How To Draw Comics - Anatomy

1. Anatomy Intro: Hey guys, I'm Ed boy Chuck, and this is my how to draw anatomy course. In this course we cover ton of topics to help bring you from drawing simple Stickman all the way to something amazing. What we do is we start off with actual that stick man and give it a little bit more articulation, roll through it a little bit so that you can pause it and do whatever you want with it. Then we move on to the torso, back and a bunch of other body parts that really take a lot of delving into. But once I break it down simply for you, you'll get it. This is anatomy almost on steroids. I make it super easy for you to understand some really complex structures so that you're not spending time learning things that really aren't applicable to drawing them. And don't worry, even though we cover a couple of fun units, we also get into the nitty-gritty of hands and feet. All of this is covered in a PDF document so that you can follow along with me and draw as I'm drawing through all of the units. So guys, why don't you join me. Let's jump on in and let's get drawing some cool figures. 2. Anatomy Simplified Skeleton: Hey, what's up, guys, ed, here? And here's the first video in the course. We're going to start with the skeleton, or rather my simplified view of it, right? Yes, we could go into trying to understand every bone in the body. I think it would be wise of you to do so, but not now. Not when you're starting off, not at this point. Consider this beginner to intermediate level and stuff and there's, there's easier ways to do this, right? So we're going to simplify it a little bit. We're going to start with what's called the rule of eight here. Sure, the rule of eight. And that means that the average character that we're going to use as our baseline is going to be eight heads high. Okay, So what we can do here is from top down to bottom, draw a straight line, right? Okay? And if we're going to do the top of the head here and we'll cut a line. And right around the ankle will cut a line. And you can see I've already kind of marked off some of the the lines off to the side here. Head right right in the middle. If I was to cut it right about the middle, would be this line right here, right around the crotch lines. Okay. Cut this again from top to the crotch line. And this will be about our nipple line per se, right? Cut that top 1.5. We've got the chin, cut the nipple and the crotch in half. We get the belly button. And if we want to cut from the crouched down to the ankle, we get the neat line somewhere about halfway here, right? Okay. So this is the rule of eight. This is what we're basically starting with right? Now. How do we simplify this skeleton going off of this rule? I'm not gonna go into the like I said, all the details of the head or anything like that. But let's see if we can kinda simplify it from here. And we go up. So look at this form, just a circle, a line through it. And then up. Nice and easy, right? We go down. Now, this is where I get a little funky with it. From the chin down to about the collarbone level here. You can say it's maybe 1 third of this this section if you want, one-quarter depending on how long the person's neck is, right? Everybody's got a different length than neck. From this point out towards the shoulders and then down towards the belly button, I draw a Chevron. Okay. The reason I do that is because not only does it encapsulate a lot of the ribcage, but it also catches the scapula here in the back. Okay. Off to the side then I put shoulders. Keeping in mind that they basically fall after along this collarbone line. Right? Shoulders don't go above it unless the arm is raised. I've got a hit a hip section here. And from this hip, you know, I kind of do a little bikini line. It comes out comes out to the hip line. And this is where we get into the femur and the bones of the leg right down to the knee, and then down to the ankle and then simplified feet. Okay. So I'm kinda hoping that you're following along with me the arm itself from the shoulder insertion or from the shoulder here, mid shoulder can drop down. We know that this is not only the crotch level, but it's actually a risk level as well. Okay. The hand can come at that point, the elbows about halfway. Again, here. The risk level, the elbows about halfway, right? And the hand can come out. Okay, so how does this look? Not too bad? Let's see. I'm going to ask you to draw it off to the side a little bit. We'll start with the same thing. We'll do this little dividing line. See if that helps. Maybe I want to move it over just a little bit. Sure, That's better. I'm going to do the top here. I'm going to do the bottom, the ankles going to cut it in half. And it cut it in half again. Cut that one in half. Somewhere around here maybe. Yeah. Do the head simplified head, cut this in half, That's going to be the belly button. And it kinda aligns with the elbows if you notice, right? The chevron won't start around here. It'll drop down somewhere here. Now it depends, you know, if we want a big wide shoulder, we're going to really stretch the chevron over a little bit, right? If not, we'll keep it narrow and tighter. Depends on the individual that we're doing. Okay, same with the size of the shoulders, all of these proportions, right? We can bring this straight down, put a hand, straight down, put a hand. We know about halfway is going to be the elbow. The hip is going to be within this bracket here. Okay? And keep in mind, like I do kinda Superman underwear type of thing or little. Tidy, wide use. I don't know what to call it. He's right. And then I bring it out to the line like kinda like these little antenna things. But basically what it's doing is saying, listen the actual leg, because the way the femur attached attaches to the hip here, the actual leg is going to start. Not from the insight here, people often bring the leg starting to close inside. Instead it's going to start from out here and kinda come down and come down this way. Halfway is the knee. We know that. All right. We know that here is the ankle, the ankle line. And then we can draw just simplified feet for now. Okay. Now, does this hold up when looking at a real man, real person, and nobody's any more real than search new brake, 1970s iconic bodybuilder, right? Keep in mind, even though he is like super iconic, There's going to be some things that are skewing this and I'm going to explain it as I go a little bit. We've got the top of their head. They've got his ankles, we've got about halfway. Keep in mind, there's some things going on in the center here, the crotch, we're not counting that right now. That hangs below. Okay. If I was to cut this in half, that's roughly his nipple line from here to here, but that in half. And put this in half, right? We're not bad. From the ankle to here, cut it in half. We've got the knees and then we've got the ankles going on here down into the feet. Okay. So I can draw in the hips. We can see how the hips are here. His Chevron is here. Okay. His shoulders are quite well-developed. Arms come down, elbows are about halfway. Arms come down. Elbows are about halfway. This comes out to the hip. Down and down, down and down. All looks about right? One thing you might notice with this piece though, this center line, actually maybe be a little bit higher. What's happening is this photo was taken at about this height. And so if we look, if we're looking at this person from this angle, the cameras tend to shrink the lower half a little bit. So if it's a better photo, it would show surge as actually his legs are a little bit longer than this. Okay. So we think we've got the simplified skeleton. I've left here lots of room. I want you to practice a few times here. Just practicing that rule of eight. Okay, moving on down. We've got some figures in motion here. How are we going to do this? What I usually look for is from tailbone To head, I look for the, basically this the backbone, right? It's not gonna be perfect. It's not always align perfectly and stuff like that, but that's an easy one to follow. And then I start to divide. Here's the head, here's the crotch. And I know that this is going to keep coming out this way, but his legs start to get bent and all that kinda stuff, right? If this is his head and his neck comes down to about here, I know it's collarbone somewhere around here right. Then his Chevron, if I'm going to cut this again, here is Chevron is here. Now, check on how short this is. Why is that? Because he's actually bending forward, so we're seeing the top half. Imagine this chevron is actually more like a bit of a, what's a 3D object, right? Is his shoulders, his ribs, everything like that. So it comes around this way. And then the shoulders come off of that right out to the elbow, out to the hand. Okay. If you see if I was to draw a little arc there, it comes up to about the elbow, right? His hips are here. So I might as well draw it alongside here. Alright, don't worry, I'm gonna give you guys some room here. You can be practicing along all your race this on the PDF so that you can, or at least all have a blank sheet there for you that you can follow along. Okay. Great. Now, his the pelvis is actually kinda tilted. If this makes sense, it's not, you know, we've got this going on here and then this one coming down here, the center line. So if you follow, that's the center line of his chest. Here's the center line of his pelvis. Comes out to this leg, out to this leg, down to this knee, down to this knee, and then to the ankle, and then back to the ankle. Little bit of foreshortening makes it tougher, but I think you kinda catching it right? Let's see, we've got, let's follow that backbone again. And then we know that it kinda sweeps off this way, right? If I can just measure even the top half of him, I can cut it the crotch. I can cut the head. I can cut it roughly in half. But he's leaning forward, so this half is going to drop a little bit. Okay. Is heads here and he's leaning forward so the belly buttons gonna get even further crunched back. So this is his PEC level. The Chevron will start below his neck here. Come down to that belly button, maybe a little bit wider. We've got these great shoulder's going on for the rugby player here. We've got his head right. The hip is actually a little bit further back. Like it's he's leaning forward. The hip is kinda aiming back a little bit. So it's probably something along those lines. Come out here to this leg, here, down to the knees. Down to the ankles. Make sense. So just watch the chevrons. They're going to tilt. Sometimes you can kind of play with it. Sometimes it's going to tilt that away, right? So that it's a rounding up top. And then the chest is going to correspond with that. The PECS will go along with it. But I'm going to get into that later with the anatomy unit more on not parcels. Right. Okay. Let's keep on rolling here. See what else we got? Well, somebody's a little flexible and not me. I'm horrible at flexibility. Okay. So we're going to try to follow the spine right? And then we've got lakes going down. This one's going to get really funky because here's her crotch. Here's her head. If I cut this and from here to here, roughly her belly buttons going to be there and her breasts are going to be here. But, you know, it's kinda turning. She's got this huge arch going on. All right? Okay. But let's still draw it in. Here's the Chevron. But if you see the center line of the chevron from collarbone to here is actually these other ones. They were kinda facing us a little bit roughly. It might have been just a tad off-center, more off-center surge with straight on Center. She's turned to the side here. Right. So we're getting this part and her hip section here. We're actually a front isn't visible. Instead we're looking at the crack. When it comes to the hips and stuff, you know, from whether it's from front or back, the back is the easier one to find a center mark, right. Just follow that line. The butt crack. Okay. The insertion of the hip. It's on the hip line here. Comes down to the knee, comes up to the ankle, comes down to the knee, to the ankle, shoulders here and the shoulder would actually be drawn through there. And see if that makes sense. So really this is quite bendy. See if you could fill it in there. We've got this here. Circle, circle back there and see if you can do this. This is what I want you practicing. Trying to figure out where the skeleton lies, right? Cool. And remember that Chevron here. Even though it's coming out this way, her chest is actually the center line would be something like that. Alright. Alright, last one, he's relatively on-center to, you know, I can draw this down the middle here. The Chevron. Well, how do I want to do this? I guess I can, you know, here's the head. So I'm gonna go with the top half of them first. I can cut it in the chest. The nipple line is midway, belly button, chin, right. Drop it down, start my Chevron. Drop it down here. Somewhere around the belly button. And his hips are here. His hips are going back. Right? So this is, imagine this ball was being rounded, rounded, rounded back. That's, that's his hips, right. So it's coming back like that. Okay. And the chevron is the opposite. The Chevron, if I was to do the contour lines would be something like this. It's coming forward slightly on this guy. We add in the shoulders here, down to the arm, down to the hand. We can bring, once again this out to the hips, bring it to the knees, and bring it down to the ankles. Right. Okay. This wouldn't be too bad of a comparison if I'm looking at his head to crotch and then down to angle, that's pretty darn close because this leg is almost straight. But obviously if we're measuring off this lake, it's not going to have that perfect rule of eight. Right leg is bent, so it's going to be foreshortened, shortened, all those kind of things, right? Depending on the angle. Okay. So what I hope you're doing is practicing along with me practicing this rule of eight. And what I've also done is let's see, where is it? Ooh. I have included if I can find it for you. Hey, some rough ones, right? Okay. So what I want you to do is kinda copy these beside them and then try to figure out what's happening here. What is the activity that the person's doing? What do you, what do you imagine they're doing? How does it fit together and stuff, right? And then after you've done this sheet, so you've done at least two of these skeleton sheets. Start to look online and start to look at athletes or bodies in motion and see if you can do it there as well. Okay, I hope that you're able to start to look at a body now and see, you know, how does it break up? How does it conform or not to the rule of eight? And how can you start to measure things, right? If you can't measure the lower body because the legs are all Benton running or whatever, that's cool, start with the upper body. If the upper bodies twisted, bend over a hunched. Try to find another marker or just use the head and start to work your way down from there. Right? Okay. I hope that was helpful. That was pulling misaligned. Okay. There we go. Much better. And like I said, I'll provide the additional documents on the PDF for you to follow along. Okay. So keep practicing and I hope you enjoyed this. 3. Anatomy Torso: Hey guys, check here with another how to draw anatomy unit. This time we're doing the torso, the big upper trunk. And there's a lot of pieces to this puzzle. So bear with me as we tackle it one piece at a time. Now, let's see, where do we normally start? You know, by now. We're going to start with our simplified skeleton right here with another, how did Soviet Union, this one we're going to tackle? I did have a little bit because you run really top to the bottom. We're going to run our our little chevron here. We're going to put the shoulders on either side, guys for charge here with another how to draw anatomy. Not too worried about the history and we're getting to this simplified skeleton. Hips are down in here. Chevrons goes like this, right? We know that the head is here and that this gentleman yeah, I'm not going to comment on him. He recently lost, so I'll leave that is as it is, right? Okay. So yeah, this is the simplified skeleton. We know that if the crouches and let's see if we measure it over just a tad. Alright. We know if the crutches here and the head is here, we know about halfway of that mark is the chest slash nipple line, right? We know halfway of that is the chin line. Halfway of that as the belly button line. And that works out pretty good for Mr. Phil Heath here, right? But now we're going to go a little bit beyond that simple frame, right? We're going to restrict to look at we're going to start with the chest. Okay. The pecs. What they basically look like is a bit of a fan. If you've already taken a look at the shoulder video, this will look familiar, but if not, don't worry about it, the front delt kinda comes like this off for this insertion near the brachialis of the arm, right? But the PEC also comes off of this insertion point and it comes like this, okay? Some people will show more of the upper peck. Some people will show more of a lower hanging peck. It really depends on your structure. I'm kinda doing a few different things here. But what it does is it splits out like a fan, kinda like one of those, those Asian fans that splay out this way or whatever. This is a horrible man. You get what I'm saying, right? It's plays out this way. So the fibers come from this insertion point and come out and they attach everything from the clavicle bone all the way down to the inner part. And then the pec minor attaches down onto the ribcage a little bit down here. Okay. So yeah, some little tricks I want to show you. If you go from the kind of, like I said, this, this, this point here, it's a little bit at high on him as Nixon, actually longer it comes down to here. If you go from the center of this clavicle point, do a bit of a 45 degree angle. 45. That's where you're gonna find the nipple. Okay, it, it'll change a little bit, but you can kinda use this 45-degree line is a bit of a marker. And it, it'll show us some other things going forward. Okay. His fills shoulders are actually quite big, so his PECS are kinda pinched in here. That's just his form. But if we move over here and we look at surges, we can see how here's the front delt coming. And you can see how the PEC comes from this point, right? He's a little bit smooth so you can't see it, but there's an upper pick, the upper chest here, the midline. There might be a dividend here, and then it kinda scoops down below here. It all comes from this insertion point. Right under the biceps. The biceps will come over it. So it kinda tucks itself underneath here into the shoulder. Ok. And if we draw that 45-degree line coming across this way, coming across this way, we can see that's roughly where the placement of the nipples go, right? This one is hard to see because it's hidden by itself, right? The, the placement of the PECC would actually start somewhere around the same point, but then it's folding up and coming over and a folded into the chest here. So imagine these bands coming over and folding over this way and stuff, right? If that makes sense. Coming around this way. And the front delt also came up this way. Side note there. Okay. So once again, think of the PEC as this type of fanning, fanning out, right? Let's see, do we want to draw it a little bit below and see how it, how it looks. I'm just going to go with Here's the chin line, Here's a collarbone. Here's the chevron a little bit, right? Here's one shoulder, Here's another shoulder. Let's see if we can back out just a little bit and look at how the reference goes. We know that the nipple line is somewhere around here, right? So we can see from this shoulder, his shoulders are leaning in a little bit, right. He's got the front delts happening aside delta from delta psi delta. And then from underneath this, towards the middle comes this PEC comes in like this, from underneath towards a little. And if we want to draw the details of it fanning out, we can draw the details of it coming up to the, to this part here. If we don't want to, we can just kinda hint towards it. It starts at this point. And if we want to draw the nipples in, We can put that at a roughly 45 degree angle and where they're going to sit. Okay. So like I said, if you want to put all the fibers in and render it all out, that he's some shredded monster, right? You can put them in like that if you don't want to erase it all load kind of thing, right? And you can just even just put just a little bit of a hint of something happening there. What happens when the PECC is lifted though? Let's go up and we'll check out Dexter's physique here. We're just going to rough in the shoulders, collarbone, Chevron, belly button line is pec line, chin line. Good enough. Okay. Something is happening here though. Remember how I said that the PEC was inserted underneath the shoulder and the bicep? It is. So this is actually the PEC and it's going to insert in here that you can't see it. And then it comes out and comes down. So it's still kinda plays out this way, if that makes sense to the pec minor down here. Let's see if we can see this is maybe a better view on this side. We can see how it's coming out. And it comes out and attaches along here. Okay. So this is this is the PEC, this is the Chester. And we want to do that little 45-degree thing. Find the nipples there. This part here. And here is not the chest. These are the front delts, the front part of the shoulders. And because he's rolled his arms, you can see is rolled his arms this way. As opposed to heat. Scott, his arms ruled this way. So everything else, the underside of the arm is now visible and the, just the front part of the deltas visible. So here's the bicep, right? Here's the front part of that dealt. Coming along this way. Cool. Okay, so this is the PEC so far, but I wanna keep rolling with it just a little bit, little bit more practice. Maybe we come down below and we practice what it looks like, lifted like that. Okay. So we're just going to basically rough it out nice and easy with the Chevron. The big old shoulders lifted. We know the chin is about here and we know the nipple line is here, right? We know that it's going to have its insertion somewhere here. That this, this chevron is actually sorted. This boulder is actually part of the shoulders and that the PEC will show on the top of it, come down and then find its way to where the bicep is going to insert. See if that makes sense. We'll go on this side. It'll come up and find its way to where the bicep is going to insert their neck. And how do we find the nipple again? That little 45 degree line. That work. Okay, Not bad. So the thing is this, this part of the PEC kinda disappears a little bit. It doesn't always show very well. You can just kinda show just a little bit, but it's a hint. But it disappears as it rolls up into the front delt there. But we know if we were to render it all out, that it's coming from this direction. Okay. Let's see. Hey Bob Paris, there's a physique. Let's see if we can draw it on a bit of an angle here. We'll, we'll do the Chevron. Will do the shoulder. His shoulders are upright now. And we've got the belly button line, the nipple line, the chin line is chin kinda down there. Right? But what's happening? We know that it's inserted here. It's coming down and coming back up. And actually the shoulder is just barely peeking over there. Okay? So this is splaying out from this insertion point that is now hidden behind the bicep. And here's the part of the underarm. Let's see if we can see it on this side. We know that the PECC is here and it's splaying from back here, it's coming out. But it's hidden again by this bicep. And then the shoulder comes over on top of it and will give Bob some nipples. Good enough. Okay. I think we're doing okay for the chest so far, right? Oh, no way. I wanted to look at this one. This one's a good chest. Let's see. What we're actually looking at here is that the top of that Chevron and it's kinda coming down this way, right? So it's actually kinda coming here. This, I use this top of the chevron crest as a bit of a marker for the collarbone, right? His shoulders are are really stretched back here, strained back because he's holding onto these rings right. Now. How does the chest working here? We know that the shoulders are inserting off the arm here. And so the front delt is coming something like this. The medial delt is here. And then the chest usually runs along like this. You can see it's still wanting to fan out. He's not only is he lean, but he's functioning right now, he's stressing his chest. So you can see a lot of action going on in that chest. You can see the fibers being pulled from this side here and stuffed into the attachments, pulling in everything, right? So maybe we can see it a little bit clear on this side comes in. You can see all these fibers pulling and pulling from this insertion point right here is that upper chest. And here's the attachment, Okay? Now it looks a little bit messed up right now. But if we were to smooth out the lines, we were to smooth out where their shoulders go. We're just kinda smooth this out. Then this is starting to look a little bit more like a bit of a reasonable chest. But listen, a chest. Being stressed like this is going to look a little funny, right? And then we know that if we kinda draw this line that is nipple would probably be somewhere down here, maybe not even visible on this particular angle, right? Not bad for chess. I think we're doing pretty well. The only thing that I want to cover is, ladies, now, be careful. I'm not talking boobs, I'm talking chess on ladies, Okay, the pecks. So let's work on these very fit CrossFit girls. But some shoulders on them. Doing our little normal Chevron. She's kinda twisting here into the hips, adding shoulders. And now does it change for ladies? Well, yeah, they got, oops. We all know that. Some of us like that. But that's not what this unit is about. What I'm studying here is the PEC right now, okay, So I'm going to kind of ignore the boobs for a minute here. Okay, I'm going to ignore the breasts. I'm going to look at how everything's functioning. So it's the same kind of thing. You know, it's going to splay out from this insertion point. And the PECC is going to come much like this. Here's the front delt. Here's the side delts off of here. Again. So you can see it's not going to change much. This is going to come here, and it's going to display from this, this side here, it's going to come out. This will be the front or the upper chest. And this is how it would look if well, if she didn't have breast, right? If it was just all taken off, we know that the front deltas here and going down the central line, this is where the chest is going to be. Again for the front delt, for the upper chest and then the muscles kinda splay across here. Alright. Okay. I think I've used the word splay far too many times in this. Now. They are ladies though, so they do have breasts and believe me, we're going to cover an entire unit on breasts. I enjoy it. I'm going to focus on it. But for now I think I want to keep it looking this way. We're just kinda talking about I'm keeping things slightly covered and not going into too much detail, right? That we can just focus on the musculature for now. Okay. There we go. Now, if I was to draw this nipple line, I'm using air quotes. There's my little air quotes nipple line. You can see her nipples are a little bit low, right? Why is that? Well, because that's what breast do sometimes write. These particular ones are covered. So what I'm gonna do is I'm going to start to rough in where the PECC would go. We know the PECC would be somewhere around here. These are the pectoral muscles coming, stretching here, up into here. And that's where she would be. That's where things would probably look if she was a man. Right? Or just whatever had a mastectomy, whatever it is, she didn't have breast, but she does have breast. We can see the curvature down here. Actually, I'm going to switch up pens here. We can see the curvature here and the curvature here. Now, her breasts are not going to be perfectly round. And like I said, we'll get into breast later. But look at how that impacted. Where the nipple is going to be placed. It might still follow this line. Actually, we don't know, we can't see, but her nipples might be following this line. And then it comes up and into there. This comes up in into there. And that's how I'm going to tease you with breast right now. But like I said, we're not doing breast. We're going to do an entire unit on breast so you get enough of them. Don't worry, you'll get sick of them. Instead, what we're gonna do is back out and go into the next section of the torso. That is the apps. We're going to work on this, basically this section here, okay, the rectus abdominis. Basically, what most people say is a six pack, but it can be much, much more. Now. It sits on the ribcage right below where the Pixar, it doesn't necessarily attached to the PECS. It sits below and then follows a nice kind of oval pattern down to where the crotch inserts. Okay, So if we kinda go along here, we can read off at, on in and see where that goes. We know that there's a center line down the middle of the abs. And listen, do you have abs? Yes. I promise you have apps. Even though looking in the mirror, you're thinking Ed doesn't know what he's talking about. I don't have abs. Yeah, you do. Everybody's got them. Just whether they're visible and not right there, there. You just may not always see them. It's all a matter of body fat for how many you can see. So usually the body fat sits around this middle point here, much more than anywhere else, right? So if you're going to see abs, you're going to start to see the first ones up here. And you can think of them as little bricks in here, okay? They are irregular bricks, so they don't necessarily form perfect shapes or anything. The next one, as you start to lose more fat, you're gonna see the, the next level of bricks. And then down into the belly button, you might see this level of little bricks, right? And this is what we'd classically call a six pack. Okay. And we've got 123456123456. Right? But truth be told, there's still another one that lines down into here and lines down into here. And it almost looks like I'm drawing one of the Teenage Mutant Ninja Turtles here, right? Which is funny because dexter Jackson is no one to have this kind of look to it. It's tummy his turtle. Tell me. Okay. Now we're looking at this and we're accounting eight as in an eight pack. And is an eight pack possible? Yes. Been there done that? It's possible. Some people actually have what this is, is actually one muscle group That's just has interesting splits depending on the individual. Usually it's six above the belly button and then one below. But I've seen two below before. Okay. I've seen split. This way. It's rare, but it can happen. Okay. So you can get a 10-pack, even. The other thing you'll get is irregularities. Some people's abs are not, you know, not perfect little bricks. They have this kind of little funny feeling. Fills got a hernia here. So his, his aren't the greatest or anything. But if we go over to search new gray, we can see how his don't actually match up. Look at how on this side this one's up and up and up. And that's not just because of the angle that we're drawing it. Here's this little Audi belly button and then maybe he would have more continuing down here. Is that his don't match up. This would come align, this would come over here, this would come over here. They're asymmetrical and that's fine. The abs don't have to always match up or anything. Okay. Usually we think they're better looking if they do, they don't. Let's see. Do we want to look at this? Here's a guy. He's not really flexing is apps. That's why I wanted to show this. His abs are more outstretched. Okay. So here's the center line. And what can we see? We can see the ribcage just kinda coming in, actually out. And I do this and we can see the ribcage coming coming this way, right? Okay. Comes underneath. And we can see just a hint of abs here. Doesn't have the best structure in the world, but he's, you know, he's working it pretty well, right? Pecs are up here, so there's actually a role of abs here on top here, but they're not really showing preserved. They're stretched over this ribcage right now. So don't don't worry that there's always, you're thinking, Well, where's that top six? These top two actually sit placement on just like the beginning of the rib here. Okay. So when in his case, they're not visible because they're all outstretched right now. So you might see just a little hint here, little hint here, little hint on and inside. But they're really not that visible. Okay. And then we can see also if we want to review the PEC, we can see how it stretches out. Comes up this way, right shoulder comes over. Pick comes in and little 45 degree line, nipple, nipple. That's been puffing up. Okay. Abs. Abs don't always look pretty, you know, he's been to over. So if if if everything's folding this way, then these abs are going to be folded over more. This is a lean guy, right? Like he, he's muscular, he's leaving, he's he's looking great. But look at how, you know, the, the abs look a little sloppy right there. Just kind of fold and fold here and then another fold and then a belly button. So what is this? What's going on here? That's just skin. Don't discount skin as soon as things start to bunch up and and you know, we've got we've got this dude here who's all stretched out. And so there's no folding him skin really. He's, you know, he's posing. He looks great like a statue and that's what he's trying to do, right? The guy on the right is functioning. And with functioning you're going to get folds and bends and all these kind of things. So, you know, the abs one always look perfect. So I guess what I'm saying is when you are drawing your abs, don't focus on making them look always pretty all the time. You know, they're not going to look always pretty all the time. Sometimes they're going to twist up a little bit. Skin's going to fold a little bit, right? Thing's going to happen. Just recognize that what's happening underneath that there's a, there's a structure here. Ok. And then as we bend and fold and protrude that, the abs will kinda wanna follow suit a little bit though the want to bend and protrude and, and push out and suck in and fold on each other and stuff. You know, they're not always going to be this nice, perfect posed rack. They can be. And that's cool. If you're drawing a character or a figure that's standing there posing for a photo or whichever, right? Yeah. Draw them. Perfect. Awesome. But abs aren't always perfect. Okay. So don't don't worry about it if they look a little off sometimes. Okay. Next one we're going to work on are the intercostals. And we're going to use our little nipple line to help us place them. Intercostals are. And I guess the easiest way to explain it to people would be like rebuts, little triplets. And they're going to follow this nipple line that falls around and flows into the fuzzy. And you can see here they look like this. They're actually almost like little finger bumps that are on top of the ribs. These are not rips. Sometimes people think their ribs, but they're actually helping to hold things in place, to pull the arms down into place and stuff. And there'll be the separation of the lats. You'll see the lats from the front will be separated by, by these guys. Okay. But he's little intercostals. You don't always see them. Here. You know, surges a lean guy, but jeez, I don't see anything. They're there. They're all brushed out there. Right. And it's not because he's fat, is just because he's not clenching down on them. Usually you see them when you're fully expanded like this or when you start to like, okay, well, he's fully expanded here when you start to crunch down on them. Okay, So he's kind of expanding this side and so you can kinda see them happening. This one should it kinda went like this, right? You can see them happening off to the side here. And on this one, he's semi crunched down. Let's see if we can find it on the girls. Here's a little bit, just a little hint. Okay. So following this nipple line, right? Following the nipple line on the girls. You don't always have to draw them in. There, usually only seen on really lean people. Here he is stretched out so you can see them. Look at how they're folding along. They're usually it's about three, but sometimes you might get a second row. Like I said, they're separating this last section here, okay. Okay. So those are the intercostals. Next