back quite a bit as well. And we'll look at the way the deltoid looks as you raise the arms up, we'll talk about bodies with more and less muscle mass and more fat deposits. That's also another thing that I want to really delve into in these lessons. Because again, it's very easy to draw these well-defined or skinny individuals. And that's not a figure drawing is about right? We've got to explore different aspects of the body and how the body changes based upon all sorts of things, posture, even imbalance and all that fun stuff and bodies in motion. But hopefully this has given you a nice segue into getting ready for all that so that you understand pieces of the puzzle as we get into the more in-depth studies. So we will do more breakdowns like this. And keep in mind, I'm always interested to hear what you want to see specifically, what you're struggling with and what you're doing while width and all that good stuff. It's all good food for thought for me so that I can provide better overall lessons. So I hope you've enjoyed this particular lesson. Let's move on and cover some more. 8. Leg and Knee Anatomy: So for this lesson we're going to talk about the skeletal structure of the leg first. That way we can discuss some of the bony landmarks and what to look out for. And this really allows you to make more sense the anatomy and understand why it looks the way that it does when you attach the larger forms over these specific areas. So notice the large ball-like mass on the upper portion of the femur. This is the greater trochanter. And I want you to pay special attention to the angle in which it comes down and meets the knee joint area. Also, there's some important landmarks here. One of which is the aces, which you can see right here. That little comma like description of the form. The protrusion on the front of the pelvic girdle and it's at rest along the iliac crest. And this is a good one because we're going to use that to place quadriceps. It's really good for placing the abdominal muscles and everything in that middle region of the body as you draw characters from different angles. So these bony landmarks are just very, very important. So you can see here by the curvature of it, in the angling of it that it's not as easy to discern just by looking at a person. Hi. I think that basically it doesn't really look the way that you would picture once the anatomy is applied, will obviously be doing that here shortly, we'll put some anatomy over the top so you can really see the change. So again, this is the femur right here. That's the big powerful bone of the leg, the upper leg. And it's really helpful to pay attention to the difference of the angle, which is also referred to as the gate. The gate of the hips and the angling of the upper femur area. The width in-between the two heads of the bone are basically different from male to female. Now as far as the overall height of the legs, from the head of the femur down to the knee joint. It's roughly the same distance from there as it is from the knee all the way down to the bottom of the foot. So again, this is more of a proportional aspect of it, but again, it's another thing to pay special attention to. Would also like to point out here is that the tibia being on the front, but that fibula being very much to the side or lateral side of the leg. And again, this is important because we start to realize that when we draw out the leg, that there's really only two points that you can see that bone. And it's that bony protrusion of the top of the fibula and then the ankle. And then notice too that the inner ankle is much higher than lower ankle. And now we're aware that one is the tibia and fibula. So this is again something that I think that you have to draw the skeletal structure to really start to grasp and pay attention to. But once you do this, it becomes a lot easier to understand why things look the way that they do. So now I'm going to start attaching the quadriceps to this upper leg. You see the rectus femoris goes right from the knee right up to that Acis. You've got the adductor group that goes right up and attaches to the pelvic and then the muscles of the leg. And I'll label these for you so it's easier to discern. But notice how the calf muscle is behind all of these other muscles of the lower leg. And again, notice how the forms are very different now that we've attached anatomy over top of the skeletal structure. So hopefully this gives you a better visual representation of how the leg changes quite a bit once the anatomy is applied. And then it changes even more once we render this right, we apply a skin over top and we pull back from all this segmentation and definition. But it does help to know this stuff so that you can draw more competently and really understand why certain forms protrude the way they do, why they received the way that they do. Well. So here I want to give you a rendered version. Now, notice here too that I've started with the knee, the tendon under the knee, the patella tendon, and then the quadriceps tendon that comes off the top of the knee, that's all in place. The two rounded marks beneath the patella up and eaten the area are really fat pads. Now, that's kind of a mixed bit of information there because you'll often hear me talk about this and in different renditions I'm going to talk about the condyles. So the two big bony masses of the tibia. And so that is what's there and that is part of what you're seeing. But we also have fat pads there. You have tendons, you have skin, you've got different muscle mass, so you've got different things going on and that's why the bulk of the knee becomes really quite confusing. The tibial tuberosity is the pointed area below a point that out right here for you. And so that's something that we can really rely upon. Again, that's that bony landmark. And then we have the the head or top portion of the fibula. I'll point that out. So again, these bony landmarks really help us to place these things, start to gauge what we're looking at. But again, there's so much going on there. And then you have different aspects to the knee, which are some people have water retention, some people have chubby or needs some, some have more fat mass and those areas, lots of things going on there. Bulks of skin, knee injuries can change the overall look. And so it's not that you're gonna be able to describe every form exactly the way that it is and probably discern everything from every study that you do. But again, it goes into understanding it and then being aware of it. And then maybe just relying a little bit more on the things that you do know. And maybe blending back and away from the things that you know less about. But again, lifestyle, these are so important because you're going to see that there's a lot of variations within different parts of the body, but especially in the knees. For instance, you have people that have both legs. You have people that have knock knees. So that's just the inverted kinda posturing or angling of the femur. And then also to compensate for that. The lower legs were there bend outer and so again, lots of variation, lots of things to study and pay attention to here. We're gonna do various studies in various angles of this portion of the body. Delve further into this. So hopefully you find these particular lessons to be very informative. So what that, let's move on to our next lesson. 