up, the obliques. And we might as well stay here with this gentleman. The obliques are these kinda what many people would want to refer to as love handles, but they're not. The love handles are the fat pads that buildup on the back here. Okay. These obliques kinda get mistaken for that. They're the things that kinda help you bend side to side and are used for stabilization. Let's see if we can move up to fill here. Here they go. So these are the obliques, these ones here. Okay. And yeah, they might look like love handles, but they're really not okay. Their muscle, they're not fat or anything like that. And they sit basically right above your belt line. Your belts usually or pants will usually sit right below them here. So if I put a little belt buckle in and through us, through some pants on on fill here. You're going to see that the obliques will sit right on top of it. And he's got a really, really developed obliques. So. Might even give them the appearance of being fat. Look how they're spilling over here or something like that. They're not, you know, especially not in him. Some people's obliques are quite high inserted, okay. They might come really high up on the torso, fills or not, but he's got a bit of a stumpy torso here. Dex has got really thin ones. And this is where it leads down into I won't get into details there, but down into the pelvis, they come up from the pelvis and back down. Okay. And that's where your abdominal rack comes down in here and then we get the penis. Right. But yeah, maybe for another unit. Maybe for a special one. I don't know. I don't know if I want to touch on well, I see. I just almost said touched genitals. Yeah. No. We're going to skip that for now. We're going to put the abs in here down into the the crotch, right? Let's make it simple. Here's the belly button. So we're gonna go 123 and then down. So if I was to draw the abs, the belly button would be in here. Draw the abs, draw the abs. Draw the intercostals. They're going to come here along here. And you can see they kind of form along the mock rib cage rate and then the obliques will come out from there. Like this. Maybe the lats would have swept something like this, depending on how high the obliques sit on him. Right. And then down into the hips and the pelvis. See if that makes sense. Let's go down to Bob. Bob's awesome. And so were his obliques, right? Cool. And even Bob Louise lean but we're seeing this, the skin folds, right? Don't, don't ever forget that whether they're wearing fabric or anything. We can see some of this stuff bunching up if you're going to pinch in, shoulder pinch, you know, show some folds here and stuff. Okay. Let's see. Crossfit is usually a pretty strong obliques. Oh, there we go. She's monstrous. Just got these awesome obliques coming out here. And you know, some fool might say, Hey, look, I love handles. Now, this girl would pick them up and throw them. They're not love handles. Maybe she wouldn't have that type of voice, but I do. So I'm proud of it. Okay. So these are the obliques. And like I said, they lead down into the crotch. Okay, cool. And I'm not going to cover the crutch. We'll skip that. Oh, she's got little itty bitty obliques and look at that. She's she's an athlete but she's not a massive weight lift or anything like that. So you can see them. I drew them in here, but why don't I back that out? And let's see what we can actually see on her. If we're looking close, we can see just a little bit, just a little bit, just a hint, just a hint. And that's all you really need sometimes with those obliques, okay. Yeah. You know, even though she's a great athlete, WE she's not a shredded as some of those bodybuilders, right? You might see a bit of this here. This here, a little bit of a hint of the shoulder. And this is where we'll get into a unit on, you know, how much do we render? How much do we show when we're talking about about muscles and stuff, right? Okay. You know what, I think this this is maybe the longest video so far and I think it's about time I start to cut this short, right? Let's review just a little bit. Okay, We're going to quickly look at Fill. Now. Let's go with the extra, what we're going to look at, how the PEC folds out like a fan. It's plays out. Right. And it attaches not only to the collarbone, butt to the inner sternum, and then the lower part of the rib here where the pec minor attaches. Okay. We also looked at how we can draw the abs or how we could think of them as whether, you know, whether it's bending like this and then the abs flow flow and then they start to flow this way. And even if the torso twists a little bit, belly buttons here is something we can still follow this kind of turtle shell or, or oval line and bisect it. Depending on how things are moving and flowing, whether it's Bob or whether it's our CrossFit girls, right? We can see how it's moving and flowing, right? So if we're going to bisect it, we can start to move the abs all around it, right? And we looked at how we've got the intercostals here that also followed the nipple line. Okay. I'll give it press. There we go. Okay. So we've got these little intercostals and you want to think of those not so much as ribs, but the muscle sitting on those ribs have the little rebuts, let's call them that. And then we move down into the obliques, these big not love handles but, you know, hip stabilizers, torso can trunk stabilizers and stuff, right. Okay. That's the torso. We're gonna do another unit just on breasts because I know you want to. But this one, yeah, we covered more of them. Muscularity of it. All right. And I think it looks pretty funky, right? What I'm hoping you're doing is you're either drawing on a on a separate sheet where you haven't where I didn't sketch on it at all. Right. You've got your own opening white areas to sketch, or you can draw over the figures, or you kinda follow along with me, right? You, you trace over what I'm doing, which is cool. You know, a lot of people are down on tracing. No way. When you're studying trace, trace, trace away, you know, like follow what I'm doing and stuff. And then after you've done that, then draw it off to the side, right? And then try to draw it again without looking at the reference and see how much you can kind of retain in your memory. Okay. Plus, I provided a lot of extra materials, twisting torsos and so on and stuff for you to follow along with, right? So no excuse not to practice. Keep practicing guys. 4. Anatomy Torso Breasts: Hey, what's up guys had here with another how to draw comics anatomy lesson for you. This one's one of my favorites. One of my favorite topics. Yeah. Let's say it. We're gonna do boobs rests. Yeah. But fair warning. This is not safe for work. So here's my warning, warning, warning, warning. Some people get all bent out of shape with boobs. Not sure why. I think they're kinda awesome, but yeah, for some people that really bothered by them, right? So just be careful opening this up at work or I don't know. I was gonna say at home in front of your family, whatever, but I'm of the sort that listen, nudity is nudity. It's no big thing, right? Anyways, you do you, you judge you. Alright. So let's get moving and talking about some, whoops. Now, you know where I'm going to start with this, right? I'm going to start with the structure. Let's make it simple. We're gonna do that simplified skeleton, the Chevron, right? The hips. And I'm even doing circumference cut here, alright, shoulders. And good enough for now. Hips here, belly buttons here, nipple lines here, head. I show I'm going to change that just a little bit. You're going to back it out because let's not guess. Here's the chin. Here's the crotch line. Here's a belly button, but we know that the nipple line is actually going to be somewhere around here. So let's take a look. Now, does this work out measurement y is not bad. You know, keep in mind though as we get into breast, we're going to see there's all shapes and sizes and It's all of them are cool. You know, they're all okay to draw, right? So, you know, not all of them will perfectly fit our little cut lines of where nipple should be and everything should be and don't let a phase you. Alright, so let's get into this. We're going to talk about breast. These particular ones are covered up with a bikini top right? Now I'm gonna do something that every girl is going to look at me in cringe with. I'm going to draw a sphere. And I'm going to draw a sphere here. Okay? So I'm circles and everybody's saying add, breasts are not circles. And I totally get yeah, I know they're not circles. I seen a few in my day. But what I do for plotting in breasts is just roughing in either circles or ovals even. Okay? And then using that as the bottom curvature. And I'll show you what I mean by this. We know that the PEC, hopefully you've already studied the torso unit by now. You didn't just jump ahead and went to the breast unit, right? We know that the PECC is going to come here, insert and come back up, right? Okay. We know that the front deltas here, and that's how that's going to look, right? But when we're doing the breast there, you know, there are fatty tissue that hangs on top of that peck, right? So it's going to come down and it's going to hold down and hang like this. Okay. She's got a little bit of support here from the bikini, pulling it back up a bit. But it's going to sit and be pulled by gravity and then then attach up back into that shoulder. Does that make sense? Okay. And we know that we can go with this center of the clavicle and kinda draw this 45-degree line out. And roughly, that's where the nipple is going to be, roughly. Like I said, some people are different. You can follow it up that line and put the nipple way up high, right? If you'd like. You can bring the nipple way on down low. If you'd like. None of it's wrong. You're going to find, obviously there's a difference between quote unquote natural breaths and fake breasts. I'm using these terms just because they're the popular terms out there. Okay. Yeah, don't let it, let it bug you too much. Where somebody puts their nipples. You worry about your nipples, right? I like to draw this kind of circumference line and then place the nipple where I think it would fall. Okay. And that's where I think hers would fall. I could be wrong, whatever. It's cool. Also, I guess some people who are bent out of shape about sizing of nipples and everything, right? Some put these little itty-bitty things going on. Others put the areola massive, right? And once again, it's not wrong. You're okay with it. Both of these things, whether it's smaller, whether it's bigger or looking kind of reasonable. Right. And so that's why I said, you know, if you follow the understanding of what we learned in the torso unit about how the pec muscle sits and then start to attach the breast on top of that, it's going to make a lot more sense, right? Little Gilligan. Okay. Now we've got some naked movies going on. Let's see if we can follow our little chevron. Shoulders, hips, crotch, center cut line. She's twisted just just lightly. Okay. And I'm going to, you know, if I was to Here's the C. If I back out just a little bit, Here's the chin. Here's the belly button. Here's the nipple line. You can see her shoulders are slightly bent, so I'm going to back this up just a little bit. If I want her shoulders just just slightly bent, then maybe I'll have that line coming in there. Yeah, let's draw some breaths. We know that the PECC is going to come here and be Here's where the clavicle sits and come in something like this. Front delt here maybe onto the PECC, but that's not what we're drawing. We're going to draw in her case, the circles, okay? And using this 45-degree line, we're going to find where the nipples are. Hers are quite uplifted. I might have said her nipple should have been further down, but I'm not one to judge. Maybe, you know, maybe she's had some surgery. I'm just looking at the breast that I've got in front of me here. Okay. Now, how much breast you want to show is kind of up to you. Meaning if you want to do the whole circle, it's going to look a little on the fake side, right? If you draw from here all the way in and here, all the way in, and then these 0s, nipples way up the line and stuff. These are going to look like rocket breasts. They look like they're solid, hard to the touch and maybe a couple of weeks out of surgery or something. Right. So they don't necessarily look all that realistic and that's okay. You know, not every rest has to look supernatural or anything like that, right? Super natural. Supernatural. Um, what you can do instead is just kinda follow the outline a little bit and then the nipple in there and then the tissue moves up into the shoulder and then we've got our shoulders happening here. All right. Does that make sense? Let's see if we kind of draw it off to the side here. We're going to draw a breast. We're going to draw the 45 coming through it. I can, even if I want to choose where that line is gonna go, I can choose a little bit underneath it and choose like that. Cool. So even though I've got a circle here, I'm not necessarily drawing circles. I'm drawing just using that circle to use the the lower part of it as the weight hangs down. Right? The breast tissue weight hangs down a little bit. All right. So we'll get on to the next one. This one's a little off to the side and different size breaths which are awesome. Always studying the same size and shape really won't get you very far, right? Actually, maybe that's the center line. There we go. Shoulders are back here. Belly button line, hips. Her breasts are quite high up. Okay. And we can see there like this, right? Obviously, the size of the breast, we can start to adjust the size of the circle a little bit. If I wanted to put, sorry, really large breasts on this girl, I might do something like this. And then the breast comes here, up to here and then into the shoulder. This one comes under and you know what? I'll keep the nipple at the same line. And that can work right. I've just gave her a bit of a breast enlargement there. I can come along here. Sweep under. Right. Okay. And that looks. Reasonably realistic. Me butchering that nipple. Do we want to try to draw it to the side a little bit? Let's make them a little bit smaller. Okay. And this one's coming here. This one is sitting on the side, but then the major part of the weight is here. And then it comes up and into the shoulder and around into the shoulder. This nipple is off to the side here and we're down to the belly button down here. Okay. So we can, you know, when you're trying to work with drawing smaller breasts, would you really want to do, I think, is still draw in that whole circle. Drawing that whole circle. But realized that all of this up here, this line doesn't really do anything. It's, what's happening instead is you're just using that as your base to just give a little bit of a hint. A little bit of a hint because the size of the breast is really about the mass, right? The width and the weight of what's going on here. Okay. I guess I should do it in this way, right? So yeah. You don't have to have always giant breasts or anything. You can change shape at will as long as you know what's happening, what's going on. And then the tissue comes up from there. And we know that the normal peck insertion and stuff right from our torso video, collarbone, maybe something along these lines here. Looks pretty realistic. And you know what? We were to come in here and back out. A lot of this a lot of this construction. It looks like a much smaller breast, right? It's the mass. So don't be scared to use the circles or ovals or, or any of those types of sphere type shapes, right? Just don't always draw it all in, you know, use it as your rough, but the rest of it doesn't really need to be there. You don't need it. It's just show where were the mass of the breast is when you're not drawing massive breasts, right? So you can draw. But if it's a smaller breast, smaller, meaning, you know, smaller, cup size and stuff. Then just draw a little bit of a hint. Comes here, then comes up into the shoulder, right? Cool. Okay. Really don't need all the details going on there. They make it look bigger than it is. Okay. Speaking of bigger, Here's some big natural looking breasts. Alright. Let's see if we draw the torso when or rather the simplified skeleton, right? Here's the shoulders. Here's the center line. Hips are down in here right? Now, if I back out a little bit, Here's the chin. I'm guessing the head is probably right there, chin. So look at this space here. Look at this space here that's about one head, one head. If I come down about one head, I would have put the nipples right here. Right. If I was measuring my normal breast placement and all that kinda stuff, you know, i'd I'd probably draw something around here and then put the nipples, even big breaths, I would have put them right here. Boom and big old nipples air and then whoo, I've got a you know. Yeah. But that's not what she's got. Her breasts are naturally big and they're hanging much lower, right. And then they come up. So you can think of it like her broad would attach somewhere over their shoulders here. Right. And then it would have to come down and support these, right? It comes down and supports these things, right? And then also that 45-degree line will that gets thrown a little bit skewed, right? Things start to move to the middle maybe or move out to the side there. They're not always going to be a perfect 45 or anything. They're going to sometimes be on the inside a little bit, right? There is sometimes going to be right where you think they might be and then sometimes one might be a little bit off to the side and the other maybe a little bit more centered tree. They're not always perfectly symmetrical or anything and they shouldn't be. So, you know, if you're drawing realistic breast, learn that they don't always flow perfectly. At least when I say perfectly, I mean Like ideally, right? And these breast, when they hang down, they're going to get more of a the hang the weight is really hanging on them. Right. Okay. And then up into the shoulder. Cool. When you're drawing these types of breast, what you can also do sometimes I find just to show the weight of it is dark in underneath. And that kinda shows, you know, how it gives the, the shadow effect of the breast, right? Okay. So it'll make it look like actually I'm going to even add some more hurt. These are quite big. There we go. So that will give a little bit more extra weight, you know, as soon as you start adding that in. Now these breasts have that extra mass feeling to them, right? You can put a little bit of a hint of of a, of a ridge up here if you'd like. And then get rid of all that blue construction. But that will give this more of a spherical shape, a more rounded whereas with a lot of breast instead you want to have, like I said, the mass just carries further towards the bottom. Pizza used this example, but think of a water balloon, right? Okay, the mass carries down towards the bottom so it gets thicker. And you start thinking, okay, this is where the real weight is, right? And that's a lot of rest. Can look a little bit like this water balloon, right? Obviously not water, but they've got that heavy weight down there near the bottom, right. Okay. Well, I hope you guys are having fun with breast so far. Let's see. We're going to rough in the skeleton, right? This one's a little turn. We can't see all of it. There we go. There's the crotch line. Here's a belly button line. Here's the chin line. And then if I was to go about halfway, maybe the breast line slash nipple line would be somewhere around there. She's got quite big breaths, right? We kinda looked at some smaller ones. We looked at some bigger ones, right? These ones, you know, the nipple placement is right about where we would guess it to be on that 45. The one thing I want to show you is as we come down, sometimes, we can have this kind of big breast that look really fake, right? Actually these don't even look fake. I gotta say, I've known breast like this. I don't know like that. But like that. Right. That have it almost. These girls when will seem like their breast has a built-in bra that's attached to the clavicle type of thing, right? So there are some breast that look like this, that have a lot of mass way up top here. But most breast have this type of thing they carried down, right? And they hang. So it's your choice. Do you want to have a breast? It is full all the way up top and looks like it's coming off the clavicle with mass. Or do you want to have something that hangs and looks like it's fuller down towards the bottom and and thin as it comes across this ribcage, right? Really, it's a stylistic choice or a character choice or portrait choice of whoever it is you're drawing, right? Does that make sense? I've changed her breast. Those are not how these look. Her actual breasts or more of not even like that, but that's an actual breast to write. This works. This is a breast, this kind of squash type. And how women studying this are thinking, having mammogram flashbacks, right? But yeah, you know, they don't always have to be these perfectly round breasts. They can be, you know, start to have interesting shapes to them and stuff like that, right? So I don't know how many breaths we drew here, but it's a lot. What I'm hoping that you got out of this was that the initial measurements of where we put the nipple line. Is just a rough indicator, okay. It might work better on some men, but because of the breast tissue, the nipples will often dropped down below that. I also hope that you understood that when it comes to what we're drawing here, that there's a lot of individual variation, right? That not all breast are going to look the same and that on each each lady, they're going to look a little different even like even on the same lady, they're going to have a different look to them. So don't expect that there's going to be no perfect breast out there. It's just whatever suits the character or portrait that you're doing right now, right? Does that make sense? Okay. And what I would recommend doing is just draw hundreds of them. If, if this is a weak point for you, then draw tons, you know, just draw different sets of them. And then change it and say, okay, well, this is how I want this one. But I want this one just a little bit like this. And you can start to, and I want this one with big areola and nipples, right? And I want this one with just small little hint on it, right? And then you can see how it will really change. Each breast will, each paragraphs will start to really change according to how you want it to be, right? Not how some idealized version or magazine has made them out to be. Okay. That's it for breast. Your homework is to draw a bunch of them. Really, if this is a weak point for you and it generally is, I see a lot of people that they are when they are drawing. It's not that they can't draw dress, but that all of them look the same. They're all like these perfect Hollywood cannons basically in and there's nothing wrong with that. I dig him, but they don't all have to look like that. Show variety in your breasts. Start to draw different types of them, different sizes, different shapes, different nipple directions, whatever it is. And then draw some more. And this is your teachers homework to say, you have my permission to look at breasts. In your day somehow. If you have your own look at your own breasts, right? If you don't look online, I'm sure there's some resources somewhere out there. Right. And yeah, keep practicing. I left some room here so that you can practice on this sheet. But I also included some extra references and stuff for you to just keep working on them. Okay. All right. Good luck with this guys. Keep practicing. 5. Anatomy Back: Hey guys ed for Chuck here with another how to draw anatomy unit. This time, we're delving into the back. Let's get to it. Okay, well, how are we gonna do this? Let's do, we're looking at this giant of a man here, right? For those who don't know, This is Ronnie Coleman, massive guy, massive back room. So we're just going to kind of bisect it for now. We're just going to draw a line down the middle. We know that is actual crouches here and the hips are here. We can see the little underwear line because bodybuilders are nice enough to where it just that little bit of clothing, right? And we can see the top here. So we know that if we start cutting things right from here to here, right about here would be the nipple line, right about here would be his jaw, right about here would be the belly button. Or somewhere there maybe. We're kinda looking at this as an R. Here would be the ribcage coming down as our simplified skeleton, right? If we can kind of rough up the simplified skeleton, we can see the shoulders are actually right here. Here. They're really easy to see on him, or at least the top part here. Alright? And so now we know that when we back this one, I'll instead, we've got a little simplified skeleton here, but I guess I could even draw on Ronnie's head here. Something like this. He's got a big wide jaw. Okay. But we're looking at it from the back, but that doesn't change. It doesn't change how we're looking at the underlying structure, right? We're still going to have the elbows come out, come down to the wrist. The animals come out, come down to the wrist. Okay. It's always good to practice that simplified skeleton. But that's not what we're here for today. What we're gonna do is we're going to look at the muscles of the back and how to draw those muscles in the back. Okay, so let's, let's dive into it. The back is a little complex, so you're going to have to bear with me a little bit here, okay? But we've got a few diagrams to work off of here. And so let's see if we could find it. The easiest one to start with, in my opinion, are the traps, the trapezius, right? They will start up here in the neck, right at the base of the back of the skull here. And it come down, come down this way, this way. So it's got this kind of almost diamond shape with the top cut off there. And there's one on either side. Okay. Now, what he's doing right now is he's kinda shrugging the shoulders up. So they're actually kind of bumping up on this side right here. And then this part coming in here is getting all folded and wrinkled as it comes into comes into the back of the head, right. They've got this little divot here at the top of the spine hits. And then they've also got this little crest that goes across. But when you think of the traps, the easiest way to think of them is just kinda like this. Okay? You've got this one side and then you've got this other side. And it's really that simple for the traps, okay? The traps are used for carrying heavy loads. Okay. Like basically, if you've got a walk and carry something in your hands at your traps in your grip that are going to be carrying it for a long distance, right? So you really want to, if your, if your character is kinda that lumberjack type dude or something like that, or gal, you can just throw the traps on them, right? Because they're carrying those heavy loads all around the place, right. Okay. So that's a big massive part that we're looking at the traps right? Next one is another big section. And these are going to be the lats. These actually are kinda sweeping up this way. And then sweeping down into here. And then here. They kinda imagine them folding out of here like this. Okay? So I can do it on both sides here. It's going to fold up to here. Fold down, kind of come in this way and they fold out this way. What I like to imagine as, you know, those kinda Asian of fans that splay out like this and you get the, all the different beams coming in, put it all that's an ugly fan. But you get what I'm saying, right? So it comes here and it folds out a lot of muscles do this. They kinda splay out from their insertion point. Okay? Yeah, those are the lats. They really, these are what we would call the wings, right? They give a lot of width to the back. Okay. We're going to look at it a few different times, but I just want to kind of lay it all out here to begin with. Okay. There's a little bundle of muscles here that you can kinda see them all lumpy, bumpy here on Ronnie and stuff I got raid. They can take some different forms, but basically it's the underlying rhombus and then the terrorists major that's popping out over here. Okay. Actually here. And yeah, don't have to worry about them that much because there's a few things that are happening under the surface here and stuff just know that occasionally you'll see this little thing. Lattes don't continue up to here that they kinda come this, kinda this midway point. And then there's a few underlying crossing muscles that come across like this and they kinda take this form. Okay. All right, so that's the back. Couple smaller points though, to make note of. Down here, we've got, we're going to draw the glutes on another day, right? But between the glutes in the back, you've got these, these bands that come here. They're really quite strong, especially if somebody's leaning backwards and stuff. And these are the spinal directors. Okay. So they can be very overdeveloped on some people who lift very heavy weights and stuff, right? Yeah. From the back we've got the spinal rectors, we've got the obliques on the side here, but we'll go over that in the torso. And then we've got our shoulders here. Back here is going to be from this point of view, is going to be the rear delt. And that's mainly what we're going to see here because his shoulders have rolled so far forward. Okay. And that's it that I want to go into. I really want to focus on the back. I just want to kinda show you where the pieces are. As you go through the different anatomy units you're going to see oh, okay. I get the shoulders and yeah, I understand the button now. So we're going to specifically go into the shoulders and help them make a lot more sense and specifically talk too much about the butt. So let's not focus on brawny button right now. Okay. Let's just focus on see if we can do this again, see if we can recreate and we're only going to do one side of it. Okay? So we're gonna kinda draw half a Chevron, half a hip. This is looking weird. And the shoulder here. Alright, so what do we do from a boat here? Actually, why don't we do the traps first. From just below nipple point, a little bit higher, can come up here and they can roll over. We can have the little divot and little secondary bump there. Then they go into the back of the head from the insertion point right back here where the tricep, the shoulders, Everything's all starting to bunch together right back in here. This is where the light starts to splay out. And it comes with a down, way down to about here. Okay? So we can draw those, those fibers playing if we want or not. It doesn't really matter that much. Down here we've got one part of the spinal erector. We've got the obliques off to assign than the glute medius up here and stuff. Okay. We've got also coming from here, the rear head of the deltoid. And then, like I said, these materialists major and infra, spinous and notice it doesn't really show some of it, but you'll see these kinda ridges and stuff, right? Okay. Actually, I think we're doing pretty good here. The back's not an easy thing and you know what? We're not always the most familiar with it. If you ask any young person, especially a young guy getting into the gym, he's going to talk about chest and arms. Chest and arms, right. Because that's what you see in the mirror. You see your arms, you can see your chest. But really the back is a mystery to some people. They don't look back there, they don't see back there. And the mirrors aren't usually set up so you can look back there very well, right? So that's why we're going to spend a little extra time on this here, okay? All right, let's do the same thing again. We're going to have a little mini skeleton for Ronnie here. I'll just rough it in really quick here. The head, right? He's kinda actually leaning forward this way. Chevron shoulders are raised here, we can see them. They look awesome, right? Oops. That's what I get for pushing the boundaries. Rib-cage. Okay. Yeah. Out to the level L2, the elbow and that's all we want to do for that right now. Can you find all the stuff we already talked about? Because actually what's happened here is in this case, remember I said his shoulders were rotating, rotating 40s, kinda rolling his his back forward, his shoulders forward. Everything is rolling over. This one. He's rolled them back. So things are going to look similar, but a little different. Some of the landmarks are going to be a little different. Let's start with the traps again. The traps are going to come here and up, here and up, and you see when the traps get into the delta insertion here, right? Like I said, shoulders are here, the deltoids, okay? They traps kinda come into it here and then round before they head down. Okay. They round out and then head down. So once again, the shoulder is almost and like I said, I'll go into it in the shoulder unit, but they kinda wrap around it like a clove of garlic. Okay. I like we've got this big divot at the top here. And we can see how actually his traps folded in a little bit. And they've got a little bit of personality. They don't have a perfect diamond shape to them or anything right now. That's okay. That's, they're not supposed to write and muscles change shape. They move, they, they flow a little bit, right? We can see how there's a large mass and it actually wraps around up in this point. And that's the one. He's kind of folding over here. All right, so that's basically we think of the traps has two parts, this one and the upper traps, and then this lower mass down here. See if we can find it here. There's lower mass is getting squished a little bit down here. This is the upper mass that he's got folded over, folding towards us. And then the part that comes up and inserts into the neck up here, cool, drops. Back to, let's remember this insertion point. They're going to come here, they're going to come all the way down here, right? And they're gonna fly out like this. Okay. Sometimes you'll see something that's cold like a Christmas tree and he's kinda got it here. It looks like the lat actually goes like this. It does not. Yes, we've got the spinal rectors down in here that are coming up. But this from these points are actually part of the attachment, that tendon attachment into lats. So don't let that fool you. I know sometimes when we're studying anatomy pictures and were like, Hey, we can see what's going on here and stuff. You can, but once in a while, things get a little distorted. So you'll see what's called a Christmas tree. It will be like this and it'll have little fibers, especially if you're looking at bodybuilder references and stuff for this lower back part. Don't let that fool you. It's not something different. It's actually a continuation of the Latin insertion. Okay. And like I said, spinal rectors down here at the top of the glutes here. Oh, big old, old obliques here to the side. And that's looking pretty rough. Alright, and then what did we say? We've got the terrorist major and minor. Just a couple little things happening in here. Sometimes they take on a little bit of different shape depending on how they're formed. You don't have to really emphasize, just know that there's a, there are some irregular lines that are sometimes in there. Cool. And we want to draw it again. It's going to be my new theme song using saying, Oh my catchphrase. That's what it is. Do we want to draw it again? Horrible. I wish I had a better catchphrase. Okay, so we're going to roll the shoulders up, right? I'm just kinda roughing things in. It's not gonna be perfect, but perfect enough for what we're trying to do here. Okay? So we know that the traps will roughly follow this this type of diamond pattern, right? Okay. We know that the deltoids will somewhat wrap around it or we're not talking deltoids right now. But we know that, we know that they'll, they'll form this kinda wrap around it. Okay? We know that the lats will insert here and sweep on down, insert right about there and sweep on down what made them and that they splay like this. All right. Does it make sense? And we know that there's some irregular shapes here with the terrorists major and infraspinous. And we know that the traps aren't always going to be perfect. They might have some rounding here and give it here and stuff and kinda come there. And then we've got the dividend, the front or at the top there, right? Kind of rounding out. We know that there's maybe a extra bit of mass there. And here we go. We know that down at the bottom here there might be a bit of the spinal erector leading into the glute, the top of the glute. Let's give them some, but some obliques here coming up to the side. And then a little bit of that Christmas tree look cool. Yeah. Looking sharp. Okay. We got we're rolling. Now what happens when we start to twist? Can we find everything still, right? This is Phil Heath. The gift. He's pretty gifted men. He's, he's insanely big. We can see, we can still, even though it's turned, we're just going to follow this turn right? Do the rough skeleton and bring it on out and see what we can find his hips are doing here. Okay. Maybe even back here a little bit. There we go. Okay. So where is everything? Right? Like I said, with me, it's easiest to start with the traps back of the neck insertion, his neck actually, if we look at it, is going this way, is net came this way, then the middle of the back, and then maybe the bots somewhere here, right? Okay. So it's coming from here, coming out, here, out and here, and then back up this way. Does that makes sense? Right? This is a simplified form right now. But it makes sense right now from where the tricep and the deltoid kinda meet, we're going to bring the let down or the tricep and the deltoid meet, we're going to bring the leg down. We can also see the spinal rectors starting here, right? And the fibers attaching here is o. Is obliques aren't really visible on this side so much. I might be here, but they're more visible here in his his belly starts to stick out here. Then we've got the glutes coming up top here, right? It's hard to see. They're kinda disappearing here at the hip as maybe coming here. Something along those lines, right? We've got the the delts that are going to wrap around the trap a little bit, right? And then we can start to take some form of the trap, right? Have this big old Mass come here on the top here, and then maybe even form it out. Remember how Ronnie's had that little divot here fills us a little bit different, but we can see that there are some similarities, right? Okay? We know that it flows out from this insertion point, but we also know that occasionally we're going to get these different little muscles that are folding in on them here, okay, and everybody's got a little bit different insertions for their muscles. So don't, don't let it bother you if you're like, Hey, hold on. I was looking at Ronnie's and the first guy, whatever his name was, right. And his were really high in this guys is really low. You know what? The more you're going to study anatomy, the more you're going to realize it there in the same place generally, but the proportions, the push, the poll, the direction that these things go a little bit can be, have some individual variation, right? So, so don't get stressed about it. Okay? Now, what if we start to twist it up even more? Let's say this is here, this shoulder is here, and this shoulder is here, if this makes sense, right? So the actual the middle of the back is here and then the middle of the glute is here type of thing. Okay. I won't worry about where the arms are going right now, but I will bring, once again, imagine that this trap is going to be here, but we're going to see the form of it. Maybe a little bit more here as it comes up to the back of the neck. And here and then this one will become kinda like that. Do you understand like we're we're showing the meat because this is the ridge, this ridge here, this one here is going to be maybe facing us more here and maybe there's a divot there. Alright? Okay. And this one still going to be coming from here. But we're going to see it along this way here, right? Maybe you Some fibers here in some, some of that. There we go. Get the lat here. Maybe we're just going to see a little bit of it because he's turned so much now. The oblique is more on the side here and maybe the, the belly we're going to see more here. The spinal rectors, the middle, the spine here. And then down in here, and the barely hint of the oblique on the other side as it leaves into his butt and then in front of us hip. Okay. So we can keep turning, turning, turning until eventually we get to the front. Now, why am I showing you the front of the dude when we're studying the back. Because when you're this big, your backs all over the place. You can see it from every angle, every place. Okay. But you know what? Even on guys like Bruce Lee that were slimmer dude's, you'd be able to see this from the front to okay. So he's just so you know, Ronnie's kinda leaning back just a little bit. He's rotated as his torso behind a little bit here. Okay. So here's a shoulder out into the arms, right? Okay. We're just kinda roughing things in right now. So here we go, good enough. What I want to focus on here is what we can see of the back muscles that we've studied. But how much of it we can see from the front. We're going to go into the chest, the abs, all that kinda stuff in a different lesson and everything, right? So let's just focus on what we've studied so far. The traps, we know that the traps will come from the back of the neck here. I'm going to switch up from the back of the neck, come down and form a sort of diamond shape ish, right. Okay. And where do we see it? From the front here, right here. The traps on the front. Okay, Now he's leaning back, right now he's got giant traps obviously, but he's leaning back. So right now as traps look small, if I could say that, right, for a lot of people, they might just kinda look like this. And this is a mistake people use when they draw neck. Often they'll draw neck like this or something, right? But what it is is the neck is actually like this and then the traps coming out at a certain point, right? Even leaning back, his traps are fairly large, right? Yeah. So the rest of the troughs we can't see though as we start to go down, we remember that in the tricep armpit area we've got the, the lats that will insert, right? And those we can see, we can see from here down to about here, right here, down to about here, until they hit right about close to the obliques here. And we can see them from the front. Here's the arm that's cutting off part of it, right. So I guess I could erase a little bit here. Just so it makes sense. But how much can we really see? We can see basically this mass here, this part of the lad here, okay. Because then we start to get into the chest and the intercostals that line this insertion point. Okay. So with the frontal lats, you might just get a little bit of the ridge depending on how big it is. His are obviously big, right. So you get this little ridge and you get this part, and that's about it from the front. That's all we're going to see. We're going to see the traps here and a bit of the lats there, okay? Really, you know, even on the smallest of people though, if not the smallest, but if they've got any trap development, you're gonna see, Let's see, dude standing here, he's got a shoulder, arm straight down, right? Remember our simplified skeleton? Hips? Really simple, right? Chest. They're totally ugly skeleton, right? And as we start to rough things in, we know that the chest is going to be about here, Come come up to come up this way into the shoulder development, right into the delts. But where do we see the lats? We're going to earn the back. We're gonna see just a little bit hanging here. Okay? Because the biceps are going to be coming down here, so we probably won't see a lot with an arm hanging or anything, right? So we'll just see a little bit of the lats until they insert into the front of the torso here. Okay. And we've got the neck on either side, right? And then we'll probably see a bit of the traps. So one way to think of this that I think kind of works is think of this almost like a kinda rough it as a bit of a, a turtle shell on the back. It'll take different forms. It'll go like this, it'll go wider. It might get blob fish like AIG ish or something like that, alright, That type of thing. But from the front, yeah, I think that if you draw this kinda outline almost like a turtle shell or shield on the back. It gives you a little rough indicator where you can kind of put some of that stuff in and then you can start to play with it. You could have these monster traps coming up this way or something right from the front. Okay, so let's go over it again for a little bit of review. And listen when I'm doing these, I'm really hoping that you're following along. You know, I've left some space on this sheet, right, that you can draw along beside me here and stuff. But also I've given you a blank sheet. Just the references, right. With just these guys that you could follow along on your own. And then afterwards is going to be another sheet for you to practice along, okay, that you can practice with different models and see if that helps you at all. Okay, let's review. We've got the traps, these big load carrier units way up top here, right? They have this kind of diamond shape with an insertion at the back of the skull here. And then about midway down the back, like let's say a little bit below the nipple line or something. Okay. We've got the lats that start kind of in the armpit or just to the tricep shoulder arm pit insertion there. And they splay out kinda like one of those fans, right? One of these old Asian fans, Okay. We've got these different, the terrorists major and a few little tiny things in here that you're just gonna get a hint of. A little hint of different kind of overlying muscles here because they will come. And you can see them kind of behind the rear deltoid here. And here's my disclaimer. Delts are on another day for shoulders. We move down, we've got the spinal rectors, we've got the obliques and then the top of the glutes. Okay, I think that's back. So I really hope that this helps you. I hope that you're able to play with some of these twists. There's some twisting examples for you on stuff. You should eventually be able to turn, turn it all the way around and see it from different angles and stuff, right? That's the goal when you can kind of envision the muscles at whatever angle, whether we're looking at it straight back, three-quarters, halfway to the side, quarter to the front. That type of thing you should be able to kinda say, okay, why know where all this is coming from, right? And if you can't keep practicing, I know you'll get it. 6. Anatomy Glutes: I like big something and I cannot okay. Kind of guessing what this one is going to be about, right? Yeah. It's a both glutes are like big glutes and I cannot lie. I promise I'll be more mature as we go through this unit. Let's get into it. Okay, I think you're getting sick of these lame video introductions here, right? Let's see, how are we going to kick this off? I've got a male and a female, but, oh, hey, I should have really kinda warned you. This might not be something you want on your screen at work. Let's go back to Ha there. Okay, here's Mike. Not safe for work. Warning. Might be a little bit late on that, but if you're fired, I feel bad for you. Okay. So anyways, yeah, we're drawn bots. So be careful with it. But okay. We've got to a male and a female. And I got to say my faces like too close to the screen right now. This Tablets got me up close and personal and I don't know if I want to be this close here. Let's look at the underlying structure. They're going to be a little bit different for the men and the women. We've got the hip, right? We've got the line coming in, the center line. This one's a little bit off-center. And then we've got our base hip line here. Okay. This is pretty, you know, if we had the chevron naught top, you'd see what's happening here, right? We've gone through this simplified skeleton so many times, I'm hoping by now you've, you've got it down right here's the insertion, here's the little underwear lines. But there's some different things going on here. One thing you'll notice is that generally speaking, men's hips are narrower compared to the shoulders. A women's hips are a lot rounder. Okay. Part of that is, well, it's happens hormonally, but it also happens with childbirth and stuff. A widening of the hips, right? So today what we're going to talk about are the, you know, the anatomy as in the glutes and everything. But we're also going to talk a little bit about how structure works. Okay? So what do we have here? Nice and easy? We got a butt crack kinda down the middle and then we've got the bottom of the butt cheek on either side. Okay? What this actually is is here, this massive form that kinda inserts here is the gluteus maximus. And I think that's the first Latin. Most people strangely learn, right? And then up top here, it's kinda secondary crest is the glute medius. So the maximus medius. Think of this as the smaller part, right? So sometimes you'll see, depending how it's formed, you might see a bit of a line in here, especially on men and in this kind of crest that comes up, up top here on, on a man. Right? Now it forms down in there. Cool. For the woman, it's obviously the same. We've got this underlying tissue, right? The hang of not just the glute max, but you know, there are some fat going on here. But is, is a great place for fat deposits and stuff and maybe why we like it so much, right? But you're going to see this widening of the hips here and then narrowing in towards the waist and stuff on a man, his obliques might be a little bit more evident here on a woman. They're usually much, much slimmer and stuff cool. And then it kinda comes down. So what you can kinda do for men is a bit straight and then straight into the leg. For women, you want this generally curve. And of course we know there is tons of different body types for both men and women stuff. This is just kind of like a bit of a starting point where to start off. And then you can choose to take it from there according to the body type that you're aiming for and stuff. Not bad. Okay, so remember loop max, glutamine. Okay, cool. So let's talk about male, but for a little while here, you can tell. What I usually do is once I add a switch to Google, sorry. Once I add the the hip in here, what I do is go in and add the butt cheeks. Okay, Now this looks really simple. And you know, obviously there's butt cheeks don't necessarily have to look this perfect or anything. But what they do is kinda helps me to come in and start to underline and say, okay, well I'm going to follow this curve and I'm going to follow this curve. Maybe that's where the leg is gonna go, That's where the hamstring the hips out on this side and then it comes into the quad, right? It comes up here. And you can even roof in a couple of things here. Here's the oblique on this side, right? For this one, again, you can just kinda add in, you know, like I said, following where the where my rough circles are. You can even put a little bit of a ridge up here depending how you want it. Okay. Does that make sense? So what I want you to do is rough and where you want the the general area of the glute to be. But the bottom of the butt cheek rounded outside and then down to the lake or something. And if you want, you can add a little bit of a crest up top or something. Okay. Does that make sense? You want to practice a little bit down below? Let's try one more time down here. Okay. Big hip, one butt cheek, another butt cheek, right? We're going to have this one kinda being a little bit dominant, folding over as if we're you know, he's stepping on this leg a little bit more. The hip comes down. This one comes up, maybe a little bit of cresting, something like that. All right. Here we go. Cool. Okay. Moving on. For women. With estrogen and everything, There's generally larger fat deposits in the glutes. So what we have are your glutes generally, right? We have bigger circles to start things off and sometimes they're not even circles. They can be kind of like oblong egg type shapes or something, right? And that can work just as well. All right. We can have it something like this. And that's what we've got going on here. We've got this one here. And, you know, part of this is, like I said, the fat deposits, but part of it is just gravity pushing on down, right? It's going to push down. And so the weight is going to hang down at the bottom more. And that's where our heavier line can focus down here. Right. And then come down to the leg from there. And like I said, it helps it generally you get this this bigger difference between the width of the hips versus the width of the waste, right? For women, it's much more striking. And so that's something you could focus on. But right now I want to show you really how you can focus on drawing the nice around but rough in the hip roof, in the glutes. And you could kinda draw through one, both of them a little bit. And then come in. And there we go. For the hip, for that other cheek and on down. And then up here, like I said, there's our obliques on women. Obviously we've all got the same anatomy. They're just going to be a little bit less intense than a lot of men's. Does this make sense? I hope so. I hope this is making sense. As I mentioned before, there's a lot of fat going on and playing into the issues. And I think I want to discuss a little bit when it comes to fat on the glutes. It can have a lot of different looks to it. Okay. We often measure in percentage percent body fat for, for fat. And when you take the fat away from the glute, it, It sure does look interesting. I remember those first researching this, and I had some of these images on the screen. My daughter is like, what is that? I'm like, Well, honey, who I'm talking about butts, right? She's like No, no, no, no. That and she's like pointing, this isn't an alien. I'm like, No, actually, it's a bot. And you can see the glute max here and then the medius up top here. And for most of us though, what we're going to notice is not so much all the muscle like the average person is not going to come down to this roughly 3%. You're not going to see these fibers striations. If you are seeing five restorations in your butt, you are leaning right like that's that's, that's as lean as you're going to get. So, you know, 10 percent for a man is pretty darn unreasonable at all. Just rough it in here at 10 percent. You notice this kinda this indent dimple of the cheek kind of thing. You're going to notice a little bit more form for how the glute medius rounds out up top. Does that make sense? You know, you're starting to see the outline of the muscle with without all that fat over top of it and stuff. Okay. So up to here, links, right? So yeah, this is crazy extreme. You're only going to see this in cadavers or bodybuilders, which I don't know what that says about bodybuilders, right? Most people are not going to see that. What they're going to see instead is dimpling and employing is not the same as striation. Striations is when you see the muscle fibers fluttering and crossing across the way of the pattern of the muscle. Dumpling is usually from simulate and fat deposits, right. Okay. So this is roughly 3% for a male, 10 percent for a male. And both of these are kinda on the good end, right? Like the average man, it doesn't walk around at 10 percent, especially not in Western societies nowadays, more like 15 to 20 percent, if that, alright. And so this is Athletic, this is on the athletic end, but I wanted to show you what it looks like stripped down for a male and female. It looks quite similar but I bumped the numbers a little bit. Right. We can see that the hip is still here and the hip still here. What I'd like to do when I'm drawing the female hip actually is draw it so it goes below the crotch line. Just to kinda do it a nice round circle, right? But because we've got this extra width on it, I go below the crotch line so that it kinda just has this top portion of an AIG almost or something. Does that make sense? And you know, of course I would be doing my, my little superman underwear in here, whatever, right? But, um, I want you to see something here. This, this is the glute medius here. That's coming in here, inserting down here. Okay. And it kinda, it attaches in the hamstring and up towards the spinal iliac crest up here, right? And then the fibers run this way, but we don't see it. Even though this is a very lean woman. We're not going to see this right? So instead, what we'll see is we'll see some, some of the butt cheek here. We'll see some of it here. We'll see up towards the glute medius here, little bit of the dumpling and then the cheek and then down into the hamstrings on either side. All right. Does that make sense? So even though this is an extremely lean woman, Let's guess around 7% or something, right? That, geez, it's really hard for women to show striations in that area because of how hormones deposit fat, right? The hormones are the estrogen itself likes to deposit fat in the, obviously the breast tissue, but also the hip area, upper thighs and hips and stuff. So a woman might be lean up top. You know, maybe you could see her biceps and triceps quite well. But her her lower area is going to be still a little bit on the smooth side. Let's say that, right? And this is where we usually think of for athletic women, somewhere around 18 percent or something like that. Alright. With the curvature of the hips, little bit of the glutes and up into a more narrow waist. And then I'll throw some underwear on or just to make this more PG 13. Okay. Yeah, now we've been drawing this straight on, but I want to see if we can get some glutes from different angles here and take a look how, how they might look from a different perspective, right? A couple men. We're going to draw on the hip shape. We're going to draw in one glute, we're going to draw through to the other glute, right? This is where it comes down to this leg. If I'm drawing through, it's going to be somewhere around here and come down to this leg. And then I start to rough it in. You'll notice from the side here actually that the glute comes down into the hamstring, right? It'll come down here and here's that. If you've studied legs already, you'll see this is the vastus lateralis, the outside teardrop rate, and here's the hamstring. Okay. So the glute kinda comes in between them and stuff and attaches on the outside there. Then you'll get a little bit of a butt cheek there and then come for this rear one and back to the hamstring. So it usually attaches. You'll see more of it on the outside. On the inside here you'll see this. The hamstring stays more dominant hand up towards here. This is the hip flexor and the hips and then up towards the lower back, the abdomen. Okay. Yeah. This is quite the money shot, right? Dudes all bent over. But it'll help us for seeing the hamstring and the glutes all all stretched out than visible to each other, right? So we've got the glute here that attaches. Outside here. We've got, this is the gluteus maximus, right? Then we've got the glute medius up here and attaches down. And remember, like I said, if we study the hamstring one, it's going to be like that, right? Hopefully you've done hams before this leg should come before you start working on the but, and here's the inner thigh. Okay. So same thing. This glute goes, maximus goes to the outside, the inner thighs here, and then the hamstrings are coming off of that. So let's see if I can have this and make it a little bit more sense. This is the one leg coming here. Now, do you have to draw all this? No. Like I said, it depends on how lean you want, your character and everything. Right. And are they wearing clothes? Because generally speaking, you won't see any striations through clothes or anything like that. But you will see some dominant bumps and lumps, right when you see on Instagram or even here like in yoga pants, you're going to see some things happening here, right? This is a hard angle to get at. Here is the actual crotch itself, right? Here's one glute, here's the other. Let's draw a little bit better here. Okay. And then down into the legs, up into spine. So even though she's she's wearing yoga tight pants, you can still see something's happening. You can still see the mass of the glute coming up here, the ridge of this glute coming around, you can see the bend here and then into the hamstring, right. You can see probably a bit of her crotch here. And then into the lake right lower back. And so even though there are going to be wearing clothes, you can see how it might wrap around and give, give a little bit of form to the, to the glute here, right here's, here's one, here's the second one. And so the fabrics going to want to stretch around it. So what you should do, what I would recommend doing is finding the form and then start to do the bit of the circumference lines around it, right? Think of where the EU would be wrapping around whatever form it is you're drawing. And then see how the fabric, if, if the, if your character or figure has fabric on it, see how the fabric would be stretching and stuff. Folding and stretching as it wraps around things. Okay. Alright, let's review just a little bit. This video is not safe for work depending where your work. We're going to talk that we talked about whether the male and female hips and what's I guess I could use other words for glutes. But like I said, you know, when we, when we talk about the gluteus maximus and medius here, we start to get really technical into the muscle and the blood is not just about muscle, but it's about fat deposits. Okay? So for men, you'll find that the hips don't necessarily widened as much with fat deposits. Testosterone, fat deposits don't usually gathered there anything, right? You'll get dumpling underneath then you'll get men with kinda segue, Ibbotson everything right? But the hips just don't get as wide. Generally speaking, for females, you'll get this nice flowy pattern on the outside of it, right? And generally more deposits of fat and flow underneath the butt, right? A wider hip. And we went down and talked about it from different angles and how gravity can affect looking at it a little bit, you know, how things are pushed down. So the hang imagine, you know, when you get to the breast unit, you'll see that too. We're not just drawing circles here. We might have circles or ovals as the underlying shape. But we want to recognize that just because there's a circle here, doesn't mean that that's what it actually looks like. That the hang is just down here, the gravity is pulling down here. And this is where most of the form is, right down at the bottom underneath here. Okay? So you can use these circles and shapes, rather, circles and spheres and everything to kinda help and guide you, but don't be stuck to them. Don't be hesitant and that this is all you can use right toward that. You have to follow it directly in a and a bot is exactly perfect circle, right? Think of how gravity and movement is going to affect that. And then also think about how, how much fat you're going to have sitting on this character. Knowing that in the, in the butt area, right? That there's so much to do with fat deposits. That if you don't have these fat deposits, you've got strided hamstrings. There's all these going to be fibers coming underneath, right? Okay. But you've got these striations going through the glute max and medius here. All right. Okay. But the most people don't have that, that under 10 percent is rare. Only for competitive figure athletes type of thing. That 10, 15, 20 percent is more than norm for general athletes. And for the general population probably somewhere closer 2025%, depending on which country you live in. Again. And realize also that when it comes to how females hold their fat deposits, There's going to be so much more just in the glute area than, than men have. So, you know, don't, don't get distracted by that. Don't think you are trying to necessarily sexualized the female by putting more down there. It's just nature. Generally women, the estrogen is just going to deposit more fat down there. Okay, and then look at it from different angles. How you can look at how the glute is shaped from different angles. Here's the media is down here, and how you see the flow of the form of it. And how will you choose to include it? You know, what typed type of details do you want to include? Even if somebody's wearing yoga pants or jeans or whatever, you know, where does the gravity sit? Where does the form sit? Where does where do the folds then sit on top of everything, right. Okay. Yeah. And that's a whole lot of bots. You can practice on this page. There's not tons of room for drawing along on this page and stuff, right? So I've included a couple of extra worksheets for year one without my scribbles all over it. But another one that has just even more bots for yeah. So yeah, if you can't get enough of bots, you came to the right place. Keep practicing guys. 7. Anatomy Legs: Hey guys, I'm back. And in this unit we're going to talk about wheels or you guys column legs. Let's get to it. Now. Yeah. Legs are going to take a bit just because it's basically half the body, right? It's the lower half the body. And so it's not gonna be as easy as we might think, even though it's just two limbs, there's a whole bunch going on here. Okay, So by now I'm hoping you've already taken the simplified skeleton lesson, right? And you remember how basically we had a simplified pelvis hip area, right, with little underwear stuff going on. This guy's turned to the side. Remember, we kinda did it this way. We cut it and then split it this way, right? Okay. He's turned off their sides so the circumference circle goes a little bit off to the side. And then we had this nice little line where that came out for the insertion of the femur and stuff, right? So it's gonna do the same thing is going to come out to about here, to about here. Down to the knee, down to the ankle. Down to the knee. Down to the ankle. Notice how I blinked out the feet here. I'm not teaching your feet yet. It's just like I said before too much going on with those feet. Okay. Okay, So we know this is the simplified skeleton over top of actually these are some awesome legs. This is Mike met arousal, quite a well-known 80s and 90s bodybuilder, right? But that's not what we're here for. We're here to figure out the anatomy of it all is in particular the muscular anatomy. Okay, so let's start off with what we're looking at here. The upper thigh or the upper leg. The thigh. What I like to do is just draw in a rough circle. So I'll draw it off to the side here too, just so we can kinda be consistent here. We come down to this knee, come down to the ankle. This one comes down to this knee. Down to the ankle. Okay. So from about the underwear line down to the knee, I'm going to draw a rough kind of oval and same with this one. A rough kind of oval. Okay. But what's in these ovals? Well, the front of the thigh is called the quadriceps. So that means four. There are four muscles. Okay. And I don't know if you could see them actually, I think you can see them on this one. Let's see. There's going to be the vastus medialis, vastus lateralis. And this rectus femoris that splits into. So we've got 1, 2, 3, 4. Cool. There's our quad, right? Those are the four. Along with that on the front here there's a tendon ban that usually runs on the bottom part of this quad up towards, it goes towards this had been insertion actually. So you'll see it kinda running this length here. And then this is the inside of the thigh, the inner abduction hamstring part. Alright. We'll study hamstrings as we move down a little bit. We've got the knee for right now. We're just going to rough it in as kind of a diamond shape just to keep it simple, okay? And we'll put that in here. On this side, you can see, now listen, I'm using some names here, but you don't have to remember him. Actually. Really easy to remember is the teardrops. This is one teardrop. This is the medialis. Medialis means inside here, right? And the other one on the outside is out here, but we can barely see it. That's the vastus lateralis. So think of it like as we're going to come down this line here, this teardrop, the medialis comes inside and then it starts to come back up towards this femur insertion, right. Okay. So this one comes inside the lateralis teardrops and comes on the outside of the quad. Okay. And then this rectus femoris comes up and kinda has an upside down teardrop. Okay. So you can see how they all kinda work in synergy here, right? Two teardrops going down. One teardrop going up. That's pretty ugly looking, but it works. Okay. So here's the rectus femoris, the teardrop going up here with the split going down the middle. And then that tendon that I was talking about comes up here. And like I said, it works its way to a boat, that hip insertion here. Okay. And then the hamstrings coming in, the reduction there and into the NAEP. Okay, So this is the quad. We're going to try to do it again here. This is a teardrop. A lot of this is easily run towards this, that, that insertion there. The femoris and then the outside sweep. Okay. Tons of anatomy going on here, right? We're, we're gonna get into calculator. So I'll just kinda carry this need down, carry this knee down for now. Okay. Like I said, we'll go with simple diamonds on this one. Simple diamonds for now. Carry it down, carry it down. Have the inner thigh here. The inner thigh here. His legs are massive. Mine definitely aren't. And that inter-band tendon Ben gone there. All right, so this is Jesus, this simplified. I don't know. That's seem pretty complicated, right? So we can break it down even simpler if we really want. But I'm not sure we want to go to that simple. So I'll show you how to really simplify it and then see if it suits you. Okay. Basically, outer sweep, outer sweep and straight. That's the cartoon version of a leg. And K, when you see simple animations and stuff I got, they're gonna flow something like this. And what this does is it sets that the elder sweep is what's really important here is this comes here into the knee, comes here down into the calf. And we can see that flowing on my arousals outside here. Here's the outside sweep comes down and it sweeps again Here. Okay, So that outer sweep is a well-known term in bodybuilding, but I think for drawing, I think we should learn it as well, right? Okay, so it has this nice pattern. The inside though is not quite right. There's actually the outer sweep and then an inner kinda swoop or hook, right? And you can even do it this way if you want. Just, just make sure you have this medialis coming, coming here. You don't have to define it at all and make sure that this calf comes out just a little bit and then hooks in here too. Okay. So this is a bit of a thinner leg. We've got going to still looking fairly muscular because it's bulging out, right? But it, you know, it doesn't have the mass of this guy has here. All right. Okay. So then we do rough in the knee. The scaffold command. So what I like to think of is the inside kinda swoops, swoops, swoops, and the outside is sweep. Sweep. Does that make sense? Especially this part here, this part here, this part here. Those are the important parts. On the inside. The outside is the important parts of the outer calf and outer quad, right? Okay. So I'm going to draw a little bit here for you. See if you could fill it in. Just bringing it down, you can try whatever style you like. Whether it's a lot more detailed and adding in all of the muscular anatomy of the quad in the upper thigh, right? Or you can do it a little bit streamlined of an animation style or whatever. I just want you to practice it. All right? Of course, you know, you've printed out the PDF or you've got it on your tablet or something like that and you're trying to follow along, right? What I'm providing for you is a sheet that has my sketches on it so you can sketch over top of them if you like. And then another sheet with it all blink that gives you tons of room to be able to fill it all in. Okay. All right. Moving on down to the hamstring. Him. We know that the hips are here. We know that the knee is here, and we know that the ankles here. And yes, you can see the foot not doing it yet though. Okay, So looking at our simplified skeleton, we're going to bring the upper leg to there and this one down, right. And we know that probably the drawing through this one's going to come back to this knee, back to this angle, right? Okay. But that's not why we're here. We're looking for muscles right now, right? And the muscle we're mainly concerned with are these guys, this is the hamstring, this is the, what we would call the bicep of the lake. So out here right now this is the outer thigh, the outer sweep here that we're looking at up top here, right, up there, right? So we would be looking at that from the side. So that's the outer teardrop and the vastus lateralis, Right? And that's what it looks