9. Lateral View of the Knee Area : All right, so now for this one I want to show the knee bending again more from a lateral view. So let's start with the bone structure will get in the femur. The femur kind of has this rounded view from this side. And this one is especially interesting to pay attention to because this, to me, this one's really deceiving and why I felt the need to show this view. I mean, you really should try to draw everything from the most basic views. Lateral, anterior views, posterior, prompt backside, everything. But what's neat about this is that the kneecap or patella kinda floats. And as this rotates back, the tendon will pull it like this. You get that front protrusion, the tibial tuberosity right about there. So this area will start to look like, it'll, it'll look basically like this is further away from this bony landmark, which it is, it pushes up and in a way a bit. So it does float a little bit. And I think that's helpful to pay attention to. Now, obviously there's probably some subcutaneous fat pads and different things going on in there. I don't mean that it literally floats, but it's not connected to these two bones. Again, these ligaments and tendons. Tendons, I believe patellar tendon and quadriceps tendon are what hold it into place. But again, as this rotates into this groove here, this pushes upward. Over here, you're going to have the fibula. So it kind of sits in this recessed area right there and down like this. So again, I think this is a pretty good one to pay attention to. Because immediately when I, when I look at this and I start thinking about applying the anatomy over top, it immediately makes more sense to me where there's lots of times I've wanted to draw a leg, especially a bent leg pose. And I always have always struggled to place the knee. And it's because I'm generally thinking of it without standard studying this underlying anatomy. I'm generally thinking of it more like the knees just in this specific spot. And so as I draw it like this, kind of always wanting to place it there. And then I want to slope down maybe a little bit to to flat. Not as, not as interesting as it would be knowing of what's there. So knowing now that the knee is pushed up a bit more in instead of the orientation of the knee being here. It's actually up here. Then, now knowing that that pulled away from that tibial tuberosity and that we hit that bump lower from the knee from this particular kind of posing. But again, the main thing is this is it now teaches you to pull the knee up and in that kind of orientation. I don't think I knew that before. Again, this drawing, that underlying structure as what elevated my thinking to understand that a bit better. Then. So from here on out, then I can attach it. Okay, I get the medialis here like this and have that blend in. That noticeable dip under the knee as well. So that's another thing is not just drawing the tendon straight down. Sometimes you're going to see people have a very noticeable knee kind of dip under the knee. So I'm kind of bringing that out like that. And let's see if we got that fibula head. I think that's right way to say it, but the fibula is over here somewhere. So as we see with the illustration there. So again, it's basically these give us that those points of reference. And now with that in there, we generally can get a better representation of a leg where without understanding that we're doing a little bit more guesswork. Alright, so hopefully it gives you a better understanding of what to look for on a lateral view. And I know these are very basic positions, but I do want to get you the necessary information in the simplified approaches, these basic positions so that when you go to draw the more advanced ones, you have that basis of knowledge to hinge upon, to really aid you throughout. So now what the rendering here, I'm just going to establish some shadow and some volume, some different value ranges. I can do that. Starting off with just some real rough line work. I'll actually end up blending this one in more of a painterly style. Now as I paint through this, something that I find to be a little bit tricky about a side shot like this is you want to put a good amount of volume on the vastus lateralis. So that's that big bulky muscle on the side. But then also you have the large overall volume of the legs. So basically the hamstrings. So essentially that rounded form of the leg. It's good to think about that and its entirety. But then also, you want that vastus lateralis in a very defined individual to protrude out even further. So you're going to add more value under that. The calf muscle from this side kinda gets blocked a little bit. I feel like it's when you render it from this side that you're going to have it very defined, very strong, it's very big muscle. But you start to see more of the fibularis, longus and brevis and extensor digitorum, I believe, those side leg muscles and they look very linear from a shot like this. So that's why I have some lines going up the side of the leg. We're on the other side as we get into the medial side of the calf, you'll see it's, it looks quite different. And that's really the way it is all across the body. So again, it's good to always pay attention to the difference from the medial side to the lateral side of any part of the body. So there we have it. That'll complete this lesson and we can now move on to the next. 10. Final Thoughts: And so now for your class project, I'd like you to take the techniques you've learned here and create some studies of your own. Of course, if you feel you're not ready for that and you want to build some confidence. You can just share the work that you followed along with by watching this class. And I'll do my best to give you any feedback and insights that I can. So I really hope you've enjoyed this class. More content is on the way. Good luck with your art and I'll talk to you soon.