like from the aisle. It's still kinda has this teardrop kind of look to it. Alright. Little bit bigger, distorted, but that's what it looks like from the side. But this, this is like a bicep. This, This one's interesting. This is the hamstring, okay? And there's some different ways of looking at it. Right now. It's, it's bent. We've got this bend and so there's going to be flex. So if I straight note the leg and I draw, here's the knee, right? And I draw that front quad, the vastus lateralis here. Okay. Into the hip is crotchet somewhere around here. When it's standing straight. This hamstring is going to be a lot straighter. But when I do the same thing and I bend it. All right. The quad will remain the same because the quads function is actually to bring the leg this way. The hamstrings function is to bring the leg back. There's a few other things, flex the hips and stuff I get, but so when the hamstring comes back, it actually flexes and bulges out this way. Let's see if I can. So this one will be straight as it leads into the back of the leg. It's a little bit straighter. Okay. When it flexes, it will bulge out and it'll come out this way more, sort of have this nice bulge because this leg is bending up and that's the function of it is to bended. All right? Okay, Let's see. If I draw it in for you. Again here I'm going to draw you two examples. One with a straight leg, one with it bent. And I want you to see if you can fill it in there. Just having the quad in here to begin with the side of the quadricep, that that outside teardrop, right. And then showing the bulge or the semi straightness of the hamstring. And we've also got the gluten here. The glute comes this way. And it doesn't really changes slightly when there's a flex of the hamstring, but not that much, not, not to stress about. Okay. Now let's take a look at more details on the hamstring. Wow. That's the money shot. What is this? Okay. Well, this is what we're looking at. A big old but right. And the crutches somewhere around here. And actually because he's bent over so much, the ligand insertion is way up here, down to the knee, down to the calf. We're not going to deal with calves until just a little bit later in this unit. So let's focus on just the hamstrings. Here's the outer thigh. This is what we've talked about already. That outer teardrop, we keep running into it a few times here, right? It looks a little different. You know, every time we look at it, Here's the inner thigh. We can see this inner teardrop. The outer one though is really more of a solid mass. It's so huge, it might have a couple of feathers going on through it. But other than that, it's a big solid mass. So that's what we've got going on here is this big old teardrop off to the side. Okay, that sweet look at we've got the sweet always going on, right? But for right now we're focused on this middle section. There's middle section is the hamstring. What happens is right here is the glute, the bud, right? And the hamstring kinda splits out from here, comes down and it wraps itself around the knee. Part of its function is to protect the neat. So you'll see a lot of times the hamstring will come down street through and split right as it gets around the knee that each person's is a little bit different, but that's what it does is it wraps around the knee and splits around it a little bit. Okay. So if I was to draw this again, I'm just going to draw one leg for him. Here. We've got one glute. And then from about here, down, splitting straight down at it wraps around the knee. It might take a few different turns and twists, but basically that's the function of it wrapping around the back of the knee. Okay. There's this inner inner thigh here that remember we talked earlier about the thing that pulls the thigh and the abductor. And then we've got this huge mass outside here that we're going to keep with our flow, right? Okay, so see if you can draw this again. I'll draw it out roughly for you. We've got the basics down right. Here's the hip insertion. The glute is up here and it's going to start to split. And it's going to have the mass of the hamstring right around his knees starting to wrap itself coming down around the knee. Okay. And it wraps itself around. So I'm going to draw it in there. I want you to draw it in, see if that makes sense. Okay. Good stuff. All right. Moving on down to some calves. Are going to say my calves, OK, I kinda nb this. And especially this guy, once again, this is Mike matter arousal. And he's got some pretty crazy calves, right? So I'm roughing in the skeleton here. As you can see you like it goes up into the the hamstring that we just studied, the back of the leg there and then the calves. How I usually do the calves is I just rough in a little circle below the knee that's bigger than the knee depending on the character and stuff I get. If it's, if, if I want the character to be kind of athletic than I'll make it a bit bigger than the knee. Right. And do you remember the sweep sweep, tuck, tuck like the inside scoop there? Right. Okay. That's what we're going to work on is we sweep down to the ankle. We sweep down to the ankle. We took up from the ankle, hit the circle and come towards the knee. We took up from the ankle, hit the circle and around it and come towards the knee. See if this makes sense again, we're going to do this one side here. Okay? And here's my, here's my circle. For the base cafe. On the outside of it, we're going to sweep down towards the ankle. On the inside. We're going to tuck up towards the ankle, rounded and then come up towards the back of the knee. Not bad. And then we can play in, put the little ankle joint in there. It actually works really well when I draw this angle line that works for plotting in the bone itself, right? You can tilt it this guys, actually, it should be straight. All right. You want to try one more time? All the way down to the ankle? From the knee. All right. We'll do it on the other side here. Here's a calf. We're going to line the outside of the calf down towards the ankle, come up from the bottom of the ankle, swoop in, hook the calf, and then it comes up to the knee, the back, the knee, right. Okay. And we can plot in Here's the Achilles tendon back here, lines back here. All right, so it comes up from the heel and lines back. There we go. And maybe the front of the foot here. Oh, no, I'm not drawn feet. I gotta remind myself, no feet for this unit. Okay. So I'll draw a rough one in here for you and give you a big gap there, see if it helps for the sweep. And maybe another one for you with just a a slim calf. Kinda some of them can be a little bit extended, so yellow even extend this one down. It's what we call the insertion, is the height of it, okay? Whether it's, whether it's high up or whether it's quite low and the lower the lower leg there. The other thing that you want to look at is the shape of the calf. The calf is kind of like a bit of a diamond. Okay. So it has this shape here. This is what we call like that. It's that diamond shape from here. Alright. So the calf shapes like this comes in and shapes like this. There's a few different parts to the calf, but I want you to just focus on what's visible. So you can put this little triangle or arrowhead and then work it up from there. There we go. And you can see the back of the nice straining and coming back into the calf little bit. You can also put there's a bit of depth on this this ridge sometimes, right. Depending on on how it's formed and how the muscles are sitting. So let's see if we do this off to the side here. We have this little, I guess a little diamond head. We come up towards the calf, come out on this side, bring it up the back of the knees coming down a little bit. Alright. Some of it's straining, coming down towards the Achilles tendon into the heel. Not trying feet, the ankles. All right. There we go. And we can even add a little bit of depth, especially if I was to add some shading, it would be in this area. The light is being blocked out from this. Cool. So yeah, why don't you do that on the ones you've drawn here and the ones you're going to draw that little diamond head to it. Alright, let's go and review just a little bit. We're talking about quads here. Quality meeting for the quadricep, right? 1, 2, 3, 4. This inner teardrop, the outer teardrop. And just so you know, the outer teardrop kinda comes a little higher. Inner teardrop is usually a little bit lower. Down here. The outer teardrop is a little bit higher, okay, where its main masses. We looked at how there's a tendon band that does sometimes visible when you're lean inside here, right? That runs it all kind of centers around the a lot of it heads towards this insertion here of where the femur inserts, right. We learned how to rough in the simplified diamond for the knee, right? The kneecap here. And it also helps to plot in where this where the muscles are going to be on this leg, right? Okay. We learned the cartoon style of just write nice and simple. Okay? And then we learned how to add, if we wanted to just a little bit of muscle into it to make it a little bit more realistic. Like that. We worked our way down into the hamstring, understanding that it's like a bicep, that it flexes and lifts the arm or the leg here. When the leg joint is bent, the bicep will have extra oomph to it, right? And that the hamstring itself, sorry, I keep switching over from bicep, but it basically as we call it the bicep of the leg room. And the hamstring then usually comes from this insertion, folds down, splits around the knee and then tries to support the knee. There's a few different bands in here but you get the drift rate it wraps wraps itself around this neat. Okay. We also went down to the calves from the back of the knee to the ankle, roughed in the basic circle. And then started to add the details of the little triangle or diamond head to it. Alright. Okay. Well, that was a long one. I think you might have had to pause it a few times, which you should. That's cool. Just pause it because that's what's good about videos. That you can pause, rewind a little bit and play it again and try to figure out what the heck I'm talking about. I'm going to give you this sheet plus 1 without my sketches on it plus another sheet for you to practice on. Okay. So there's tons of practice here for you. Practice, practice, practice. That's the name of the game, right? Get to it. 8. Anatomy Legs Part2: Chord. Alright. Okay guys, we're going to jump back into doing a little bit about legs here. In some ways they're an easy body part section and in some ways are a little tough. I see some of my students making some of the same mistakes and again and again. So I'm gonna just kinda go over it and then show you something that might help you here. We know that if we're going to draw over something here, right? Like that's the hips. We draw a line down the middle of the leg here. This will be to the ankle. Here's the hip line. Halfway is a neat. So let's see if I repeat that. If I just draw Here's to the ankle, here's to the hip and hear about halfway in that measurement is the knee. I can repeat it a few times. Ankle, hip, halfway is the knee drawing a straight line? Ankle, hip and halfway is a knee, ankle. And just keep on doing it. Alright, so here's the ankle, here is where the leg starts and halfway as the knee. So you can practice that and just draw a straight line and say, Here's the hip, Here's the ankle, here's the knee, the hip bone or whatever form is going to take his above that. Draw draw it again. Maybe straight line. There's the ankle, there's where the hip starting. However, I'm going to in whatever form that hip is gonna take, it's gonna be there and bisect it, and there's the knee. This seems pretty easy. Right? Like it seems like that's makes sense even if I was to bend it. Here's one length. Here is the other length. They are equal. Now you can play with the proportions have a longer upper leg, shorter lower, vice versa. But for now, for now, we're going to be keeping them equal. So whether it's bent, whether it's straight, keep the upper and lower leg equal for now. And of course then the foot goes on the bottom. Whatever angle foot is gonna go. Maybe the foot will go here. And maybe I'll put the foot here. And I can put the foot here, right? Okay. Hopefully, you've been feeling fairly comfortable with this simplified skeleton, right? And then what do we do? We start to fill in, Here's the knee and here's the calf, right? So here's the upper leg. Here's the knee and then the calf, right? Here's the upper leg. Here's the knee, and then the calf. Oh, but something I'm doing a little bit different here. These are going to be from this side because even though they're looking similar, um, the feet are pointed in different directions. It's already showing me is from the side, but it's still going to have this semi similar forms. So a bulbous upper leg, a knee, and then a high circle around the calf. Okay. I'm finding a lot of my students are making mistakes and the sides here. So this is where we're going to focus. I'm going to switch up my colors here and see if I can show you what I'm doing here. So we've talked about the thigh and the quads. There's four muscles out here and stuff I got right when we see it from the outside, we're not going to see a lot of those muscles. So I'm going to draw the knee here. And then I'm going to draw this quad coming up. And it's going to come back like this. And it kinda inserts up into the hip area. And then we've got pelvis here. We've got our glutes over here. Hamstrings come from behind and they insert down in here. Okay? So of course you can make the pie bigger or smaller, but there's not a lot of detail. You might find the occasional fiber showing here. You will see more in the glutes, like maybe a little bit of detail going there. There could be his crotch here or whatever, depending no judgment, depending how big it is, whatever. Now in the calf, the calf is going to come back and come down. And there's not a lot of bulge on the front of the shin. It's going to come back. So bigger calf might come something like this, right? Comes into the ankle. Why don't I zoom in here and make it a little bit easier on our eyes. Comes into the ankle, the top of the foot. The heel. This is the outer foot. Right. Okay. So you can see here like this quad comes on this side of the knee and then there's a little bit of detail on the knee there and stuff, right? There's not a lot of detail going on. All in this quote on the outside of the quad. There's some things happening here as it inserts into the knee with the hamstring. And depending on how bulbous you want to make the butt. The hamstring, the front of the quad. You can punch it out loud. You can punch the knee a little bit. You can have the calf go up and then just really come out if you want. It's up to you. The key point, and I keep pointing literally, is there's not a lot of detail on the outside of the lake. There might be a line or two here in the calf just showing a little bit of an outline here or something, right? But generally speaking, not showing on the outside here and the occasional little line for detail. That's it. Even up here, you know what, I might even come in and just erase a little bit. There's not a lot happening all up in here. It's really just the quad comes up into the hip here and it kinda it attaches like muscular wise, it attaches in the hip, but you're not going to see all that. There's the occasional little hint of detail there and that's it. Now the inner legs a little bit different. Of course the outline kind of follows the same thing. So we can draw the knee here if we want. We can draw bulbous nature of what's going on here. The non-distinct crotch, the glutes, right? The hams coming back here. But on the inside we have this, this, the vastus medialis here, and it comes inside here, right? And so that's a little bit more detail here. We're going to see that. We're going to see some of the details that come over top of here and the rectus femoris like so. We're looking at the inside of the thigh here. We're going to see a tendon band that runs along the inside here. And then what that does is it actually sweeps nicely into the knee and into the calf. And the calf can go this way. And again, the shin doesn't bulge too much. It can come come down into the foot. Nice little easy triangle for the ankle there or whatever. And that's kinda what things start to look like. On the inside of the thigh. There's, there's the occasional little detail going on in the inner thigh here. But the key point that I want to emphasize is there, you can see the vastus medialis on the inside here, a little bit of detail there. Then this band, this band flows on the inner thigh. And of course the inside of the calf might show a little bit more detail here. Maybe show a little bit in the HER2 or whatever. So the, the key difference is not a lot of detail on the outer thigh. A fair bit of detail on the inner thigh. If you want. What we can do is see if I could start to sketch this out over here. I do this teardrop, right? This vastus medialis. And just for point of reference, That's this guy right here, right? This, this part here. And you can see I kind of hinted at it when we were studying at earlier. The band that kinda comes across, right? Then things will bunch up here in the calf a little bit. Right? Things are bunching up a little bit. As we punched down to the ankle. I'm being really lazy here. The knee Here's kinda here's the top part of the knee, Here's the bottom part of the knee. And then this inner thigh that comes up into the crotch area. And occasionally you'll see a little bit of detail in here. You might even see the bit of the glutes coming in there and this brings up into the hips. Okay guys, I hope this little bonus unit two and answer some of your questions in regards to the legs, especially the inner and outer portions of the legs. Really, the assignments that have been handed in to me are looking really good. But watch the detail on the inner and outer sections here. Okay? It's pretty important actually. I think that once you get this measurement down, write this proportion that we've studied. It's really just about fine tuning and saying, Well, where do I hint a line here and where do I not hint areas? Where do I give a little bit more detail? And what does it look like even in kinda funny angles and everything, right, guys, I hope this helped. And if you have any questions at all, any questions at all regarding this, shoot me a message and leave a comment, and I'll be sure to get back to you on it. Have fun with it guys. 9. Anatomy Shoulders: Hey guys, we're back and I've got another unit for you here in our anatomy course. This time, we're going to get into shoulders, particularly the adults. It's a really tough subject. One of the toughest joints actually. So you need to pay attention during this unit. All right. Let's get into it. Wow, hard to tell where the shoulders are on this guy, right? Just massive amounts of muscle everywhere. This is actually Kevin libro knee, the Maryland muscle machine and huge icon of the nineties. And he was well-known for his shoulder development. So that's why I picked them here. Let's see. Where are we going to start? Where do I always start? Is this rhetorical? I don't know, the simplified skeleton, right? Okay, so I can start with rounding out the shoulders here, right? And then knowing that there's a bit of a chevron shape in-between something along these lines and it kinda see the form of it coming here, comes up. And then we've got the head would be somewhere starting here. When we think of the shoulders, we think of two parts, the traps and the delts. The traps we covered in the back video. Okay, it's much better and easier to understand them from the back video. We might touch on them a little bit in this unit. But if you're looking for traps, look in the back video. Instead, this video is mostly going to be concerned with the deltoids because quite frankly there's a lot to them and I want to make sure that we get them right. You can think of the deltoids as kind of this big old muscle here, almost like a word bubble or some people think of it kind of like a heart or something like that, right? Okay. I am a little different. As usual. I like to think of it as cloves of garlic. Maybe that's because I'm hungry right now and lunch is waiting for me. But I like to think of it, you know, when you have like a, a clove of garlic and it's got all these different parts as it rolls around, right? And then does that makes sense, right? This clove of garlic. This is how I think of the deltoids as cloves of garlic. Okay? But when we're looking at adults, really there's only three major parts of it that you need to know about it. The front, the middle, and the rear. Okay. Technically, it's the same muscle. There's just different heads to this muscle. We call it the anterior, medial and posterior heads of the deltoid, but we could just think of it as the front delt, middle dealt rear delt. So in this case the word, the start is right about where the brachialis and meats on the arm with the bicep here, okay. Comes out here and then it folds up like a clove of garlic. And this is the medial head. The front head folds forward into the chest and then back in lines that medial head. Okay. And you can see actually the, the PEC as we'll get into with the torso unit and stuff plays out from that same insertion here. Okay? So you'll see it kinda take form all from this point. So it starts here at this wraps as because the bicep goes underneath the deltoid, the deltoid wraps on top of it, wraps around it, and folds up here. Okay, see if this makes sense. We're still looking at it here. Here's on this side. Here's the, let's see how we can see this here. It's a little bit hidden. The BICEP2 is the bicep is underneath here. Okay. The Brock your brachialis is here. And so this front delt is wrapped here. The medial delt is wrapped here. Okay? And then it comes over. And this, this PEC has pushed a little bit, so it's pushed out this way. So it's covering some of these insertions. But it's, it's going to be splaying out this way the same as displays out. Okay, but this isn't a PECC lesson. Let's work on the deltoid little bit more, right? So once again, if you want to think of it kind of as a bit of a thought balloon or something like that, right? We're going to have the medial head, the front head, and the rear head. Now depending on the individual, some, some of these heads are bigger than others. Usually the rear head is the smallest. It's the least developed of most people that live their lives because this is the front, right. This is the front head. And when you think of all the activities in your daily life, you're generally moving forward. You're hunching forward, you're pushing forward, you're walking four and all these kind of things, right? So this front deltoid on even an office worker will usually be stronger than their rear delt. Okay. So what this helps us to move the arm and the shoulder forward. If you're sitting at your desk right now, if you're following along drawing, it's the front delt that's really helping you. So this front delt helps you move your arm forward in front of you, raise it in front of you. So for most people it's going to be something like this. You're gonna see this middle doubt, this front delt, kind of like this, and then a small rear delts that comes along this way. So you might just see just this little bit of a bump on, on the, on the edge. Cool. Does that make sense? It's not cool. Actually. Had posture on most people's lifestyle and everything, but whatever it is, what it is and I want you to know about, right? Okay, so we're going to draw in a little bit more basic skeletons here. Maybe even down further. Out to the elbow, up to the elbow, right. Can we find the delts? Not always easy because the adult might separate just a little bit. But here's that front delt. Here's the medial delt, and it's coming in here, you can see. And then the rear delt is just barely visible, maybe just peeking around behind this this side delts. See if I zoom in here a little bit more. Zoom in too much and you start to lose it, right? Okay, so here's the front doubt. And so if we're giving the details of it or rather we're, we're trying to draw it a little bit realistic. We might see that This part is visible. And this part is visible. You will have this visible ridge is visible insertion, but then some parts kinda just start to not always be as visible. They start to disappear a little bit. Okay? So you might get a little bit of separation down here. Separation in here, and then the rich lining the top and then to the rear delts. Okay. So this is the front, medial rear. Does that make sense? Like you won't always see all parts of this head. Or what you could see is a lot of fibers that are all stretching out and interacting and stuff and showing you all the definition of the muscle. Okay? Really, and you'll see a lot in the chest if the person's really lean and then you get the flow of the muscle a lot better. So you'll either see just a little bit of the outline of the muscle here. Or you might, if the person's really diced and stuffs, start to see all the fibers that the flow, the directional pattern of the delt right of the muscle. Cool. Okay, so let's look at the dealt from a few different angles here and see if we could figure it out. This is from the front with the shoulders rotated. The shoulders are rotated back, the arms are rotated. All right. Okay. So can we see the adults? Yes, we can. But what part? Actually from the biceps insertion here that dealt comes here and comes over. The rest of this is that PEC that's starting to come down. And remember how we said it kind of follows this, this, this insertion point the same as an adult. So this here is the front delt. You can only see a little bit of it. And it won't always separate from the PEC there. You might see a little bit of a line here, and then you'll see the front delt capping over top of it. Does that make sense? You won't necessarily see all these fiber lines even if the person's super tight as this bodybuilder has as Kevin is, right? So know that it inserts behind on the outside of the bicep and k. So you'll if the person's posing here, I got their arms raised, you won't see what's happening underneath here. It's on the outside of it. So from this from the front with the arms rotate it this way. You're only going to see the front that front head, right? When it's back, then you're going to see a whole lot more action going on, right? We've got the deltoids back here. We've got our little chevron out to the elbows. But what we see is really important here. We see the garlic cloves really inaction. So here from this insertion point, here's the medial head. Actually it's more like here. You can see it on this one really nicely. You can see the front head here being raised. And then you can see the rear head here, back around background this way. Okay? And the front head here. You can also see, and this is important even though we covered it in the back video, where the traps come, they kind of fall into this pocket of the delt, right? Very nicely. That they fit onto this little onto the top of the head of the garlic, if that makes sense, right? And then the garlic will often form around it. So let's see if I draw this out just above it a little bit. You'll get the different heads forming like this, right? There's, let's say that's the medial head, the front or the rear. And then that trap will come into here and come down. So the rear actually might hug a little bit more. And this one will hug a little bit more. And this one will come around it. So you'll get this kind of shape. And then if you really want to, that's when you start backing out some of the details. And you can make it a more simplified kind of form, right? It might just come something like this. And this is where the trap comes in. Cool. Does that make sense? It's OK. And one more time, we're going to practice from a different perspective, but much the same. We're going to be able to see a lot of, a lot of this is actually the top, right. If we were to kinda think of the top of the chevron, something, something along those lines, right? You can see how the traps come down and come in this way. The traps come down and come in this way. We're kinda drawing through his head here. The medial delt comes here and wraps the rear delt comes here, kinda wraps the front delt comes here, and kinda wraps right. Let's do it again on this side, medial delt kinda comes in, in forms that away, the front of the garlic comes this way and kind of forms in and the back one kind of forms in this way. And then you've got the back muscles starting to come into it. And that's all in the back video. So you can see how that head of the garlic kinda nicely wraps around where that, the trap starts to form out of there. Okay, cool. Now let's see if we can put this into practice a little bit. We're going to have the shoulders rotate. Here's one shoulder, Here's an elbow, here's a hand. Let's do this three times, I think should be good. Shoulder. Wow. Okay, So we're drawing in shoulders, elbows, hands, shoulders, elbows, hands. In this case, we're going to put the thumbs up. That's an ugly thumb. Bear with me here. I'm not drawing thumbs right now. What I want to see is how this would look if this arm is outstretched and the thumb is up, right? So what's going to happen is we're going to see only the top half of the shoulder as the bicep comes this way. Into the forum, into the hand. Tricep down here, into the armpit and background. So all we're going to see on this case is the front delt, even though the PEC might come something like this, okay, It's because everything else is inserted back here and rotate it around on this on the shoulder. So we're just seeing this front delt for now. Now. Let's rotate it around this way a little bit, right? So in this case, we're going to have our little thumb more neutral. The bicep is going to run the middle here. So the bicep will start to run this way. And then what's going to happen is you're going to start to fold over just a little bit. And the front delt will fold over even more. The side delta will start to come into play. The tricep will start to become rotating around. The trap would be coming into it here, the trap here you can barely see. The trap would start to become visible because we're starting to see how the deltoids taking form the PEC here. Cool. And as we rotate even more, the bicep is now on this lower portion here. Sorry, I want to do the thumb down this way. The bicep is on this lower portion, the tricep moves up here. But now the front delt is down. In this section. Here. The medial delt is coming from here, right? And the rear delt has formed itself here. The trap gets to come somewhere out of there. Does that make sense? Brachialis, the tricep, elbow? Form. Okay. So this all comes out of this point and covers over the bicep a little bit, right? As we're gonna see more and more coverage of the bicep. So we've got this kind of thumbs up posture where we're only seeing the front delt. We start to rotate so that the armed looking more straight at us a little bit with the hand in a neutral grip. And we can start to see more of the side delt starting to come in and the trap starting to see its insertion a little bit here. Even if we see the trap, we're not seeing where it inserts, right? And then as we rotate even more and we put the thumbs down, we can see how we're getting much more visible of going into the chest here. Right? Front delta becomes really visible. The side delt we get to see all of it. And we're starting to see the rear delt peak its way through and then the back muscles and the traps come through here. All right. Okay, Let's see if we can review a little bit here. The shoulders are basically two major sections. The delts and the traps. The traps are inserted at the back of the neck, but are majorly covered in my back video. Okay. So you'll see you'll see them more. So on the back video. For this video, we're focused on the deltoids. And for the deltoids, we basically think of it as having three heads of our simplified little garlic thing. All right. The front, the middle, and the rear. For most people, the front is overdeveloped. So the front, maybe even the medial, is overdeveloped. And then you get a little bump as the rear okay. Comes down this way into the arm, into the triceps, even if they have good, good muscular development. Usually the front delt is the pusher, right? So it gets overdeveloped. We can see how if we want to show every little fiber, we can see the flow of the muscle fibers and stuff, how they flow across the, the heads of the deltoid. Or we can see how if we're only rendering just a little bit of it, we can choose some of the key points, the edges and stuff right where they are and how they look. We know that once we started to get into rotation, will lose some of the visibility of the deltoid, right? If we rotate out this way, we're only going to be seeing the front deltoid just on the top here, right? As the chest, everything else is starting to come over and block it out. We know if we come around behind, we can usually see much more to the adult. We can see the side delt coming in, the front delt folded over and then the rear delts coming back into all the back muscles and stuff, right? Okay. We can also see how the traps, even though they're part of the back, they have a large part to play with the with the shoulder. They start to come in and insert themselves in that little crevice of the top of that garlic clove, if that makes sense. Okay. Yeah, we can see it even better here as bent over. And you know, when we're drawing these delts, even though we've got different heads, they're all connected to everything, right? We would unify it all with some type of some type of outline like this or whatever, right? That we recognize that there's heads there, but that they're not totally separate. There's layers of skin and tissue that are over top of them and everything. Okay. We also then decided to rotate an arm from a thumbs up showing the front delt To rotated to a more neutral position where the thumbs in the middle, where we can see the front and the medial. And then all the way with a thumbs down where we can see the front, the medial, and the rear. Cool. So I've given you some extra lessons to follow along with if you want to work on the other sheets. But I really want you to think of it as whether you use the word bubble kind of example, whether you use the heart example or whether you use my favorite the garlic, right? I don't care which one you use as long as they kind of start to make sense to you. And you're able to get the shape and forms and recognize what's happening in the mall as you're doing it. Okay? So guys, you keep practicing. You choose what style matches your thought process. But yeah, I gotta go eat some lunch now. Smells like garlic. 10. Anatomy Shoulders Part2: Hey guys ed here from how to draw comics, anatomy. Listen, this is going to be a little bit of a special video. Often I get a lot of questions that I can describe in just a simple little diagram from my students. But this one, I thought maybe I'd do a video for it. Why not? Some things are easier said in motion, right? And so hopefully you figured it would help everybody if I loaded this up and people got to take a little peek at it, right? This is talking about shoulders. And you can see here that I've already kind of helped lightened the little simple, simplified skeleton, the Chevron, the hips work this shoulder working it down to the elbow, working it down to a hand. Right. And I'm gonna do that over here too. I'm going to do it. Or maybe I should do it the same size, right? Do it over here, work it down to the hand. We know that the hand is roughly about the crotch level. Elbows about halfway. Right. Okay. Yeah. There's our little shoulder. Right. But once we start adding muscle to it, how is it going to look? We know that the front delt will come the mid dealt with. We talked about the garlic thing, right? With the mid dealt will spur off around here. This is where the brachialis starts, right? And then the front delt will come somewhere from that point, okay, the mid dealt will be somewhere around here, right? Front delt will come here and then it leads all into rooting into this into the PEC. All right. Okay. So there's the front delt, side delts, maybe we from this angle we likely wouldn't see any of the rear head to the deltoid. Okay. We can make it bigger or smaller. It doesn't really matter, but yeah, this is what I wanted to show you. Now. What I really want to show you here, it's a little bit overly rendered and defined right now, but that's not what I'm trying to get at here. Okay, so what I really want to show you here is pivot points, right? We can see how the shoulders all roughed in here, the bowl of the shoulder. We can see how the chevron comes up here and kind of a point where they meet, right? If I adjust this pivot point somewhere here, what I'm doing here is I'm editing just this arm on this layer, right? Hopefully if I've got it right, you should be able to see how it rotates a little bit there. All right. Okay. Maybe I even move it just up and over a little bit. There we go. Okay. So as this person is raising their arm off to the side, you can see how the front delt stretches. The PECC would be stretching into here as well. The front delt lifts up, the side deltas coming up and stuff. Didn't mean to do that. There we go. So it starts to lift up. This is using the outside head and lifting laterally from the body. All right? The three heads, basically the easiest way to think of them as the head of the deltoid. The medial head lifts the arm to the side. The front head lifts the arm to the front and the rear head lifts the arm behind you. This is a little bit hard to draw out exactly, but I think you're kinda getting the point that it would move from side to side here, right? And everything else would kinda shift up on it, right? This is where it's gonna get strange though because the shoulder is not just a lateral lifting joint. It's it's also slightly rotational. Okay. So I'm gonna come in here and start to explain it a little bit more. The and this is why the shoulder is a complicated joint and this is why it's so injury prone. Right shoulder can rotate inward and outward somewhat and you basically see it in the arm. When it's rotating inward, the bicep is going to be roughed in here. As it rotates outward, the bicep will start to shift from the middle part to the top part. So when we have an arm, Let's see, I'm just going to back this one away here. So when we have an arm that's sticking out this way and it's been a rotated this way. The bicep will sit on top here. The bicep will sit roughly like this, right? And then the front deltoid will also have rotated out. So the front delt will be something like this and the pec will be stretched over top of it. Okay. So not only does the shoulder lift from side to side, you can do that right now if you just hang your arm off to the side, right, you can lift it without any rotation, right? With the thumb in a neutral grip, the thumb pointing forward and stuff. But as soon as you start to supinate the hand, which is basically putting your palm forward and then lift. You'd see, oh, this is a little different, right? What's happening is that you're only going to see this front delt come up here. And if we back this away even more. And there's one more and see if we can do it in a different way. What would happen if I tried to lift? But instead, the rotations happening this way. Sorry, this this way, there we go. What happens then is the bicep comes on the bottom part. The front delts will fold over here, the side delta B here, and then the rear delt will start to come in. Okay? You'll start to see the rear delt. Here is the brachialis, here's a tricep. You're going to notice that the nice ugly arm, right? You're going to notice that you can't get as much height. Your lateral raise when you're when your arm is internally rotated. Okay. It just a limitation of the shoulder joint. But this will make a lot more sense that now the front comes forward, the middle is more visible and the rear is starting to come across. Okay, So let's review this a little bit, right? Right now we've got a front and medial head of the deltoid showing. Okay. That's because the biceps probably sitting somewhere like this. The brachialis, the tricep is coming down, something like that, right? Okay. If I want to lift it, I can think of it simply like this. My pivot point right around where the bowl meets the shoulder and I can start to lift it laterally off to the side here. Okay. You can think of it just as you would be lifting your arm off to the side. But if I wanted to lift and rotate, then I'm also thinking that things are going to start moving this way, right? Everything starts rotating out. The bicep came around, around and now it's on top here. And the the front delt has, is the only one visible. This is the front here, okay? And lastly, if I want to rotate it back, back over again this way, then the bicep comes around this way, the biceps on the bottom, the front delt becomes very visible and kind of flops over here, right? The medial deltas here. And then the rear delt starts showing their right. And you can do this with your own shoulder. You're going to see if you raise your arms above you with your hand facing forward, the palm facing forward, right? You're only going to see part of the delt now rotate your shoulder and you're gonna see, Okay, yeah, my, my middle part of my delta is helping lift this. And as maybe visible if I'm standing in front of a mirror, right? And then if you rotate it way over, you're going to find maybe you can't lift it quite as high, but now you can see the whole head of the deltoid. All right, guys. So I know the shoulder is a difficult joint. No matter how many times we do a diagram for it, how many times we cut it apart, how many times we talk about garlic. It doesn't always sink in, right? So I've done something for you. Are you ready? I drew on myself. Okay. So yeah, I drew a little garlic. Actually, my, my kid helped me out a little bit here. You can see the insertion down here for the medial head of the deltoid, right? Coming out to the front here, the front head, and then coming back into the rear head. So if you're looking at me from the front, you're just going to see most of that front head of the deltoid, right? This will insert into the PEC. You'll see a little bit at the side of the medial head. Turning to the side, you'll get all, all three heads of the, of our garlic clove rate. And from the back, you know, oh, there we go. You'll see just mostly the rear head and medial head, right? And what's also interesting is as we start to rotate the shoulder. So this here, we're just seeing from the insertion here to here. This is the front head of the deltoid, right? As the shoulder rotates over, I start to see the medial head come in the middle head. And then as I rotate the shoulder over as if I'm the guy is hulking out in these rolling over, you start to see that that rear head come over, right? Okay. I hope this makes sense to you. I hope that MY sacrifice, my body for your learning pleasure helps you just a little bit, right? And does this make you think a garlic? Okay, I hope this video makes sense and I hope it helps you with a very, very complicated joint. Listen, I know the shoulder isn't easy. It's going to take time. But like I said, way back in the original unit, think of garlic. 11. Anatomy Structures : Hey guys, I'm back. And in this unit we're going to talk about structures. What are structures? What's the normal structure? What are variations on that? And how can we play with it to our drawing advantage? I'm going to teach you how to go through our normal proportions and then start to mess things around. So let's get into it. Okay, so we're going to discuss structure variations. You know, when we first started talking about anatomy and I gave you the simplified skeleton and all that. We were kind of talking about the eight heads high version. Do you remember that? Nice and basic, easy to follow. And it's kind of an ideal. It's a comic book ideal and I think it's an easy one to follow. So that's why I always teach it. But it's not very real. Lake. If we look around us every day, we're going to see different body types, different shapes and forms. And sure we're all one species, but within this one species, we've got some really cool variations going on, right? So let's take a look at those variations and see how we might want to approach them. Okay, right in front of us. We've got this really tall dude happen in, right? Yeah. I don't even want to guess what Heidi is, but he looks at All right. So we're going to bisect this from the ankle to the top of the head. Okay, I'm going to carry this out here. Now let's count how many heads high we got him. One. Let's try to measure it out to three for, you know what? Right now he's looking pretty typical, right? Head. I can't meet its headline. Little bit too tall. It should be a little bit under that maybe. But yeah, right now he's looking at his top torso was foreheads tall. I think he's got kind of a small head personally. There we go. That's 567. I'm actually counting that a little short. Let's go more around here at seven. So this is me be maybe 7.5 heads, right? But I think if we look at his head size and shape, It's pretty darn small. You know, like if we're gonna Google along these lines, right? You know, he's got quite a small head, long neck look, his shoulders are down below as neck is quite long. This we're going to go into the chevron. So using the Chevron and we're going to come down. Actually maybe is hip would be somewhere around here, right? We can look at this here. We can draw on his hip. We've got the little underwear line. I think he's kinda standing along this dance, right? Pretty long arms, I would say, you know, as elbows down here. His wrist is here and then his hands. If these were to drop down. Yeah. I guess they're not that extreme. I think what's what's happening here that's really throwing off the eye. Is the shoulder width. For how tall he is? Like this. This is a really tall guy for how narrow those shoulders are and stuff. He's not very beastly. Coming down into the knee. Coming down into the knee, and then down to the ankle. Down to the ankle and then the foot. Right. Okay. So where are we thrown off? One his lower leg is quite long. Actually going from the hip down to about here. His upper leg isn't really that long compared to the average person or anything like that. But his lower legs are quite long. They've got a lot of lot of length on him. Okay. So that's one big point. The other thing is the small, narrow head coupled with a narrow shoulders, makes him look really, really lean and lanky, right? Let's see if we were to draw this kind of beside and see how it, how it might look. If this is his head, we're going to cut it. Cut it, cut it. Cut the knee. And then his ankles is going to be right about there. Let's see. We've got the head going in here. Right? We've got the neck coming like this and it's narrow. It's pretty narrow. Right? We've got the hips here, shoulders, arms coming down. If his arms were extended, they might be pretty long. Right. Coming down to the legs. We would come down this way. His ankles are somewhere around here and now to the but his knees are really high up. Look at that. That's interesting. All right. So what do we look at when we see this reminds me of like the character slender man a little bit. And you know what? Speaking that if you really want to, you can have fun with this. Erased the limbs, right? Let's erase these limbs and bump it even further. Put the hands down here, elbows midway. Put the feet down here, and the knees way up. Now, even more so, right? Has almost an alien looking appearance now when from a really standard MBA looking dude to kinda slender man or alien looking, right? Okay, so let's keep moving on different variations. This one we're talking about heavier set guy, right? We've got the head here coming across and if you can see the chins actually right here, it comes up to the year. We've got the Chevron. Let's see if we can find the hips. The Chevron would come from this shoulder insertion down to here, maybe along these lines, the hips are there actually he's curved quite over. The insertion for the thigh would come out here to here, back down to the ankle, back down to the ankle, heel, foot, heel, foot. Out here is the shoulder out here as a shoulder. Out to the elbow, to the hand, out to the elbow, and up to the hand. Now, if we just kinda look at it for what it is, It's a skeleton. Squatting doesn't really look anything special. But what's happening here? Well, this gentleman's carrying maybe a lot more weight than he probably should. You know, that's the sport, right? That's what they tried to do. They try to gain for sumo and stuff. And what's interesting to me is that usually gravity takes over when it comes to weight gain, right? So you're going to see on the top of the shoulder here looks pretty normal. On the top of the shoulder, if we can see it looks pretty normal. The form looks pretty typical, what we would normally think of for for forms, the top of the thigh looks pretty typical. Top of the thigh looks pretty typical. But fat hangs. We all know it, right? So what's happening is this breast is hanging down, the breast tissue is hanging down, the bellies hanging down. This role is hanging down. And if he didn't have this belt on the similar boat, most likely there would be more stuff hanging down. Right. Okay. This tricep hangs down. That's why you'll get so many people complaining, oh, I've got these little flabby chicken wing triceps and stuff I get because that fats hanging off. Chances are there's fat on the bicep and tricep. It's just a gravity is pulling it down. Fat under the thigh. Fat under the thigh here you can see it folding and rolling. All right. Okay. So we know that fats going to hang, right? So just keep that in mind if you're drawing out this character, what I'll maybe do here is sketch this guy off to the side here. Just really rough. We'll put in the normal skeleton. We've got going on here, Forum. Coming down to the ankle, down to this ankle, heel, foot, heel, foot. This to the elbow, to the hand. This down to the elbow, up to this hand, and up into a head. Right? Now what I want you to do is I want you to try to layer where you would think, basically all this extra, extra weight would go and stuff, right? I want you to try to stack it on them. When it comes to this sheet, I'm going to give you two copies. One that's blank without me sketching all over it. But one that has this, sometimes these mice sketches, but these little setups for you and stuff, right? So you're able to start sketching and see, See if you can kinda connect the dots and help it to fill in the blanks for you. Alright? Okay, we're gonna move on down to different heights. For an adult and a child. Let's see, this is more than adult though. And what I'll show you here pretty soon, right? We're gonna do the child and adult at the same time. Okay. Down to the heel. I'd like to go to the ankle as well. We've got one head, another head, another head, another head. Look at that already roughly, even if I bump this down just a little bit because it looked a little shy. This is over her torsos over four, right. 567. Maybe that's sevens, little shy. Let's go seven here. 78. Okay. Well, do we have our ideal character or eight head high? Yeah. Or eight heads high models. She's kinda the one that we were studying to begin with. Right? Issue lifeguard. I'm guessing she's a model, most likely a professional one. And it shows the only thing that I would say is really different than what we normally do is that her crotch, her upper body is a little bit longer than how we would normally do it. Right? If the torso looks kinda normal ish, right? We would be bringing this down to maybe somewhere around here. And then we would be drawing in. We might even bring it down even further. 1234. No, actually, her crotch would be somewhere around here, this point, right? That's how it would normally be. But on her, It's much lower. Okay. So we're upper body is much much longer than than what we were normally going with. And this is where we get into different proportions, right? So she's got a longer upper body then our normal idealized, quote unquote figure, right? But if you look here, proportion stay true to, to who she is, right? Her, her hands and her risk break right around this crotch level. Okay. And if we kinda bring the legs down, the knees are just below that. All right. And then down to the ankles out into the feet. Nice and simplified, right? Yeah. She's kind of ideal. The only difference is kind of a lower crotch then maybe I would have drawn, but it makes sense right on her. Now, going over to this little nice Yangon, here's a head. Usually for children, their heads are going to be much larger in proportion to their bodies. So let's see this here. This here. Her upper body is about three heads high, right? One. Maybe I can bump that down just a little bit. 123. So what do we say? Six heads for this girl? And you know what chances are she's a model to, right? So when it comes to little kids, he's kind of probably like the perfect little kid or something like that. So some little kids with big melon heads, you might get like a five edit I get are some. It really depends on the age. We know when it comes to babies and stuff. Babies are usually round. Newborns, let's say three to foreheads, sizing. And as they start to go into the toddler stage and then children, their bodies start to grow, right. So let's see how would we place this on her though we can still kind of break up even though it's a child. We can she not going to have developed hips or anything that are really dominant or predominant. But look at what's happening here. Her her wrist, kids arms are usually a little on the short side and stuff. And so her crouches down here, her hands, her wrist usually should break at her her crotch, but they don't they they come just a little shy of it. Alright. And that's okay. That's that's what kids are about trim. So we come out to the legs. The knees are just below that. Next headline. Write little bit lower actually, it seems. And then down to the ankle, out to the foot. Really interesting, looking at these different proportions of people. And that's really what this unit is about, is to see how we would approach drawing a kid now. So now I know if I'm going to draw a kid, that's roughly what do you figure? I'd say she's about 678 ish. Right. Somewhere in that range or whatever. That I would probably go three heads or six heads tall. Three in the top. Three on the bottom. That yeah. Yeah. Six had told me in the top three in the bottom that the crotch line might be a little bit low and that the knees might be a little bit lower. The upper leg might be longer in development. Then, then the lower leg or something, right? And that the limbs haven't quite caught up to the whole head thing yet. Right. Okay. The head is still pretty large in comparison. Does that make sense? And what you can even practice next to it? Why don't we do one? Let's say here's the cut line, right? How are we going to do this? Let's say we draw heading here. Right? This is another point. This is interesting. That's why I know this kid isn't model because they've got a pretty long neck. Most kids there, they don't have a great long neck or anything, right? You're going to have maybe the hips start, lower. Torso start about here. Shoulders will have the feet down here. Knees, midway, arms a little short. Maybe the hands will just come to the crotch. The wrist will be way above, right. And this one this looks more like maybe a three-year-old or something somewhere along those lines, right? So this is 1, two foreheads. Hi. I'd almost be tempted to say you can measure the heads in age, but you really can't, don't, don't try to do that. Okay. But like I said, this is probably about a three-year-old or something, right? Okay. Well, we went supermodel. We went child, and now we're going to go a little bit older. There's some things happening here. We've got this hunch over. The anatomy is still going to be there. We still got a skull. Right? We've got hips, most likely somewhere around here. We've got a Chevron, somewhere around here. We've got shoulders coming forward here, leading out to an elbow down to the wrist, L2 and elbow down to the wrist, hence folding over, right? But this is going to be hard to measure in, in heads high and I'll show you why. Let's go down to the knee. Down to the ankle. Down to the knee, down to the ankle, foot. Foot for now. What's happening with this lady is okay. Here's one head. If I was to measure it. Second head, third, fourth, my heads are starting to get a bit small here. Third, fourth, fifth, 6. So six and a bit. All right. 6 something. There's a few things that happen when we're drawing seniors. Basically. They're shorter and shorter for two reasons. One, usually depending on what country you're in, but the seniors had different diets and stuff. And so we know that the heights, on average in specially developed and developing countries have increased over time. I know I've visited some, some very old houses that were built a couple a 100 years ago, even in North America. And Gs, they weren't meant for my height. I'm six foot, but it seemed like they were meant for like five foot five or something and that was, you know, the average height back then for for adults and everything, right? So that's one thing is that when we're looking at a different generation, we got to factor in that they might have been a different height. They never did hit those those tall heights, right? Second thing that happens is we get this bending forward of the neck and the spine. Okay, There's actually two things that I want to point out here, this and this forward. And I'm going to use an uncomfortable term, but it's kinda the buzzards and that crate, this neck that comes forward and then you've got the head reaching out here, right? We get that with the older generation, their generation, their spine starts to curve a lot more and stuff I get, we often think, you know, it's the burdens that they've carried through their lives and everything, right? A lot of it is just really bad posture. And we're going to see that a lot. As this generation gets older, the smartphone generation, everybody leaning forward, not with their bodies necessarily, but their next streaming to look at their screens, right. Okay. So we've got this buzzer neck going on, right? And we've also got this kind of bump of tissue that happens with the bending of the spine here, back here, this tissue starts to form. It's called a dowager hump. Okay. And so those all throw off the proportions of an elderly person when you're trying to look at them and figure out what's going on here and stuff. This woman had straightened up. Fully fully straighten up. I betcha. She'd hit around here. Right. But I don't know age and the spine just aren't having it right now. Okay. So something to think about when I'm drawing older people is that, you know, bend them over, have the weight, carry on their back a little bit harder on their necks and stuff, right? And realize that in general they're going to be shorter than your average character. Okay, I want to talk a little bit about fat deposits here. Let's just rough in the, the, the shapes a little bit, right? We've got and we come up to the neck. Okay. This is the spine going along the back leg coming down right. And come down to the elbow, to the wrist, to the hand. And this would be approximately crotch level, right? Looks pretty normal structurally. Right? But there's a few things that are going on here. This person is carrying a lot of fat, not as much fat as the Sumo wrestler that sumo wrestlers put them on specifically for that sport. But this one's put them on through. It's bad lifestyle. I don't know how to describe it. But what I want to describe is how when we're drawing these types of figures, how you're going to see that and word to focus on O-chem. First place you're going to notice is there's going to be a lot of fat underneath the chin. Okay. So normally it would be lean coming out and then come in, but then the fat rolls down and weakens the chin on the person. Okay. It thickens out here and the neck is looks thick, thicker. Okay. So around the neck, you're going to get lots of fat. Surprisingly, not tons on the arm, especially if it's a man. You might get a little bit in the arm, as in what we should be seeing here is the shoulder, but we don't. Okay. You might get a little bit of fat on the back. Forums usually don't carry much fat. Forms are pretty slick for that. Kinda awesome. They don't carry a lot of fat. But now we're getting into it. We're going to see a lot of fat in the breast tissue. And we see the spillover here and in the belly, whether you call it a beer belly or this is there's two types of fat. There's subcutaneous fat that's underneath the skin and there's visceral fat that's wrapped around internally like around the organs and stuff. This is both. But even if he loses a bit of fat, it he'll still have a lot of fat wrapping around his organs and stuff. And you could see the fat rolls starting back here. And most likely he's got love handles forming somewhere back here. And then they form into the bud. We talked about bots in another unit and we said where women will often store their fat right in the, not obviously in the breast, but in the hips, upper leg, the buttocks, right, that kind of thing. Men, somewhat, but not as much. Instead, men are going to store it here in the big old Santa Claus belly and stuff. Okay. Testosterone and hormones start to place things a little bit funny and stuff. Usually, testosterone is good for not gaining a lot of fat. But once you start to gain fat, and then testosterone might be converting estrogen over and stuff. You're going to get these estrogen deposits around the breast. So you get these man boobs going on and stuff. Yeah. It's not a pretty sight when the body gets this way. And unfortunately, you've got a lot of people in modern society that how that, all right, so the big belly, okay, like I said, sometimes it's called a beer belly. You can get without drinking beer either. And like I said, maybe the arms might stay semi lean and especially the forums will often, you'll see these kinda guy is sitting in the bar 50 something years old and they've got like really strong forms. They look like big guys and everything, right? But they've got these huge humps of flesh hanging off their belly. And they might be wearing a t-shirt saying beer powered, something like that, right? Anyways, nice to have this hunch over it. You can emphasize that, you can emphasize this when drawing that type of figure. You'd be surprised actually, sometimes I was going to add in, sometimes guys like this or actually strong, relatively strong because they're carrying away around a lot of extra weight, right? So sometimes you'll see a lot of strength come out from somebody like this. Okay. Our last gentlemen for today is a very different structure, right? Peter kludge is kinda awesome. He looks angry in this picture though. I don't know why so angry with me. We're going to draw just the head end a little bit. Okay. We're going to rough in where we, where we think we can landmark a few things, right? Because this is a different body types and what we're, we're familiar with, what we're used to, right. So we're going to be hunting a little bit. Okay. We know the shoulders would be out here even though he's got tons of padding on. We know that the hands are here. He's got him on the handlebars and they're going back to an elbow and up into a shoulder. Coming down. We can see one knee here and it's bent. So it's coming this way and that is coming back to the ankle and then out to the foot. Right. And this one looks like it's kinda straight legged, bent back and out to the ankle, out to this foot. Okay, so how would we approach this type of physique, right? Let's count off the head measurement. One down to about here, right? 234. Maybe five heads high, maybe a little bit under that. All right. You're going to notice that out of those five heads, 1, 2, 3, and more, 3 something or upper body. So that shows me that the proportion of upper to lower body is three to two at least, right? Like his lower body is, is quite short in proportion to his upper body, right? If we go up to some of these other characters here, are these other people, 1234 and a bit. So this is 4.5 to 3.5 for upper and lower, right? Her upper is a little bit longer, but not as disproportionate as Mr. linkages here. Alright? Okay. And I think if we turn this off, we can see, see it more evidence there that the upper body is really much, much longer. Another thing that would probably notice is that these arms, if they were to continue down, they wouldn't break the wrist at the crotch level. Most likely his hand would be there or even a little bit higher than there. Right? Okay. So if you're drawing these different body types, look for variety, right? On the next page, I've given you tons of homework to go over and stuff. You can, like I said earlier, you can do it on this page if you want to try to sketch off to the side or even trace over some of my sketches That's cool. Or use the body types that are provided on the next page to really practice along with variations of body structure. Okay? Don't get stuck drawing perfect figures or idealized figures every time. Because quite frankly, then they won't be idealized, right? Like if your world, if you're making a comic book world or whatever, and it's all full of these idealized figures, then everybody looks the same. Nobody looks special. Instead, make sure you can draw variety. I think drawing variety and in figures is really, really important. Okay? So that you can show when somebody's extra muscular, extra wide, extra short, you know, all of these things. You got to be able to off of this practice, right? And eventually, you might actually have to draw kids. I've had to do a few commissions for kids and stuff. And yeah, it takes a shift in your thinking and everything, right. So that's why I made this unit was really, I want to shift your thinking and I want you thinking out of your norm, okay? So keep practicing these guys. Really, if any unit you're going to come back and we're even search owed additional body types, foreign stuff. Do it for this one. Okay. All right, guys, Have fun. 12. Anatomy Figure Drawing Speed Exercise: Hey guys, I'm back and I've got another unit here for you. This time we're going to work on some quick poses for our figures. Okay, before we get into that, this is my little disclaimer that when we're doing figure drawing and especially using a lot of pose references and stuff. Occasionally know, often will run into nudity. There's gonna be a lot of nudes going around. Now you can do certain things to avoid them and stuff like that. But the best way to draw the human form is to see the human form. So if nudity bothers you, I'll show you a little workaround for it. But in general, this unit, most of it is not going to be for you. So just keep that in mind that it's new, that he's part of this, this part of the learning process. Okay, so I'm gonna show you a couple of websites here that are going to eat us in what we're doing. You're going to, you're going to need to visit them to do what we're doing here. After you're done this unit TO case, to sort of continue on these studies. Don't worry, don't have to pay for them. They're nothing like that. I'm not promoting and other websites or anything. You can actually do this type of stuff in person. But that's even harder to coordinate. So first one, let's just work with this is quick poses. Quick poses.com allows you to pick different types of challenges and the intervals that timing, right? So 60 s, 30 s, whatever it is. I like the Warriors, I like the femme fatale owls. Let's do femme fatale, us. Know warriors, gone with lawyers. And all I have to do is click warriors and start. And there you go, I start drawing. Okay, Now I'm not gonna do that on this session. I'm going to use this other website. But now you know, that's how easy it is to set it up on quick poses. The website I'm going to use for this is line of action.com. Okay. It's very similar there. It's just a matter of preference, right? Which one you want to work with. But this one gives me a little bit more variety. In my opinion, I get to choose things so I can choose the covering clothing, nude models, covered models, or all models. So of nudity is your issue. You should probably just go to this website and click on only covered models. And then stop watching the rest of this. Because I guarantee there's gonna be some flesh coming your way. Okay. Also, do I have only female models are only male or both. And ages. Obviously, this, we won't see nudity, but whatever I can do, the class mode are different lengths. So this could set up the time of the intervals and how long it goes for. And so here my 60 s, 30 s to minutes, five or I can Determining myself, right? So there's a lot of options going on here. And yeah, we're gonna get into this. I hope. I'm gonna set at 30 s here. Sorry that thirty-seconds. And we're going to get drawing here, okay? Okay. So all you need is a blank canvas in front of you, whether it's a piece of paper or whatever, whatever works best for you, and a pencil pen, whatever is going on. We're gonna do these pretty fast. So when I say go, it's only 30 s, right? So what you're gonna do is draw your quick line of action line, then start to fill in the simplified skeleton. Are we ready? Let's do this. Okay, so we've got this. I'm going to cut it. Right. Thrown her hips, throw in the torso, shoulders here, rough, roughly thereabouts. Her head's leaning back. Alright. One hand is here when a hand is here, and bring it out here and connected, bring it up here and connect it over. This is where her stances, her weight her foot is coming up this way. There we go. Oh, and that's how quick I didn't get to do that. Next. Bottom, top, mid, leaning back, leaning way back. Shoulders are relaxed. They're hanging down, straight down. There's a hands, there's the elbows. 1 ft is here, the other foot is here. And look at that simplified skeleton, but she's looking this way, right? Okay. If I want, I can start to add in body details or something. Next one is a Spider-Man. This one's tough. Okay, so I'm going to do hips, torso, head, over into the shoulders. This is going to come down into a hand here. Right? This comes over into a knee, back into a foot. This comes up into a knee, back into a foot. Hand is here, comes up to the elbow and over the head is here, and that's the center line of the head. There we go. That actually worked out pretty good. Tough one. Especially because it's on a bit of a like it starts to taper down here as it gets closer to the bottom part of the camera. The shoulders are a little bit more angled here, so it's up like this. This one comes over, comes up here. This one reaches up to the sky. She's looking up there. Okay. This leg on the hip came forward and I didn't even finish. Next one. Pretty simple. Hips, torso, head, leaning back. One leg comes up and down this way. This leg comes up and down and it's off screen. This shoulder comes down, arm. And likely the other shoulder is see-through and its arm back there. You can add certain lines, division lines. Well, this one's interesting. Torso, I usually start with the hips because they're kinda that midsection, their shoulder coming up to the hand up here. Right. This one's coming down splayed out to the hand down there. He's got this one that comes up and attaches on to the foot there. This one comes forward and comes in, attaches to the foot there. And he's got this rope that's dangling there. This is too simple, so I'm going to skip it. There we go. Guy with a bit of a Lean going on, sitting on a chair here, right? He's got his Chevron up here. Look how quick we get to be able to do these after a while, right? Should be really this quick. His hands here means other elbows here, coming back. This leg comes forward here into the knee, back onto the chair. This one comes forward down and then back onto the floor. And if I wanted to, I can flesh out this chair a little bit, no time coming down. This one's kind of interesting. The Chevron, the hips. This one comes up to ankle and then the foot is out this way. That foot's missing a can't see it right now. So what sort of view? This is the head here. This is the back. I'm going to place both hands here. Elbows, back to the shoulders. Right? This has her back, her bum. There we go. This one is a seated so dude's just in there. I could do legs first. This one's crossing over to the foot. This one's coming up to the knee and back down again. His both hands are gonna be here. Torsos here, shoulders. They come down to the hand, down to the hand as head is resting on their right. These are tough guys like if you're keeping up with me, I'm super impressed. I'm not in love with that one. Let's switch it up. Let's switch it up again. There we go. Nice and classic, right. So line of action. Here's the shoulder, shoulder, head, looking up this way. Knee comes down this way into the foot. His elbows here, so it's here. And then his hand hangs down. This comes forward, this leg and then hooks the foot behind here. This hand is here for support and that's how easy that is. Okay Guys. Cool. That was fast, Fast and Furious. And some of them I kinda didn't finish right. Like they were getting a little tough at times. I get to say thirty-seconds is fast. But if you get really comfortable with your simplified skeleton, you should be able to do it, okay? There's not a lot of detail here. What do I do first? Determined the line of action, basically looking for that spine, that angle right after I've done that, while you see 90% of the time I hit the hips first, there are the midpoint just above the mid point of halfway when I do head to toe and then middle. All right. Then I start saying, okay, well, where's the Chevron of the torso and stuff where their shoulders. I sometimes even plot out the hands and saying, okay, the hands are here and here and here. And then I start connecting things, right? Whatever works for you, keep doing it. If you can keep up with 30-second poses like this, it's working. If you've got to start at 60 s. That's cool to like honestly, nothing wrong with going at 60 s. Do that for awhile. And then see if you can bump it. Do 60 s and if you're finding it's too slow, but 30 is too fast. While at 60, what you start to do is start to add in more details. So you start to say, Okay, well, here is my, my chest line, Here's the belly button line, here's this. You can start to add in a little bit more of what you like some important, Here's the underwear line or something, right? So here's the underwear in line this, and you can add in these details that when you're drawing it later. This was a female Spiderman. You can start to add in musculature and all that kinda stuff, right? Okay. So if you have these kind of landmarks going on, then you can start to oh, another one would be like the ribcage. Right. Where's the where's the ribcage on this? Right. So guys, if if you get longer than than thirty-seconds, make the usto use of it. Like if you got the chance, add more stuff, right, nothing wrong with that. Put more stuff in there and then see how much you can pack into 60 s. This is a bit of a tough exercise, but it's so much fun. Honestly, I haven't done this in a few weeks. I'm kinda rusty here. But really, if you're gonna kinda throw one fun figure exercise into your weekly regime. Go to those websites. Do this for one was that it took us about 5 min maybe or whatever once we got going. Right. Okay. 1 min per figure if you're doing it and do six to ten figures, right? So there you go, six to 10 min. And doing that almost every day, you're gonna get so comfortable with Crick quickly drawing, figure work and stuff again, and especially, especially this simplified skeleton guys. I hope this was helpful. If some of you are lucky and live in bigger cities, well then you could do this live. That's right. They have figure drawing sessions like this. Live, even timed like this, 1 min, 2 min, that kind of stuff, right? Personally, I prefer photos because hey, give me better angle sometimes sitting at the same drawing desk. I don't always love having that same perspective and stuff, but having a live model in front of you. I've enjoyed that lots of times. It's really interesting and it's a different type of challenge. So if it ever pops up, take the opportunity. I hope you enjoyed this and I really hope you're going to send some of these off to me. Whether it's the ones you did following along with me in this class. Even if you paused, it's okay or it's ones you've done beyond that, I just want to make sure you're doing it. And I wanted to see some of these fun, funky looking skeletons have fun with this guys. 13. Anatomy Arms: Hey guys, EDF boy, joke here with another how to draw anatomy unit. This time we're gonna get into Ligon's. You'll forget that. We're doing arms. Let's get to it. Everybody legs, big guns, right? Yeah. I wish. Okay. So we're going to start I'm going to explain some of the anatomy here, but I know that strangely, everybody kinda knows it when it comes to arms, everybody knows what a bicep is and what it tries to bits. Or at least they think they do, right? So let's start from the beginning how we always start, we kinda have an underlying structure here. That's simplified skeleton we talked about from the shoulder to the elbow to the wrist and the hand is folded over here. And we're going to draw the same one down here, just a little bit different from the shoulder to the elbow, to the wrist and then maybe the hands out this way. We'll see. Okay, so that's our simplified structure. Right? Shoulder, elbow, wrist, hand. What's going on here? What's happening with the muscles? You can see actually, I don't know if you can tell, but underneath the pec here there's an insertion point of where the bicep comes from. It comes up and then it inserts close to the elbow here under the forum and it comes back. It kinda looks like a half a football maybe. And if we can see as it's extended, it'll come out here, come back this way and come back under. And it looks more like a semi flattened football, like some people might use in a Super Bowl. Okay, but what's happening here? What's, what's going on? Why am I showing you these two arms and why do they look slightly different? What's happening is, this is a flexed bicep and this is an extended well, that's horrible writing. Instead it bicep. And when we flex a muscle, it usually shortens the muscle. So it's coming up this way and it's shortened, right? So what's actually happening here as you can see this peak forming and the muscle is shortening underneath. Okay? And then there's this kind of open space happening here. This particular model, if you don't know where's Arnold Schwarzenegger. And he was well-known for having a very peaked bicep. Not everybody has this, but it's this yeah. Mountainous peak going on here. Right. And same arm extended does not have what we would call that peak. It's got this long flowing form to it. Right? Okay. So extended, it stretches out, flexed, shortens and comes in. This is something important to remember when we're drawing, okay, That arms in different positions will look different ways. Do we want to draw it a little bit? See if we can practice this one more time. We'll draw shoulder to the elbow, up to the arm. Shoulder to the elbow. Extended. The bicep on this one. We'll start inside the shoulder and come to the arm. Actually, we can kinda rough in the same form if we want, rough it in a little bit. But what's going to happen here is it's going to drop off. And it might even form into almost like a shortened bowl like this. Like I said, everybody's got a little bit of a different look to their arm or to their bicep. Okay. So it might be some people will describe it as a golf ball. Hopefully mine look a little bit more like cantaloupe or something, I don't know. And it might even have this smaller region side of where the tendons are, are kind of exposed a little bit. And so you've got a low point here in the arm. Arnold's got that slightly here, right? And then this peaked ridge happens after that. So it's kinda like, if you can imagine the circumference, something like this, right? The extended one is exactly what I'm saying here. Extended and I guess it looks like a flattened Super Bowl football, right? Kind of extended like that. And it will insert into the forearm here all Kim, we're gonna get into the other parts of the arm first, but I want to kinda take it piece by piece and biceps is what we're, we're attacking first-off. Now, the bicep actually has two functions. One a bit is two. It's like flex the arm, the elbow here to bring it inward. Okay. So it'll actually bring it all the way, all the way in, right? And that's the bicep doing that. It's pulling it in. Bicep also does something funky, which is rotate the hand. Okay. So if I'm looking at the bicep and I drew two little things here. And we're in this flex position with the hand this way, the bicep is going to have that shortened shorten peak look to it. But in that same flex position, the biceps going to be extended. So I know you're thinking of doing this yourself and you can put down the pencil. Hold your arm up in front of you were arrested on the desk, whatever. Right. And kinda keep your arm at this 45-degree angle is 90 degree. 90 degree angle, right. Okay. And then just turn your wrist. You don't have the palm facing towards you, which is what we call supinated. And then turn it so the palm faces away from you. Which would be in this example, the palms away. Here, the palms towards, okay, see if that makes sense, right? When the palm is away from you, you will notice that the bicep is elongating. And when the palm is facing towards you into supinated position, the bicep will shorten up a little bit. Okay? So hopefully that helps you understand the bicep a little bit more. This is looking at it from the inside of the arm. We can come down and look at it from the outside of the arm a little bit here. We've got a shoulder, an elbow up to the wrist, and the hand write. The bicep, as we know, starts in the shoulder, comes to somewhere close to the elbow but not quite. And then back under but from the outside here, we're not seeing it. All we're seeing is actually, we're only seeing this part and this is Robbie Robinson. He's got this high peak to his bicep, right? And he's got this low point here and this, this little area that we're seeing here. My sound effects, That's what we see of the bicep from the opposite side of the arm, from the outside. Not from the inside like we were looking at the first but the second position, right. Okay. So if you've taken the shoulder unit, you know, my little garlic analogy, my garlic cloves here. Don't worry about it. If you haven't, you'll get into. But coming off the shoulder is what we would call the brachialis muscle that lines the out here, outside here and actually inserts into the form. You can always see the insertion, but sometimes you can see it as it runs on the outside of the arm here. Okay. So that is called the brachialis. And it gives a lot of thickness to the arm, especially this outer arm here. Okay, so just imagine it kind of like a tube and it's coming. Here's the middle of the medial head of the deltoid and the brachialis kinda sausage like tube that follows it and goes, disappears under the forum. Okay. Yeah, not bad. I suppose what we're here, let's talk about forums because this is leading us into here. The forums are really easy to break up into two major sections. This part and this part. Now, the form. I'm almost scared to try to talk to you about the different names of the forums because they're really kinda complicated stuff and there's a whole bunch of bands that overlay each other and stuff, right? But for simplicity sake, I want to say that these ones are the flexors, sorry. These ones here. Flex. The flexors. Okay. And these ones are the extensors. Okay. I'm going to show you as we get into different diagrams a little bit more. But basically, here's the elbow, here's a wrist right? Here's an elbow. Here's a wrist. If the hands caught this way, it's going to be flexing the flexors. Okay. So this one and if you do that, if you bend your your your wrist, sorry. One way as you know, most of the time, Do you do you see this big bowl of a muscle that's coming down into the forearm and stuff, right? The extensor is a little bit different when we extend our hand and our risk this way. It doesn't bold guilt like that, rather stays really tighten. You'll see these bands overlaying and that's part of the issue with the extensors and stuff is that there's so many bands that fit, fit, and flow into the form that it's, it gets really, really complicated. Okay? So what I want to show you here basically, and I'm going to go down into the next one to kinda see how it plays out a little bit. But you can see how these bands kind of flow, right? And they flow into this flexor part right now. Okay. And then the extensor here is on the outside. Cool. Let's go down and see how it looks down here. Okay, so here's an easier way to do it or not do it, but we can look at it in a different angle here. And we've got the shoulder down to the elbow, down to the rest, right. Let's take a look at forums. First year. The flexors are on the underside of the arm in this case, right? And they're coming out here, okay, Now as risky as semi neutral, semi-flexible, this guy's mass of this leap reason he's just got a massive arm anyway, so I think he just sits around, farts in his arms. Look, you tried. It doesn't really matter. But for our sake, we can see what's happening here is this huge flexors coming out this way. So you can kinda almost like imagine you're drawing the bone in here, right? The underlying structure. And on the bottom part of that is this big flexor muscle. If he was to caulk as a risk this way, it would come out even more cool. It's kinda caulking actually behind more soil, right? And we can see we can see part of the front of his hand here. Okay. So if he was to flex fingers in towards his elbow tape, that would flex this this part of the arm. Now if he was to extend it the other way, bringing the top that palm back to the hand up towards themselves. Then you start to work on these extensors. And the main extensor that you'll see most often is the brachioradialis here. And that helps to lift the muscle and lift the hand up this way and stuff, right. Okay. So let's see. I like having a little simple elbow in here. Let's see if we can see the brachial radialis here. That would be this giant muscle that's flowing here. Okay? And now you can see like look at all these lions, holy, this is getting insane, right? Yeah, it is. That's the forum if you really nastily strip the skin off of it. And everything is just this bands of tendons and muscles and everything. It's an amazing part of our machinery, but it's really hard to break down. So that's why I really wanted to show you this. Focus on the flexors, focus on the extensors, and you'll get the basic form down and everything will be okay. Everything else will be coming off the wrist and flowing this way. Okay. Off the bottom as well. All right. Yeah. Do we want to move on? Let's see. Oh, no. I want to show you a little bit more forums here. We're going to come here, shoulder and wrist. And let's see if we can find it here. Is that brachioradialis on the top of the arm. Here is the flexor. All the different flexors and stuff like this. And there's about four muscles here of the superficial flexor muscles and stuff. You don't need to know them all. Okay. The elbow coming here, don't worry about it. They're going to form into here. I just want you to be able to recognize that that's the extension, That's the flexion. So if we were to draw it in, Once again, we come down, come down here. We know that we've got this bicep here, right? We know that brac, your brachialis here, the brachial radialis, this big flexor is going to come on the top of the arm and come down. Everybody's a little bit different for their form and the superficial flexors are on the bottom here. And then we come on to the elbow and then we come behind the arm. But I haven't gotten there yet. Let's go there now. Okay. So if everybody knows what a bicep is, I'm guessing most you all know what a tricep is. Bi meaning two heads. Hey, I didn't do that. I'm going to come back up here and tell you what the two heads are, because it doesn't really matter, but I want you to know it anyways, just in case anybody I've asked you, there's actually a split. It almost goes down the middle of the bicep here. You probably won't see it in here. It's along the top head. So there's one head here and the second head to the bicep. One head on one side on the external and the internal. Okay. Some people you can see the split on if they're really lean or something like that, or just have good genetics, you'll see this, this middle split going down the middle, where you'll just see flickers of fiber down the middle. Okay? So that's, that's why it's called a bicep. Tricep is a little bit easier to see. The bicep isn't always clear for those heads with a tricep is we've got this big, big rear head to the tricep. Okay. So that's our number one so far, right? Yeah. That's basically it's the long head. Okay. I call it basically I think of it as a rear head but it's the long head. Okay. Then there's the lateral head, which is the forward one. And this will take different shapes. And then there's one that underlines underneath this whole thing. Getting confused. Don't worry. We're going to draw it again from the shoulder down to the elbow and that's where we're stopping. Let's do the under part first. Imagine there's just a tube going from the shoulder down to the elbow. Okay. We can think of this as the base of the arm, right? In this tube is actually one of the heads of the triceps. It kind of hard to explain, but it kind of lines a little bit like this. Okay. It's kind of underlying everything and it is what adds the meat and volume onto the tricep. On top of this would be that rear head. And it'll sit like this. Okay. And then on the front will be lateral head and it'll sit like this. So we've got 123 heads to the tricep. Cool. It also is sometimes called the horseshoe, right? Because it kinda has this little flowy effect to it this way, right? The thing is with the tricep, you don't it doesn't look like a horseshoe from every angle because this is looking at it from straight on here. And we can see that, that awesome, easy to see, a horseshoe effect, right? But from the side here, we don't get to see that what we see is the radial brachialis on the side of this here. And we just kinda see the tricep coming out like that. Okay? That's for two reasons. One, we're seeing the outside head of the tricep here. That Yeah, the big old lateral head on the outside here, but also because right now the tricep isn't flexed. The what did I say the function of the bicep was do you remember what is giving me a test already? Right. Okay. The function of the bicep is to move the arm this way, right? To move the lower arm up towards the shoulder and elbow flexion. The soul, what happens here when it's moved up, we get this bicep billowing. And then when the tricep gets stretched over top of of the limb, right. Okay. But what the tricep does is it tries to straighten the arm, its function, okay. And so the bicep gets extended when this arm is straightened, but the tricep, that's when it flexes. So then you'll get this huge. If we're looking at it from the from the outside, we'll get we'll get to see that lateral head to the tricep coming down, flexing and then it comes into the elbow here and stuff. Okay. Does that make sense? So when the price of when the arms straightened, as we can see here, that's when the tricep is at its best. It's, you know, it's it's flexed. It's showing all its form and stuff like that. Okay. And it's got this kinda horseshoe type shape and here's where the shoulder flows from it. Let's see if that makes sense. Brachioradialis on here. Okay, So what do we say? You want to turn around some arms here? Let's, let's do this. Going to give a few different What am I doing? Do it this way instead. Okay. Shoulders up here. All right. I'll do it this way. Thumbs pointed this way. So if the thumbs pointed this way, that means that. And yeah. Thumbs pointed neutral. This is the thumb. It's an ugly thumb. I know, but it's my thumb. Okay. This can be pretty bad. If the thumbs pointed out this way, that means we're going to be looking at the inside of the arm. So the bicep, shoulder is obviously bigger. Biceps going to come here and insert. Tricep will come, something like this. All right. We'll see the forum come down. And the actual, this is the inside. So this is actually the, the flexors here. And this will come down to the wrist. It's starting to look like something we might have studied already. If you've already done the leg unit, this will look a little familiar, right? The bicep comes from here and then comes into the shoulder here. So this is thumbs up. See if it helps if I rotate it that way. No, that's still looks pretty lame. I think it's my thumb there. A little bit more of a hand to me. Add it in. It looks pretty bad, but I think you get what's going on here. Here's the shoulder, Here's the bicep. Tricep is coming below. Here's the elbow forms. Come here and we got the wrist forms around. Right. Okay. Now, what if it's looking directly towards me? What does that look like? Right? What happens is everything's going to rotate a little bit this way, right? The thumb rotated in. So what about the arm? What happens here is the bicep takes the middle spot. Okay. The bicep runs the middle, that the triceps sits behind it. Like this because the triceps actually much bigger than the bicep. But what we're going to see from the street on viewpoint is this maybe something like this. Okay. And this is going into the shoulder, maybe into the PEC somewhere over here. Okay. The biceps sits here. The forums going to come like this. And we're going to start to see the brachialis start to fold over a little bit. Now we're going to see a little bit of the extensors start to come into it. And the flexors are starting to roll this way just a little bit. Alright? Okay. And the thumb and the ugly hand. Does this make sense? And now it's going this way, which is almost like what we were looking at for leaper Eastern. Earlier. Everything rotates a little bit around. The bicep will be on this side now. The shoulder will come in. Here will be the brachialis, it's rolling. The tricep will come. More here. Will be seeing more of it as it rolls over. The brachial radialis. And the, all the other extensors will come on this side. The flexor will be just hinting on this side. Here's the elbow. And there we go. And up into the shoulder. My hands are really bad here, but we're not studying hands. What I want you to understand is how arms would look rotated, right? That they just keep rotating around themselves. Okay. Well, obviously without ripping off somebody's arm, you can't see it too well. Here's an example of what the tricep would look like. From the back. We've got that exterior head that comes towards the elbow. We've got that long head of the back that also comes but in between it is that think of it, that tube that's running here, right? That medial head. And it just kinda underlines and then these to lay over top of it. Okay. Let's take a look at it, what it looks like from the inside. Not much. He's not really flex here because he's not focusing on it, but it'll look like this and often coming down to the elbow. Alright. And there might be a little bit of detail in here for it. See if this shows, nope. This inner head is such a massive head to the tricep. You won't see much else going on there. Also note in the armpit comes from the PEC. Into the armpit, there's a tendon band that runs across here and then we get into lattes. But that's for another class. Okay, so I think we can review now. Let's go through it. The bicep divided in two heads, but generally you can't see it, okay, unless somebody's really lean or just genetically gifted with the bicep does is it helps to bring the the lower part of the arm up towards the shoulder. Okay. It has that as its primary function, elbow flexion. And when it does that, it starts to shorten the head of the bicep. It starts to flex it and make it shorter. Okay. So that's the primary function of the bicep, but the secondary one is rotating the wrist. And that also helps to shorten that head of the bicep. It makes it look shorter. Okay. And remember I asked you to practice a little bit looking at how as you rotate your wrist, the bicep will move up and down, shortening and lengthening, right? Then we got into four muscles, the flexors and extensors. And I'm going to remind you once again, there's a whole bunch of muscles and tendons in there that you don't need to remember. So just think of the bowl kind of on the inside of the arm versus the longer bands of extensors on the outside of the arm. Okay. When the wrist bends in, this ball flexes when you bring your hand out and you extend the top of the back of the hand, right? That's going to work. These extensors. We then move down into the tricep. And we know that we've got 123 heads to the tricep, right? And that they kind of resemble a bit of a horseshoe. Okay. Something else that I pointed out was the radial brachialis of the form and the brachialis, the middle sausage. So it comes down the middle of the outside of the arm and then disappears. Here. Maybe I wouldn't actually erase it just so you can see it disappearing, kind of thing. Disappears here. And so from the outside of the arm it's brachialis that goes into this big extensor, that's the radial brachialis. Okay, this one here, so we can see the brachialis and then it just kind of forms and flows, falls underneath the radial brachialis. And then we went and turned around this arm, right. We can see it with the thumb my thumbs up, right. That the bicep would be sitting more on top here, the tricep down below that. We're looking at the inside of the arm here. So we're going to see this big ball of the flexors, right? And we come down into the wrist, right as we start to turn it. And actually the wrist, we move into this position. The thumb moves this way. Okay. We can see the extensors start to come around. The flexors are on the underside here. The bicep sits in the middle here, inserts underneath the shoulder and peck the triceps you often see coming from behind, just peeking through a little bit. Okay? This all depends on how you want to draw your character, how muscular or whatever, right? Does that make sense? Okay, and then as we rotate even more so we've got the outside of the arm, we've got the bicep here. The brachioradialis comes here, disappears under the, sorry, the brachialis disappears under the brachioradialis. We're starting to get into that part again. The different tendons and Banza come. And then that flexor starting to come underneath just a little bit, right? The tricep comes behind and we can see a little bit of that outer head here, right? Oh, and my big thumbs up. Cool. All right. I hope that this arm unit was helpful for you. I hope that you take the worksheets I give you and really practice on them and stuff with this one that I've given you here, obviously there is, you can follow along with what I'm doing, you know, just on sorry, rather on the blank sheet type of thing. Right. And I've given you another page for you to practice on just to keep working these arms, seeing how they look in different rotations and stuff, seeing if if it all makes sense to you and stuff, I know it takes a while and I would take some getting used to. But that's what this is about, right? So keep practicing guys, keep at it. 14. Anatomy Hands: Hey guys, Edward, joke here with another how to draw anatomy unit. This time, we're gonna get into expressive hands or just hands. So tough one. But let's get to it. Yeah. I've been putting this off just like you've been putting off studying hands. Why do we do this to ourselves? Well, to be frank, hands are kinda tough, right? Not only are they tought, but they're super important. I would see if we're learning anatomy beyond basic proportions, I would say it's the number one thing you've got a master. When we're drawing characters, it's either the face or the hands. You know, you get those two right and kinda everything else can kinda just be there. But boy, you get those two wrong and you get yourself in trouble, right? Okay, so let's get to this and see what we're gonna do for hands. Let's talk about the bony structure a little bit. We've got the metacarpal bones, right? And yeah, we often think of this as kind of the main part of the hand. We can see that here they're detached from each other. But when we look at our hand, they're not. Right. It's all part of your palm major unit of the hand, right. Okay. So they're here and then we've got the digits coming out from there, right? But just doing a simple little circle might not cut it because it doesn't exactly catch the shape of it. I think it works pretty well because we look at this simple circle, we can just go 1, 2, 3, 4, 5, right? And we can put the, the major knuckles there and do it that way. Some people don't like it as a circle though. You know, I've seen other people do it as more of a pentagon. Like this. I think either works. The circle, you know, I think the circle works because you've got this extra amount of flesh that's often happening on the sides here and stuff. So if I kinda rounded out as a circle, I know just, I'm going to have to put this little dividend. So like a little mini Pac-Man. If you want to go with the Pentagon, I think it's cool if you want to go with the, the Pac-Man with the little mouse or mouth etched out of it, right? That's also cool. Whatever kind of works for functioning in your brain, right? The pentagon, whatever it is, I want you to think of it as a bit of a disk though as a 3D object. So if we're going to do this thing, then make sure you give it a bit of depth, right? Does that make sense? You know, make sure it's got some depth to it. And if you're going to go with the Pentagon, haha, we can use this pentagon. See, I got references for yeah, you can have this kind of thing for depth, right? So if you're gonna go with the Pentagon base like this, realize that whatever angle you're looking at it, there might be a little bit of depth to adhere. Right. Okay. And then so the knuckles would come off something like that, right? Does that make sense? So circle, pentagon, it's your choice. Whatever you find kind of fits in your brain a little bit easier and stuff, right? I I use the circle for for wrapping up the metacarpal bones and stuff like that. For me seems easier especially because I'm, I'm looking at my palm here and it kind of flows like that, right? Okay. So let's talk a little bit about muscles as we get into it. We've got some flexor muscles here in this area, right? You can see that on the palm, these ones are really strong because there they're able to pull the thumb in, right? We've also got some layering up top and they're able to fold the hand and a little bit right on the top of the hand. We don't have so much muscles per se. These extensors and stuff like that that, you know, that help put in place and stabilize the metacarpal bones, right. So you can often see the bones here kinda look like this, right? Does that make sense? And that's a little bit of muscle and tendon wrapped over top of it, right? And then we can get into the digits now. One knuckle. All right. To knuckles. One knuckle to knuckles. Now it depends. Do we want to count this? We can count this this way, right? If we're going to do that, then we realize that the, you know, we're looking at the thumb, it's shorter, right? As everybody knows. I should have both know captain obvious banner, when I'm doing this right. That this mound of flesh comes here and wraps around this knuckle and then we've just got the extension for the thumb. Right. Okay. So the longer fingers will have this. 12 knuckles extending. The thumb will just have the one and then the meat hanging off of it, right? Okay. Let's see if we come to here, we can see that and then it extends past, right? So I want you to be able to practice trying to draw a circle and then plotting where you think your knuckles would be, right. If you want to do the Pentagon sound effects, or you can do that as well. I really, it's up to you and stuff, right? And then plotting the fingers, the digits, right? And then also finding where their knuckles. So you can kinda draw a line. I find that that works as well, right? Sweeps towards the middle finger here, usually that's the longest, right? And you can plot the knuckles adequate. Even though on this one, this is the underside of it. We're not going to see the knuckles. Instead we see that the flexing muscles that are in between them then that help fold the fingers down, right? Okay. So when it comes to simplified structure of the hand, my personal favorite go with a disk with a little small dividend of it, little chunk out for for the in-between the thumb and stuff right? Now, let's see if we can find this as we start to practice a few examples here. Okay? The surface disk would be something like this. And then we've got some depth to it, right? We've got the knuckle out here, here, here, here, here. And then we can find to the second knuckle, right? All of this is pretty legit from what we've seen previously. Okay. The hand is bending in somewhat for the thumb, so that's why you get a little bit of distortion here, right? But now we're going to have a little bit of bend coming into the second part of the finger joint here. Okay. Not on the thumb. And actually there's thumbs almost kind of extended here, right? And so we're going to have it Ruffin like this. Now, what I might do when I'm doing something like this is, you know, after I've plotted in the fingers are plotted the knuckles rather, I might make the shape of what I'm trying to achieve anyways. And then Ruffin, I think the knuckles should go. Okay. Something along those lines, right. Does that make sense? So I would start to fill in where the brakes would be and then I can adjust more. Maybe this one wants to bend a little bit more, something to keep in mind though with fingers. Some of them act really independently and others aren't as good at that, right? Okay. So here's our little disk where the knuckles at, you know what, I'll draw it besides for you here just in case you're following along with me. I know that like all provide two worksheets for you here. One where I've sketched all over it and another one where it's all blank. And I've heard feedback from different students of which one they prefer. So I give you both write worst-case scenario, you practice twice. So I'm going to draw on this and we're going to search out the knuckles right? There's our, our five wrapping around right. Now. How are we going to do this? You know, where's, where's the next points? Okay. There we go. Even though I can't see that one, I know I can draw through a little bit, right? And you know what, I'm gonna do this 1 first. There we go. So there's the knuckle joints, right? Okay. Oh, and we got the thumb. Cool. Not bad. Not bad. So I want you to do it here. If you're, you know, if you need a little bit of a model there, right? Okay, so what we're doing for this unit is just practicing again and again and again and seeing if we could find where the knuckles are at. Right? We can see, like I said, I like this disk because it kinda gives a little bit of a curvature. I don't like Street Boxing, that type of thing for hands or anything. The curve, most people have some type of natural curve. And we know that the curve can even warp a little bit as we start to bend our hand and stuff, right. Okay. So where's the knuckles at? End up? We can, if you want to just kinda draw a line and see actually this knuckle should be back a little bit and I shouldn't move this back, but we'll work with it. Alright. And then find where the joints are at. Alright, cool. Keep on trucking. Should I tell you a knuckle story? Well, I'm drawing here. I actually broke mine. I want to say it was in a car accident, but it was really me doing something stupid after the car accident. Alright. And I separated. Separated this, this whole knuckle came off and kinda didn't realize it. But as the as the minutes and hours went by, I was actually walking my way to the gym. I got to the gym and tried to pick up a few things like some weights and dumbbells and stuff and I just couldn't they kept falling out of my hand. Right. Hey, listen, when you guys are drawing alongside, you can either draw up here if you want, if you want some whitespace or halfway to have shaded, I don't know, try to find your groove or you can draw like, you know, right beside it. It's up to you. Okay. So yeah, busted my knuckle and lucky for me, it was my drawing hand. So not only did it take me out of the gym for awhile, but yeah, kind of bugged my my drawing life for awhile. So I think I rewatched all the Game of Thrones episodes that were up at the time. And every other series I could get my hands on. I should put a little disclaimer for dad jokes in here or something, right? Yeah. Oh, this is interesting how we start to get foreshortening going on with the fingertips a little bit, right? Not always easy. And maybe what we can start to do is once we plotted this out now, let's start doing that on this rule of hands. Okay. Kind of coming forward is we can switch over and we can see, let's add in some muscle. So this is where we're going to have this beef here. We're going to have this section here. We're going to have this folding over. This one's extended so it's not so strong, right? Okay, so when you're drawing the underside of the handed often have this nice, kinda bad shape. Yeah. Even in the non but unit I'm still talking about bots. Guess I could have drawn that out. So we come out here. The, the big thumbprint usually is quite huge. Rate comes in here. And you can think of this as kind of a nice simple one unit or something like that. The thumb, right? With a big turning pivot joint here. This one is when we start to get a little bit complicated. Fingers are certain a fold-over. You can use the folds to really, you know, the angles of the folds. So when you think about this, let's see if this makes sense to you. As, you know, if we're drawing circumference lines, it's going to start to go like this. This one is going to start to go like this, right? And so you want to have that in your folds a little bit. Here's one unfold, here's the other folder, right? And the more you show that, the more you're starting to show what angle that that's coming from. The webbing between, right? And see if we can show this one here. It's kinda rounding. Alright? It's hanging down. It's got that fold right below. It's got this fold here. Little bit of stretching depending on if you want to show age and a hand here. Yeah, right on perfect example. Well, this is too much age actually. You know, we've got we can have loose skin. This is more than I wanted. I don't want this much skin. I'm sure I'll get there eventually, but that's not what I'm talking about. You can show all these wrinkles. I love wrinkles, especially around knuckles. So that's a nice little detail you can add in there and stuff, right? But you notice that this person, because of this loose skin, they're actually losing some definition in their hand. All right, let's see if I can find a better example of what I wanted to talk about for definition in the hand. Yeah, maybe back over here. You can start to add in some and I use my knuckles plotted, right? How, how I've got these previous knuckles plotted. And then you can start to add in these bone details and stuff, right? And if you want to add definition to a hand like a big bony hand, you can really add that in, right? Give extra definition there. For all the bones and tendons that are wrapping around that and stuff, right? Does that make sense? Cool? So that's another way you can approach. Detailing on hands. You can give them wrinkles, folds. The more you do, the more aged it's going to look alright. But really, there's a lot of things happening here. I really want you to understand though, that you just got to add the masses in, right? And then you can have this little, the tendons that are running down the wrist. And if you want to minimize it, like I said, you can just add details around the muscles or sorry, the knuckles and the big masses, right? So yeah, Actually the muscles here, the folds. Right. All these flexors and stuff, right. Okay. The finger flexors and then the knuckles and then any over big mass in the hand. Cool. So yeah, I'm hoping you're kind of getting used to trying to find. Now this one's interesting because what's happened here, the disc is here. And we can see it on this surface. But then this part is kind of folding a little bit. The knuckle came out to her. Yeah, the thumb knuckle came out. So let's see if we can find it. One knuckle to knuckles, three knuckles for knuckles. See how it sweeps over, right? Okay. So see if you can do that. Draw it out. And then. Bring the knuckles all the way around, something like that, right? See how they're going to sweep around that hand. Okay, cool. Next thing that's kind of important that I want to really get into is hands gripping things, right? I know a lot of this is just practice, but I want you to be able to recognize that the form is still there, that we've still got our circle going on. This is pretty straight on. Alright? We're looking pretty straight on it. This hand, right? Where our knuckles, well, we know we've got this one here. Alright. So we can kind of plot out whether we're going to use the the Pentagon or whether we're going to use our little circle method. I'm guessing, you know what, B here, B here, B here, B here. Right. Okay. Now, where did the joints go? Can you see them? This one, it comes up to the thumb, little little one. We know that even though this one's obscured, it's going to end up out here, right? This is going to come here. So there's a knuckle here. And there's likely one mid way. This one's going to come up to here, down to here, and then out. So this one's gonna do the same up to here, down to here, and then out. And this one is going to likely do the same up to here, here, and then out, right? Okay. So what you should do, let's see if we got room above. Yeah, let's do that. Draw the hand above. Here's the wrist. Here's the arm coming through. And then plot out where are the knuckles? They don't really, you know, it's not going to change too much unless we start folding in this part of the mass, then the thumb placement might change, right? So this one's going to be pulling in that trigger. This one's going to be folding over of some sort, folding over, folding over for the grip, right? So we come up here, one knuckle to one knuckle to one knuckle to Jeez, it's almost feeling a little easy. Now. Don't trust me. There we go. And that's really the fundamental grip for this, right? Does it change if we start gripping weird things and stuff? Not really. You know, like I said, sometimes things can fold over in a little bit, right? Some of the mass can fold in, but knuckle, knuckle, knuckle, knuckle. So once you start using this my recommended circle, you're going to really find hands not that extremely hard. Thinking of poses for them. Yeah, that can be kinda hard and stuff I got. But when you think of it, you just going to be drawing a circle maybe from an angle, then you're going to start to find where the knuckles are on it, right? It could be upside down. Does that make sense? You know, you're going to start to do all these circles and stuff. But what I really want you to do is just keep practicing them. It almost sounds like a cop-out at times. I know. I get it. But when it comes to hands, that's the that's the name of the game for hands, I think. Because they're so important that you need to do them over and over and over again. Right? Okay. So just a bit of review instead of working on all the bones and detailing them every single time, the metacarpal bones and the phalanges and all that stuff. Instead, we're going to simplify. We're just going to go with a circle, plotting out where the major knuckles are, the first knuckle, right? And then working the digits from there in whatever we want them doing. Okay, then we kind of sweep over them and find the different roles of knuckles. And it's that easy. So are you surprised? Does it look easy to, you know, because it's going to take practice, right. And so that's why I included this worksheet for you. And I've got a second one for you, okay, of just sheer practice, right? So that you can come down not only constructing it once, but then starting adding all the details into it, all the muscles that we've talked about and stuff like that. And just work them again and again and again. I hope by the time you're done this unit, how many hands we got on this one? 5, 10, maybe 15 or so. I would like you to hit a 100 or something, you know, start looking at your own hand, put it in front of you. You know, if I've got my hand sitting in front of me right now, it's gonna kinda look like this with the disk. And then here's my thumb. And I know my knuckles are here. It's kinda placed roughly like this. And this one is coming this way right now, you know the position of my hand right now. And then start to fill in the details and stuff like that and then switch it around. Do something different, do a different pose, you know, bend the fingers in more something and see if you can still manage the skeleton first. Think about it when we were doing figures and stuff I got right. I wasn't asking you to add all the muscles right away. That was in the first unit. The first, always the first thing that we started with was the simplified structure. All right? So on the hands here, It's no different. Start with a simplified structure, okay? And then start to add the meat to it. Okay guys, I hope this was helping you for hands and I really hope that you keep on practicing with them. 15. Anatomy Hands Grip: Hey guys, I'm back and I've got another bonus unit for you here, adding into our how to draw anatomy. This time we're gonna take just a little bit of extra practice working on hands like that foreshortening there. We've done a lot of work on hands-on already. There's a lot of extra sheets that I gave you and stuff like that. But this one in particular, I want to talk more about how we grip things. I've seen a lot of artists coming up and they'll draw this fit anything in the group. So let's take a moment out and see if we can practice a little bit and see how this can look for us. Okay, so what do I have here? Let's see. I've got a fist. What have we talked about before? When we've talked about drawing hands and all that kind of stuff. We've talked about how the formation of the hand, we can think of it generally like this and then it comes up to this point and comes back around. We can think of how the knuckles kind of follow myself here. Their knuckles follow this pattern comes out this side. So if I want to draw this off to the side, we're working on, again, drawing a fist here. I can have it come out to the side, find it comes up, and then it comes around like this. So here's the thumb. Here's going to be the first knuckle, second knuckle, third, fourth. But then what happens is it obviously comes out benzene and in, the finger comes, opens in and out, in an n, out. And when I say out, you know, what's so hard to see how far this is coming out. Comes up and then tucks in this one, the sum comes over. And then we've got to the end here. Why don't we draw over top of this just a little bit in light red. Let's see if I can bump this back a little bit and see if this makes sense. What I'd like to do is draw the one that's overlapping first. So there'll be the thumb here. It comes to this joint, comes out, and then the thumb will come up out. And then we've got the padding of the hand down below here. The next one, we're gonna come out a little bit of muscle here. It comes out to the knuckle, comes up to this knuckle, then the finger comes in. Now, we start to lose yourself a little bit. Comes up to this knuckle, but we have the anatomy drawn in here. So if I want to, I can start to see where this last knuckle bends in and then the fingers dig into the hands there. We've covered this before just a little bit when it comes to fists pulled into the wrist. Okay. That type of thing. But the problem is when we're making a fist, a lot of people, this is how they often try to add something in there. Like they're trying to stick an object in there and they think, well, this is just going to work. I'm going to draw this gun. Gun is gonna come, come out of the hand here. And this is how it's going to look. It's going to fit, right? I'm going to jam it in there. But the size of the hand and the displacement of it, I think it's important. Let's take a look at when we come down here a little bit and how we would look at this hint. Same type of thing. We've got the knuckle up here, 1234. But do you see how well, a couple of positions have changed. We've got come out to here, here and then folding over. This one comes up a little bit higher, come here, and then comes out. But even if how these are coming back this way, they don't quite one, they don't quite fold in. They don't fold in and grip in. Like this. They don't they don't fold under the wraparound, whatever is gonna be sitting there, right? So when we're drawing the hand, it doesn't those that bottom bit of the digit there. It doesn't fold in an under, it actually wraps around him and as gripping onto whatever that is, that's important. We'll sketch over just a little bit or a low it. When we do below. The same thing here, just put the hand up. Knuckle up. One knuckle here, here, here and here. This one is coming out. That trigger finger. This one is coming up just like that. Then we've got these ones kind of simplified right now, folding over on to that grip. So how does this look? Well, again, I like to kind of draw the thumb first. If it's overlaying the most of what's going on in the hand here. Somebody along those lines. Depends on Midi. The hand is, we can't see what's going on here, but I know what's gonna happen here. This is the pad of that trigger. Gonna come to this section and it's going to come into here, the guns obscuring it and that's fine. This one's going to come up to the knuckle. And the knuckle and the knuckle. Sometimes I like to rough this and just so I've got the pattern down, it's going to come to this knuckle. Sometimes I, again rough that in and that's going to come flattened out onto the grip. What that does is it allows us to be able to fit something in here, to fit the actual gun in there. It's important it's important to leave that room for it. If we're coming over here. Yes, This looks similar, but we're drawing it from the other side. We've got the thumb on this side, we've got it coming out like this and it comes back. This is a little bit of an angle here. If you guys remember from the first unit we did on hands, I was always describing these as a bit of a disk with the thumb, then it coming up and then coming down. So there's some depth to that. Knuckles here, here, here and here, right in it kind of rides on top of that plane. Okay. Here. We can't see the thumb, but we can guess where it is. It's wrapped around. The key point that I want from this view is that we're looking at it and we're seeing more surface on this side than we normally would because if it was just a fist from that side, we'd see some but because of that extra little bit of extension in the hand of the grip. Right. So looking at the difference here. Sorry, I broke my finger a little while ago. It's hard to make this. Here's my fist from that angle, right here is that extension of the grip. So what do we even that little bit is just that extra little bit of convincing. So you want to have that little bit of play in the hand that's gripping onto something. Do I have a gun handy? I've got this guy handy. Been trouble for violence on this video are saying the grip versus little bit of extension. It's important. So let's make note of it and make sure we have it in here. As you can see when I was gripping that sometimes some of these actually it came forward just a little bit more like this. And then these folded and more so this finger can play a little bit more of a lead. Practice that down below. See if you can have the thumb here. Your four other digits. And then what would, how would this play out? Well, this fingers coming up here, hooked around. The thumb is we're guessing gripping on the other side. But these these are coming back around this way and you can have that one having a bit more relieved to it. Then the mass underneath the hand here into the wrist. So again, remember when I talked about how I wanted to see a disk and give it a little bit of depth. And then we'd also play up that there's a bit of, it's more like a pentagon when I was teaching it in the previous unit, we'd have this disk here. This disk, it's got an angle to it now. Then we'd have a little bit of depth to it. We can see there's a knuckle here and knuckle here. And I'll go here. And the thumb, and this one came forward a little bit. So we're going to have a knuckle up here and then the thumb kind of hidden away. Again. We come down to the next joint, to the next joint. Next joint is probably wrapped around and under this one comes up into the joint. And then the slight wraparound. Guys. This is to be added to the hand unit we've already done. We've already done an extensive thing about how to construct the hand. I've given tons of sheets on itself. But this was because some of my students were handing handing things into me and they weren't really factoring in that grip. I wanted to take just five or ten minutes here, add this bonus unit to it and really just say, Hey, listen, whenever you are putting something in the hand, look at how it changes. I'll do this one because it's still broken. Look at how it changes that grip. It goes from this fist. Something small, even just a pencil all the way to a gun group or something, it starts to extend. Thinking that although with this gum, great, you could see how that changes it. What I would do is what I've done here is taken a bunch of photos, screenshots. You can even screenshot this kind of thing, like screenshot how my hands are moving, how it's gripping here from various angles and stuff. Just keeps snapping these pictures of this. Then grab it and draw it. Just have the reference picture is sitting up there. And take some time. Take after you've done this unit, take another 1020 minutes and just roll through even if it's your own hand, you don't want like I'm looking around. What can I grip? Grip a pencil. That's something phone. How would that look? Just put things in your hand. See how it changes the shape of the hand. Just remember then you're not gonna get away with just drawing fifths and sticking things in there. I hope this was helpful and hope you get a lot of practice out of it. 16. Anatomy Neck: Hey guys, I'm here with another how to draw anatomy unit. This time. We're gonna get into the neck. Let's get to it. Okay. So where to begin? Well, that's a good, good question. You know, we've already got the structure here. We know that we've got our little little heads and everything right? I think on this one we're not too worried about it. What we're going to be doing here for the, for the basic skeleton and stuff. I got it, right. That's not what we're going to focus on here. Well, we're going to focus on is where the visible muscles of the neck attach and how we can spot them, and how we can choose to add them in. Okay. So the first one is the sternocleidomastoid. Yeah. There's a mouthful right on where it's going to start is kinda the back of the jaw here. Behind the year. We've got the year here, for example. The ear is somewhere up here. It's going to start right behind the ear and come down the neck and come from about right about back of the skull and read about this attachment here and come down to the front. Okay. It's a big band that actually, if I was to, here's his ears. And what it's gonna do is it's gonna kinda draw to the front and center here in a little bit if this makes sense. Okay. And where does it attaches is down on this with the clavicle and everything kind of meats. So it's going to attach down in here. Okay. Just on the bone of the sternum with the middle of the ribcage begins. Okay. So it comes down from behind the ear. It comes down from behind the ear and then attaches down here, comes down from behind the ear and then we'll attach here's the ribs attached down here. Does that make sense? I know it's a little strange. So why don't we go down and look at little Jessica here, and we can probably see it a little bit better. All right. Here's the beginning of her sternum. Here is a color bone coming off this side and Kim and we can see from behind her ears actually out here, right? But behind on the skull. It's coming down this way. We can see that tendon Ben or the muscle band coming down there. And this one's really good for turning the neck, stabilizing it, that kinda stuff. Okay. We can see it on Mr. McCullough hey, as well, coming down the front here, it's hard to see the second side because it's probably coming underneath here. Right. But it's there. Okay. So we know that it inserts right along a ridge of the base of the skull here, right? The next one that's quite visible is actually at the back of the skull. The traps. We already covered the traps in the back unit, right? That big, we talked about the kinda of a diamond shape a bit with the big mass here, and then it comes up and it inserts at the base of the skull. So this is where we're going to focus on. The traps are going to insert roughly around here and start to come down into the shoulder. Okay. They kind of fan out like this. And from this insertion they come up and they kinda keep fanning down until, as I'm drawing here, it's this massive. They're huge, they're massive load bearing muscles, okay. But you can think of them kinda flowing like this and then the deltoids out here, more and stuff, right? So if I'm looking at it from the side, kind of inserts here, comes down, kind of comes from the back, a little bit of the skull and comes out this way. And it can come out even more depending on how. And then you get the meteor part of the trap here, starting to get really Massey and stuff here. It's more like a stretch dough band or church or something like that. Whereas in here you get the bigger mass of the muscle that's in this spot here and in this spot here, down in here. Okay? Does that make sense? So that's the trapezius. Okay? And the last one we're going to look at is the, oops, jumping around on you hear the the sternal hyoid. Okay. And that comes from underneath the chin here. And kind of benzene this way. And it's that simple, really high-tech, right? Yeah. It's easy to draw. You know, you've gotta do, do. You're going to throw the Adam's apple in there and stuff like that. But these are the three key pillars to drawing a good neck. Okay? So I want you to practice them from coming back here into the traps. Let's see. For her, her traps are going to be generally underdeveloped, but they might still be there. This is coming down into the trap here, right? Hey, when it says got some stuff going on here, we've got this front bands coming down and attaching into the sternum here. Coming down into the traps. Why don't I give a monster traps. There we go. Rural some beef on these traps, right. And then into the shoulder deltoid and then that sternohyoid front. But it's really not, you know, it kinda works alongside these guys off to the side here. And then you get a little bit of band and tendons flowing in there and stuff. Those are the three big visible ones. Okay. So just to review, we've got the sternohyoid here in the front. We've got the traps, the trapezius back in here, right? And we've got that one that you love to pronounce, the sternocleidomastoid. Okay. And that's that band that runs where am I hearing? That band that runs from behind the ear. Okay. So for this one, I'm only going to give you a shorter unit, like I said. So I'm gonna, I'm gonna give you this one worksheet to work off of, okay? And what I want you to do is practice on these celebrities that I put all down in here. You can draw the skulls out again if you want your choice. But what I want you to do is find where it is, these different pieces of the neck here and how it might attach differently, how you can see when the next turning and all that kinda stuff, right? You're also going to notice that on some people it's called osteon, right? It's very defined. Okay. On other people like Jennifer here, not so much. It's a little smoother. Part of that has to do with body fat, part of it has to do with muscularity and everything. You could take a look at these two muscular Jens down low, very developed traps and neck muscles and everything. And then part of it's just genetics. So don't get too tripped up in it. The one thing I would say is you don't always have to show it. You don't have to show every muscle or anything like that. You just have to know it. I just made another catchphrase. You don't have to show it. You just got to know it. And hopefully this unit helped you with that. 17. Anatomy Feet: Yeah, this edge out here with another unit for how to draw anatomy. This time we're going to delve into feet. They're down there somewhere. Feet used to discuss me when I was growing up. I had no clue why and I got no clue why I told you that. But either way, good to know. So how are we going to approach these guys? Well, anyone, the simplified skeleton, I don't know if you remember, but I kinda just went down here and go on and I gave you a little triangle foot right from the front. Maybe I also give you a secondary section, right? That's kind of what we're gonna do here. We're going to simplify things up. I always draw a line through the ankle. Now, whether it's So if it's coming down to the foot, whether it's from the front side, wherever I draw the angle line for where that ankle is coming in. So this'll come in at that angle or that angle rather. Geez, I'm flub in it here, what's going on? And I'm going to keep that in just so you don't think I'm perfect. Okay. What do we do from here though? Once we've got this ankle on? What I usually do for the ankle from the side is put this little diamond shape. Okay, I'll show you from a few different angles of how I'm doing it. But let's keep going. I want to keep rolling here. Back of the foot. We're going to use a ball for the heel, right? Then we're going to break the foot up into kind of three sections here. This is the first section. The second section comes right around here. Okay? And the third one is here. So we've got the balls of the feet plus the toes, right? We've got the bridge and we've got the heel. Nice, easy way to break it up. Okay. I don't think, you know, just like how when we study hands we can see it's separated out and everything. That's really not going to help us, that's going to complicate things a lot too much because generally you're not going to see people with splayed out feet or anything like that. That's not how they really work. They might fan just a little bit, but we know told stay pretty close together, right? So why don't we take a look at how we would approach it here. We know that the ankle, you can draw a little diamond shapes here if that makes sense, right? We can add the heel when we can add the bottom ball of the foot. And then we can add the bridge. Now, how we're gonna do this bridge depends from the outside. Usually it's a solid mass, right? We're coming from the outside here. From the inside. We got this nice big arch, right. Okay. So it's kinda looking like all of the foot. Sorry, the heel of the foot. Right. The bowl of the toes and stuff. Right. And then the bridge coming over top. And then if it's on the inside, we're going to have this type of form. Okay. Then it comes up to where the ankle is, comes down and that's how we start to see how things are forming, right? Does that make sense? Okay, let's keep rolling a little bit and see if we can find the simplified form from different angles. Legs coming down, it hits the ankle, right? We've got the heel. We've got the ball of the foot here with the toes, right? And then we've got the bridge connecting them with the, with the ankles here. We can do a little triangle, but we're only doing the outside here. So that's all it has to be shown. From that side. We've got the top of the foot here that comes like this and we can even sometimes a little bit of a ridge coming in on this line, right? And we can bring it back and then maybe the ball of the foot kicks out there just a little bit, right out to the toes. And there we go. Cool. Let's see if we can find the simplified form here. Coming down, right? We know the ankles here. So we can draw in the little diamond shape. We can have the heel back here, the ball of the foot here, right, with the toes. And then the bridge will give the bridge in on an arch because it's on the inside here, out to the heel. Little bit more in the definition there. And we can even kinda, we know that it's going to overlap the toes and ball just a little bit. But you want to repeat, Let's try diamond here, right? For the ankle, heel, the toes and the ball of the foot. And then we're going to kinda connect them here. Alright? Okay, now let's see if we added in a little bit of a harder line. Cool, starting to look pretty good, right? This comes up to the leg. This will come down here. And maybe we want to add that little bit of region here, right? And it comes out to the toes. And we know the toes as digits are going to fan. All right, so on the beginning of our little ridge here, the ball of the foot bridge, we can put 1, 2, 3, 4, 5 knuckles if we wanted. Okay. I like to have that where the Where the the bridge kinda overlaps and meets onto the ball of the foot and stuff like that. Okay, so we would go here 12345. And then each toe has an uncle so we can put, bring the digits out if we want, right? And we can all look, we've already got this kind of circumference cut right? And flow in with the toes, the knuckle of the toe. Different people have different flexibility when it comes to their toes and dexterity with them and stuff like that. Alright, so don't get all twisted up if we're starting with kinda basic toes here. But what we might start doing, what we can do is start to splayed out a little bit, right? So let's do this part again. Here's the total. Here's the bridge coming down to it. We've got the knuckles of the toe, but maybe we want this one to come out and these ones to come this way, right? So then what do we do? We can still follow this basic pattern. This knuckle is going to come here, here, here, here, right? And this big toe will come out this way. There'll be some webbing here and then we're going to get these other toes coming in like this. Does that make sense? And then we want to show the ridge and depth to the the easy way to do that is with toenails. If I was to draw a toenail, let's see, get into a little bit more specific here. Draw a toenail like this. It feels like the toes very flat, right? Because we're looking down at it. But if I rigid up and bring it back this way, then it feels like old we've got some mass underneath that toe. Right. So we can do that over here. We can bring the toenail up this way and then give mass underneath it. And now it looks like, you know, I've given the toes come in at you a lot more. The webbing between or like I said, we can have the toe kinda like this and it feels like this one is now pointing down. This one feels like it's lifted up and pointing towards us because we've got all this mass underneath the toenail, this one. We don't have that mass and we can even bring the toenail right to the end. And it feels like this one's curling under, right. Do you see how that happened? We've got so much mass, so really you want to show on which way the toe is going and stuff I get. And this one we could even crawl under more and have the toe toenail curled under even more, right? Is by showing how much flesh between the toenail and the edge of the toe and then the angle of the toenail, whether it's angled up like this and coming back or whether it's angled down like that. Cool. Okay, let's keep moving. Yeah, these are looking like pretty good examples. We want to look at it from behind and see if we can still find that basic structure, right? We're going to come down with our leg, right? We're going to find the ankle. We're going to see if we can, where would the diamonds be? This one might be here, so we might not see it all the time, right? Depends on the angle that we're seeing it. Chances are this one's back here somewhere, right? We're not seeing it. We can add in the heel. We can add in the ball of the foot. We're looking at it from behind, so it's quite limited. And then we can add in the bridge. Right? Okay. So we're looking at the bottom of the foot here. So we're wanting to put some detail on the bottom of the heel and bring it up this way and then it comes up into the Achilles tendon. Right? Okay. We can give the ankle just a little bit there. Maybe on this one because I roughed it in I could to show a little bit of the ankle there. Right. And you don't have to have the ankles so hard that how I'm doing it, but I'm doing it with that with a diamond shape just so you know, you can soften it a little bit. But I really want you to see what I'm talking about, how easy it is. And then we come down to the ball of the feet right? Now, if you remember, when we talked about hands, the musculature of the hands and stuff like that. The feet are similar but a little different. There are on the front of the feet here. We've got these bones coming in here even further. And we've got some muscles that line these bones that help extend so you can lift your feet up a little bit and they're linked up into the your shins, okay. They're not super strong. They help you lift your toes back up this way a little bit, right? But yeah, you know, you don't have a lot of dexterity with your with your feet or anything like that? Not in that way. All right. Whereas in even clinching your feet downwards and stuff, there's not a lot of power there too. When we, if we compare ourselves to primates and everything, gorillas, monkeys, whatever, they've got tons more grip power than we do. Occasionally you will see people gripping with their with their toes or something. But that's different. We're not able to bend our feet in this way in really grab onto something. We do have a lot of padding on our feet because, you know, we're walking on them. So the heels, the balls of the feet. This is less muscle and more padding for when you're hitting the ground. Right? Okay. And then we can draw that toe out there and have this come down that way. Cool to see if this makes sense. So it'll, it'll remind you of the hand, the balls of the feet might remind you of the palm a little bit, but don't be fooled by that. It's really, I don't think it's a good comparison. Straw it one more time here. We've got the heel. We've got the ball of the feet, the toe, right? And we've got the bridge between them. Okay. How do we add in the details? Well, we can come up from the Achilles heel if we want. We can add here the bottom line and ridge of the bottom of the foot. When come out here, we know we've got pads on the bottom. We know that this part comes this way. We've got the ankle coming in here. Maybe the ankles showing on that side little bit right. Comes up to the leg and down and we're just going to get maybe a hint of the little toe if we want to, we can kinda rough and where we think the knuckles might be. And so chances are we're only going to see just a little bit of this TO little bit of this TO and going on that away. Right? Does that make sense? Cool. Okay. Moving on down. Feet in motion, walking towards us and walking away. Simplified skeleton. Alright. I'm hoping you're getting much faster at this now. The, the ball of the foot, the heel, the heel, even if we can't see it, we're going to draw through, right? And then the bridge between them. I like having my bridge kinda overlapping just a little bit, right? The bridge is not a brick. I don't want it at a brick. I wanna kinda a little bit fluid because there's a little bit of bend to it and stuff. So whether you're moving it, this is where you get to show the flow of the foot to little bit like that with the bridge. Okay. Does that make sense? And then you can add in the ankles and start to add in details and stuff like that, right? This is also where you can, if you want to, you can start to win feeder stepping. They can splay funny, right? So if you really want to splay out this, the knuckles a little bit and the toes, right? So I'm going to do that. I'm going to bring this foot or this TO weld this way. Bring it in, bring it in this way. Bring it in this way. Just kinda roughing it in right now, right? Okay. And then start to add in. Here's my other set of knuckles. And then start to add in details. I'm going to keep the toenails up top actually, I guess I should be doing this in black. And you can have them irregular. You know, like if you see how already some toes are pointing in towards each other, pointing out, maybe I'll do that. Here's one pointing this way. Here's one curling under, right. Here's one splaying out a little bit, and then I'll put another one curling under nella. Think about it. All right. Some people have very pretty feet, others do not. So, you know, like right now and kinda drawing average ones. But I want you to know that putting some variety in the foot is cool. And then it comes up. The heel was out here. So maybe I would give some detail. The heel, right. This might come up to the ankle. Doesn't come up to the ankle and then up to the leg, right. That's an easy way to do it. And I think I'm going to get rid of that. That doesn't make a lot of sense. I can bulge out around knuckles if I want to give it a little bit more form. Cool. And you can even like, you know, start to put in a little bit of creases where it's certain things meet depending on how many details you want to put in there. Okay. Speaking of putting in details and stuff, you know, one thing that we deal with a lot is shoes, right? And you know what? Looking at our little outline here, shoes are going to be pretty easy to add on. I think. So we're going to have the front ridge of a shoe and kinda keep it this way. We know the laces are going to come somewhere down the middle here, right? Maybe to here. And then we know the shoe will roughly finish around the ankle here. We'll make them low cut shoes, not high tops or anything, right? So the ankle will come out from there up into the leg, right. We get to follow the flow of this bridge, right? The, the front of the shoe is maybe something like here. We've got we can add in the laces coming, coming across. Right. Here's where it's going to be tied. Maybe the tongue would be coming out some, some what, right? We can tie it up or something along those lines. We're going to add a little bit more mass to things, right? Because the shoe add some width. Okay? And there we go. How the shoe coming around? We'll do the same for the back here and see if this makes more sense, right? How this coming down to the ankle, we've got the heel, we've got the ball of the feet. And then we've got the bridge, right? We've got the heel, we've got the ball of the feet, and we've got the bridge. Okay. And here's the ankle, kind of not so visible, right? So do we want to choose to these guys or do we want to draw it right beside? Why don't we do one would just showing details of how the heel looks. So we've got the heel here. We've got a bit of the underside of the heel coming down to the big pads on the bottom of the feet. Right. And this is basically the underside of the foot. We've got coming up here to the Achilles heel and then the ankles are easy to draw on there, right? We've got the front of the foot here. And then we can see that we chose little bit of the mass of the bridge, right? Same thing here. We can bring the bottom of the foot in, show the balls of the feet here. We've got this nice sweeping motion on the inside and a sweeping motion on the outside as well, right. So that gives a nice shape to it. Okay. We've got the heel here up into the Achilles. One ankle, the other ankle is probably hidden and then comes up to the leg. Alright. Okay. Little bit stylized. It's starting to look a little bit kinda fun looking, but that's how I like it. I like it like this. The toes are starting to strike down and then these ones are curling under because he's gripping and moving this way right. Now. Can we do this with shoes? Let's see. We're going to come, whoops, want to switch to blue. We want to have the heel here, the ball of the foot here, right? The bridge connecting the Achilles tendon will be coming up here and we know the ankles will be somewhere here, right? How do we draw on the shoe? Well, we know that the heel's going to be here, right? And that the base of the sole of the foot is going to be roughly the same with less detail, right? It might strike like this and then we might get some little bit off of here. This is the bottom. And then we're going to have this side ridge that comes up and forms. As we see the the kinda lip of the heel or the lip of the sole of the foot, right? Then we're gonna get some some of the cloth, fabric that's part of the shoe. And it's going to come up towards the top of the heel here and come back down. And then maybe we're going to have some type of lipid, the back of the heel there with the company logo or something like that, right? Does that make sense? And of course, you might get some, some patterning or something like that on the bottom of the shoe, whatever the pattern of the shoe brand is. Right. Okay. And then maybe the laces are hanging off to one side or the other. And, you know, we've got pants hanging here, right. Comes up into something like that. Cool. Drawing this one off to the side here. We're going to rough it in same way. Coming down. Drawing in the heel, drawing in the the balls of the feet and the toes. Drawing in the, the bridge, right? Here's the ankles. Here's the Achilles, right? So where would the shoe go? How would we throw some type of simple shoe on this person? It's actually really easy. The shoe, the sole of the foot would be like this. It's that simple. They they bend a little bit and stuff. So you might get some creasing under here and it's increasing in here. But overall, we would still have that simple whatever pattern of the shoe would be underneath. I'm not going to throw any brand names on here, anything like that room. But we would start to see maybe maybe a little bit of a hint of the ridge of the sole of the foot, right. And then we would get more more cloth out to the side here. We might even get a little bit off to the side here, a little bit of bridging, right? A little bit of the lace showing or something like that. Right. I'm up towards the heel here. This is where we would start to see more fabric. And coming up. Somewhere around here. Might be that logo area, right? That we had sorry, I should have put a little logo here. Logo. Okay. And then, you know, whether it's the person's wearing socks, folding socks, whatever baggy socks that are on and stuff I got, right. You can put the folds of the socks here, that type of thing, right? So the shoe would be something like this. As long as you've got your basic form and you want to have that striking down at the bottom here, right? As long as you have the basic down of the, the simplified form, then really it's kinda easy to start to add in whether it's going to be kind of a flat shoe, right? Simple. Like this. This this type of thing, right? With the laces down the middle. That type of thing, or whether you're going to get into something more of a boot or high top, right? And the tongue comes out. The more you do some of these basics, then you're going to see that it all fits in there. If I want to fit the basic foot in here, you know, how would I do it? Well, legs coming down, right. Legs coming down into these guys. The heel would be here. Back here. The ball of the foot would be somewhere up in here, right? And then the bridge would simply be in in this section here. Right. And that's how easy it is. Ankles protected. Ankles not protected there. Okay, guys, let's do a little bit of review. We talked earlier about how when we were first outlining the simplified skeleton, I was either just doing this type of thing with the little triangles at the bottom are coming down and doing a simplified foot like this, right? But it doesn't have to get all that complicated. All right. You can come down, hit your ankle and then hit a foot. So long as you have the heel, the balls of the feet and the toes, and then the bridge connecting them. If you want, you can detail more. But what I really want you to do is keep this bridge a little bit flexible, not so rigid. You know, I don't want it hard. I want some flowing lines in it and stuff like that. All right. On the, the inside of it, we've got these nice sweeps, right? Sweep inward and on the outside. Remember two, Let's do black sweep inward. And on the outside we're sweeping outward, right? Okay. Does that make sense? We also talked about how we can start to play with the digits a little bit and move them out if we really want to. Usually in modern society, people's feet are all kinda bound up in shoes and stuff. So you don't see that as much. But it can happen. We showed how the foot looks through the back of the foot, seeing the bottom of it and stuff, seeing the Achilles heel in the back here, right how that It forms out of the heal itself for him. And then we got down to walking patterns and showing how we can throw shoes on. Really simple if we know that the basic outline of it. All right. Okay guys, I hope this foot unit was good for you. I know a lot of people like to skip feet. Some famous artists in particular, but that's because they find them harder. And I think once we get into these basics, they're not crazy harder, anything, right? You can really easily find, okay, well, you know, here's here's my leg coming down. Here's the ankle. Here's the ball of the foot. Or sorry, here's the heel, here's the ball of the foot. I gotta connect them with some type of bridge, right? Okay, I know along this bridge, here's the knuckles. They're going to meet along there, right? I know that the toes are coming out, the digits are coming up from there. Maybe I'm seeing the underside here or something, right? And that's how easy it is. And then you can start to add in shoes put in, uh, he'll start to put into high heels, start to put in the base of the soul and stuff. Okay. So don't get it twisted. It has a little bit of difficulty to it, but if you break it down into simple forms, it's not impossible, okay, what it takes as a lot of practice. So on this sheet, I've left tons a room for you to practice off to the side. I'm also going to include a sheet without my sketches over top of all these references plus another practice sheet for you to work on, right? I'm hoping by the time you're done, you've drawn at least 50 feet. And then when you're done that doom again, you know, if you really feel you don't have a downright, but I have a feeling after about 50 or so, you're going to feel pretty confident. You know, what I would really recommend though, is draw them, draw them all nice and sketched, and then right beside it. But choose on them. All right, see how the shoes fit now. Listen. I fu heels on this one here, right. But that's only because the heel was raised. So when you're putting shoes on these different feet, try to think of, you know, the foot position and what shoes might suit at best. All right. Okay. That's it for feet. I hope it was interesting, fun. I'm not sure what adjective I would use here, but I hope it helped. I really do because I don't want you guys avoiding feet anymore. Right? So get into them and get practicing. 18. Anatomy Render: Hey guys, EDF Wojciech here with another how to draw anatomy unit. This time we're gonna get into rendering. Let's see what that's all about. Okay guys, here's a bit of a bonus lecture for you. It's probably my most requested additional unit. I'm from students that have a completed my course. And to be honest as one of the ones that have held off doing the longest. We're going to look at rendering, especially rendering anatomy, rendering muscles, those kinda things, right? The reason I held off doing this is not because I don't like rendering. It's more because there's so much that goes into it. It might be an entire, another course. I'm going to see if I can kinda condense it into one well-designed bonus lesson for you here. And hopefully answer some nitty-gritty questions that you have. Okay, so let's start off. There is some, we're going to start off with something called line weight. And this is the first choice when it comes to rendering stuff is when you're sketching. So let's see, I phi, grab a pencil here. Just guess, guess, guess, catch. The weight is important, right? You know, like weight meaning thickness and darkness. Okay, So this one punches further than this one, than this one, than this one, this one. So it actually, it looks like I've got a bit of a gradient going back right now, right? So we're talking about, when we talk about line weight, we're often talking about the thickness. Okay. There's sometimes it can be the darkness as well, but the thickness is the main one. Okay, I'm going to give you guys just three different approaches to how to use line weight on on a figure. But I'm not gonna use them on fingered yet. I'm going to use it just on these little sample balls that I have here. So the first one is going to be a Halo. Halo is basically when we just go around the surface of an object, making it darker. And that's it. And I can do the next one here. And just by doing that, you get some separation between objects and stuff. Sometimes you're going to see even a stronger halo that is put over both the objects in question. Something along this lines or something. And you can see how they kinda now it looks like they're more of one unit. Before I did that, it looked like there was two separate balls. Now I've kinda combine these balls and it almost seems like they're kind of linked in the middle, right? So this halo technique you can use to link everything together. For an example, an entire figure, you halo and entire figure, you've now linked it all together, right? Okay, so that's, that's one way to do it. Another way to do it is emphasis. Emphasizing what you, what you want closer to you. So like let's say you've got no one figure standing here and one figure standing closer. Well, you can emphasize that figure or that that that finger that's coming out of the hand or something like that, right? You can emphasize this one part and bring it forward. Okay? Something like that. So if I wanted to, I can emphasize this one just with a little bit of a darker outline than the one behind him. So we've got the halo that just wraps around as a circle or wraps around the entire form, either sort. And this emphasis that grabs hold of whatever you want to emphasize and punches it more. Usually, we do this to emphasize closeness to the viewer. As it gets closer, it gets darker or more defined. As it fades away, that the details become a lot lighter and vague, right? Okay, so we can use that as emphasis, using line weight to manipulate that. All right, Another one that we can do here is lighting. So let's say our lighting sources coming from the top here. Well, what I can do is the bottom is going to have the heavier line. Okay, so that adds some weight to it. You're going to find generally people do this with figure work the most. Okay? They'll use the light direction to give the cue for line weight. Okay, so there we've got three different ways of approaching line weight, halo, emphasis, and lighting. There's more, but I think these are the three basics that you guys can start with. Next thing we're going to take a look at is the different techniques when it comes to to shading, drawing, rendering, those types of things. Okay? So we've already sketched in these balls, right? You can see them here. And what I'm gonna do is I'm gonna kinda start to, again, let's say my light sources above. So I'm going to start to color here. And this is really ugly. I didn't choose the white pencil, but it doesn't really matter that much. I'm just gonna kinda come in here. And if you're doing this traditionally, I think you understand you're just using, using whatever it is, a pencil to kinda rough in where you might feel the light and the shadow is here, right? Okay. And then if you really want, you can even cast a shadow below and shade that in too. All right? But what I wanna do here with the smudge is actually it's much, Okay. Let's see if I can do it with this one. Here we go. And if I'm doing a traditionally, what I usually do is I use like my finger. Yeah. That's some people have like little tools for it. You can use paper towel or something like that, right? But I usually just use my finger because it's nice and sweaty. Does what I want it to do, right? And so you can use the smudge technique to type, kinda render. You can come in, darken it a little bit more, right? And then come in, smudge it a little bit more. That type of thing. Especially if you're doing it. Traditionally, you can kinda just build upon, build upon build right leg. It's really kind of up to you how, how much you want to be building. Okay? So I can do just a little bit more here. Smudge it out. Okay. Not pretty, but get the job done. Next one is a hatching. Now there's different ways to go about hatching. Basically, hatching just means like if I can make it smaller and pencil you're blind line, line, line, line, line, line, line, line, line, line, right. There are some different techniques and how to do it. And I'll show you a little bit here. There's a street hatch. There's when you start to cross hatch, There's wherein you use a solid solid black and then hatch off of it. Something like that. It's usually, to be honest, it's better done, generally speaking, with ink. So if you can see, let's see if I can. God, this guy here. Here's my solid black, same kind of thing. And then I can just do something like that, right? Okay. So a finer tip and one that tapers and fades is what you want generally for hatching. But you know what? I think people can do it with a pencil. I think it's it's fine. Like I don't know, I don't mind pencils. Just gotta get like a little flip to it. And if you want, depending on the technique that you want, right? Like it's, it's really up to you what you're looking for. Okay, so what we can do is use this pencil and just kinda like, let's say I'm kinda outlining a little bit of where I think that light would shine and I'm going to do it even more. I'm going to make this kind of thicker. And I'm going to give a kind of an filled ink feeling to it. So up here is going to be light. Down here is going to be dark. Now, why didn't, why don't I fill this whole thing with with dark? Well, here's another technique and this is like I said, this can get pretty, pretty big, right? With how much we're doing here. What happens is when light, light comes down this way, it hits on this surface, right? But it also hits on this service and then bounces back up. So what you'll get, let's see if I can do it really nicely. Is a little bit of reflected bounce light that happens off of the surface. Okay. So that's what I'm trying to imitate just a little bit here is I've got light coming down. It's hitting here, right? But then it's also hitting down here and bouncing up. So this is a hard line of where it's darkest. And you'll see this if you hold a ball, you'll see there's a hard line and then it starts to fade a little bit. We can do that in the smudge technique up here. We can just kinda smudge it out a little bit. If we really want, like I said, we can get this harder line in here, smudge it a little bit, and go That type of stuff. But what I want to try to do here is to show you how to maybe hatch a little bit and see if that helps. So what we can do is just kinda missed a spot there. Do something like this, right? And now we can see how even if I put this shadow in here below and hatch it. You can see how this is kind of showing the difference between the hard shadow, a hard line, and then the bounce that happened below. Okay, so hatching, I kinda went beyond hatching here a little bit. There's hatching, crosshatching. You can use a whole bunch of patterns that you want. I wouldn't mix them though. What I mean by that is like try to show some separation between the object that you're shading and the shadow below. So if you're going, if you're shading like this, using a nice hatch right down below, I would either switch patterns or I might switch it into a cross hatch or something like that just to show a little bit of separation between the two. Right. Okay. Anyway, so that's, that's, uh, it's, you know, it's a choice. And here that our, I realize I have the balance. I had already kind of plotted it in, but I pots you guys to bounce up here, right? So just remember that when we come down, it hits different surfaces. And so even if you're shading here, you want to shade this whole thing in here and you can fill this all in, right? You're going to fill it all in and you can smudge it out whatever you want. You want to have a little rim of a line here, a highlight that shows the bounce off or whatever surface. Okay, Those are some rendering techniques. And see if we can back out a little bit and jump in a little bit more. Now, above I've drawn a massive do dark. It's huge and mostly a tricep. His triceps, ridiculous, right. And so you can see like, I've got some some heavy lines here. I've got the elbow, I've got coming out to the wrist and everything. I can even do a bit of a bit of a halo and combine it all so that it looks more in unison. There's a lot of things I could do here. I've got fibers going on, you know, showing the muscle fibers, showing how the muscle or hangs. Now I'm using a bunch of techniques here to try to show emphasis, right? What do we approach the arm below with just one to start halo. Let's go around this with a halo and just see how we feel about it. Right? So I'm coming in, Let's see, coming onto land here. Tricep. Four there. Now what does that feel like to you? Definitely punches it away from whatever is behind it or something, right? So that's one way to do it. I think using that halo effect will punch your characters, your fingers forward, right? Can't say that. It always works though. I think it works very well in pin-ups, but not always in sequential storytelling or anything, right? So keep that in mind that this will always work. Let's back this up. Emphasis. Let's try that one. So what do I want to emphasize this part, right? I'm going to emphasize this, that tricep here. And then things are gonna go away from it a little bit. Kayla's into the bicep. And I can emphasize things that I think are a little bit closer. So come in on the tricep a little bit more and have things as they're closer at the fade away into not so much emphasis, right? Okay, so that's another one. And I think it also works, you know what, it makes our focal point right there. So if I want to draw somebody's attention to a certain part of the body. Well, I can use line weight to do it. Okay. Let's see, I'm going to back it up again and just going to take a minute because there was a lot of strokes there, right? But I think it's important to give you guys a few different examples. Next one would be lighting. So we're gonna go top-down lighting again because that's the easiest one. So what does that mean if we come in here? That means that this hang has some weight to it. All right. That means that this elbow has some weight to it maybe a little bit there, right? That means that this tricep is going to have a lot of weight to it. And when I say wait, I don't just mean the tricep. I mean, obviously the line weight, right? Okay. These ones up top are not going to have as much. This part here, this rear delt is going to have a lot. This part here is also going to have a lot. And maybe a little bit in here, right? This part here of the, the form. Maybe some of the other lines here are also going to have a weight. And underneath here there's some weight. And then we can put it in here. So using the lighting, you know, you can even, and then this is where you can start to render even more. You start to say, okay, well this and maybe even this, this would be all in shadow for an example. And I'm doing this really quick as an, as an example, we can, maybe this would also be in shadow. Somebody along those lines in right here might also be in shadow, right? So probably here as well. All right. There we go. So you can see how this all of a sudden you start to outline where the shadows would be, where that the light wouldn't be touching very well. And you start to go in shaded up. And now you're giving a lot of form. Now you're I'm using a hatch because it was really fast, but if you use different styles of rendering, jeez, you can even do that too, right? You know, like you'd be able to blend, smudge, do whatever it is you want to do. Right? So that's what I was trying to show you guys here was the there's a few different approaches to things. Even when you're hatching, you can put the occasional squiggle in here for we got some veins going through insert to add details like that, right? That type of stuff, right. Okay. So I want to repeat. We talked about the different approaches to line weight. I'll put that up here. Language, the Halo just surrounding the emphasis, where your focus point is, or using lighting to determine line weight, right? Then we talked about rendering techniques. And there's more than this, like I'm kind of giving you the top three of each. So with rendering techniques, you could use a smudge, you could use a hatch focusing on a bounce too. So even if you want to a totally black it out and then strip in a white highlight or something like that, right? Okay. So you can use that. Then when you come over to the characters, you know, if you really want to, you can hyper render everything with every little all the fibers of the muscle, you know, coming out from their insertion points and stuff. But I don't think you should What, if anything, I think, you know, the average arm really would just be like, okay, so we've got the shoulder here, right? We've got the bicep. Maybe we've got a hint of a tricep here. Maybe the tricep is coming down, comes into the elbow, comes out to the forearm, comes out to this form. And we've got our hand out here and stuff like that. And so you don't have to show everything. You can show a couple of details here, maybe a line here to show the tricep or something, something along those lines, right? So what I'm trying to say is like you rendering as a choice if you want a big, massive Veni character, cool, do it, render roads and it's just going to be a nineties hatch fest. That can be kinda cool looking, right? I think it's better done with pen and pencil, like I'm trying to use here, but I think it can still be done. But if you want to get strategic, then you choose your line weight, emphasis, right? How are you going to approach? You choose your style of rendering, smudge, hatching, whatever it is, okay. I can even be a almost like a cell shading. What I did here was just kinda like what was I grabbed sections, right. Like I just kinda So yeah. If I have a ball, I could just kinda literally grab this section if the light's coming from here. And now it looks like There's some separation I can fill it in however I want, right? So that's almost like an animation cell, right? What I've done here is given you guys a few more. So I'm gonna give you this kind of blank sheet and you can do what you want with it. You can practice on it. You can practice on whatever it is drawings you're doing. But I've given you 21 with a little bit more punch to it, right? So you can come in on this one and just like for example, you could just say, okay, well, I'm going to use lighting as my main thing. So I'm going to come in here and I'm going to really emphasize the shadows where this is coming from. And it's going to come in here, it's going to come down here into each of the intercostal is the shadow is going to hang because of the PEC. It's going to hang here, come down and lags kinda hanging underneath here, and you can start to come in and render that way, right? I gave you two so you can kind of figure out which way you want to do it, right? And you've got a few more, I'm sure you've got your own drawings to practice on. No doubt. But it's always good to have a nice little worksheet in front of yeah, right. Okay guys, I hope this introduction to rendering figures helps you a little bit, helps you at least wrap your mind around how you're going to start to approach these. And as a bonus lesson, I think this one pretty well. Have fun. 19. Anatomy Perspective: Hey guys, and avoid joke here with another unit for you. This time we're going to talk about anatomy in perspective. So what did we get into it? What I would hope that you have if you're going to follow along, have your normal pencil or a tablet or whatever it is, but also have a ruler or a ruler function. We're going to do a lot of street edge work here and stuff like that, right? So let's get to it. Okay, The first thing I'm gonna do is draw a rectangle. Now how I draw a rectangle, It's kinda up to me, right? Like, do I just do it this way? Do I want to draw a center line? It doesn't really matter. I'm going to draw this rectangle, tango as it is, okay? Now, how do I find the center of this rectangle, right? And this is important because if we're learning, we've already talked before about the rule of h, right? And that's what we're going to start off as a basis for drawing these figures. Okay, We, of course, when we have this rule of eight, we learned to break it in the other units, right? But I think it's a good place for us to start. So taking this rectangle, we want to divide it in eights, but I want to do it correctly last time I was kind of eyeing it and winging it right. When it comes to perspective, you can get really picky when it comes to that, right? So I want to teach you the rules as always, and then we learned how to break them. Okay, So the first rule is finding the center. What you're gonna do is take the corner here, drag it down to this corner, and take the corner here, and drag it down to this corner. This is the center of this rectangle. So you can kinda draw it along here and I'm joining along here. And you know what? I can't even find my central line if I really want. And that's a little off. There we go. Okay. So that's the center there. Maybe I can bring this off to the side, just we can see this this is the central line, top, bottom, right. Okay. But I keep subdividing, right? I want to find where I would have the knees. So there's my center line there for the knees. And I want to find do you remember for the top of the torso, What was it? The nipple line? Right. Okay. Roughly the nipple line depends on where you put your nipples. And then this top one is going to be what? Yes, it's almost seems like a bit of a review at this point, right? This is going to be the head. Okay. So I guess I could put a missing one here. And usually I like to divide the top section into more. There's a lot going on there. So this is going to be the top of the hip, right? Slash the navel. Okay, so let's see if I was to draw my character in here. All right. Just roughly, I'm just going to use a oval here. This is my character's head. This is maybe I'll give them a bit of a wide shoulder, the Chevron. All right. This will be the hip. And then a lot of this is familiar, right? We can do the little underwear line, come down and do the legs. All right. So if I back up a little bit here, it can come down come down into the foot, into the foot level. The hand. We can have the hand starting here, the hand starting on this side. Shoulders coming off here, shoulders coming up here, and the arms connecting them. And then of course the elbow sits right there. So you can see this is all really familiar. Hopefully you know this, this rule of eight from things that we've done before. It's just a little bit more exacting using this dividing method, right? Okay, So why did I take all this time to show this to you how to do this? Well, because we're talking about perspective, right to this. This is what this is about. We're going to learn a little bit of perspective here, right? So what happens when I shall keep it relatively the same height now I think about what happens when the top is just that little bit wider. Bottom, we're looking down slightly. All right. So we're going to come something like that. All right. Okay, well, how do we do this? With this slight angle, things are gonna change right? Right now. We're looking at top to bottom. This is half. And this is half. This is nice uneven. But when we're looking down at an angle, things get a little bit different, right? So we're gonna do the same thing. We're going to cut diagonally. And look at this. That is now that waypoint. Pretty interesting, right? We can cut it again. And that is where the knees going to be. Okay. We'll cut the top-up into fourths. Let's see. I'll do this one. Okay, Now look at this. How different would this be, right? The head. Oops, I'm going to switch colors for you here. Let's keep it consistent, right? The head would be here and of course, you know, we'd have this. Most likely the head would be angled down or whatever. Right. Okay. We're still going to have the Chevron. But remember it's kinda looking at it from the top view down almost. So the Chevron would go something like this. The hips would still be here. The shoulders would be out here. And because we're looking down at it, we're seeing a little bit more of the shorter leg out. As you start to draw the anatomy, you'll get the traps in there and everything. The hands would be here. Coming down that way. Looks about right. So everything up top here is much longer than what's down blue. Eventually, we'll get down to our feet here. I guess I can do the little underwear thingy right knee would be down here. So now look at the difference here. If I'm starting to look, you know, here's head to crotch, and then here's the lower body. You can see how just that slight tilt has given much more focused. And of course we could tilt it even more, right? You know, with each time we do it, we'll give a little bit of a different tilt to it, right? What did we tilt it the other way then? We'll do this. Wide along the bottom or something. A little bit more narrow up top. See how this works? Yeah, that looks about right. Yeah, sure. And, you know, I know listening to me as I talked through this to get a little tedious and stuff I got. So don't Well, I'd say fast-forward, but actually you don't just write it through that born my kid says I am theirs for the bottom right. So this whole section here now, this is the bottom. Look at how much we shifted their right. This part up here is going to be the top half. So let's keep dividing. This. Here is the nipple line. This here is the top of the hips, belly button line, right? And this here is going to be for the head. Okay, we gotta remember that we're, oops, wrong one. We've got to remember a little bit that we're looking up, right? So that means that like we're looking at the bottom of things down below or whatever right here. We're kinda looking at things while we are looking at things from the top. So we see it from this perspective, right, where we're looking down at it and everything, right? So how would we do this? The hips are still here. The Chevron is still here. And maybe make it a little bit later. The Chevron is still here, right? The shoulders are still off of the Chevron. The hands are still at these markers. So they're coming down. The bubbles are still at those markers. The head is still at this marker. Do I want it to look up? Sure. Whatever. Okay. Do a little superhero underwear line out to there. Will the feet are going to be much bigger. Obviously. This is coming down, coming down. And there we go. Okay, so now we're looking up at this figure and we can see how much bigger the lower body is then the upper body from this perspective, right? So we're shifting around drawing these characters in perspective. What you also can do. And let's see if I'll just do a little one. Like I just wanted to hit a few angles here for you and stuff like that. But what if it's a character standing to the side, all right? And like I said, I cover this in my perspective and backgrounds course. How to map all this out. But I want to cover it here for you guys to. I think it I think it's really important. Oops, let's switch back colors. I should probably edit that stuff out, but whatever. Okay, So let's say we're going off into the distance here, whatever, right? And my character is standing in this box. Well, what do I do? I start dividing. And then now it helps if I've, like if I'm going to, if I've already plotted my same, I'm just doing a rough for you guys. But like if I've already plotted my vanishing point off to the side there, right, that'll help a lot. This is for upper body cutting it for the head. Bringing up that away, right? Yeah, I really should upload it in that point. We often the distance here, but it doesn't matter that much at this point. This is just a little example I want to show you guys. And one for the nice. I always like to do the nice. Okay, so now if I'm going to draw this figure in the heads, the easy place to start, what don't I zoom in here. So it's a little bit too much though. And we're looking at the head from the side here. That the hips are also a nice, easy place to start. The Chevron is going to come down to give it a bit of room for the neck. Come down to this point, come back up. We're going to be able to draw through with the redraw this shoulder here and then kinda drawing through because this, the shoulder would be maybe not visible from this angle. This hand is going to be here, and this hand is going to be here. So if it comes and we're just keeping the hands straight there, right? Okay. The elbows going to be above here. This elbow's going to be here. We've got the underwear curving because, you know, we're on a bit of a side view here. Alright, not a bit, but It's huge. I mean, go to here. This late, can come straight down, disliking come straight down. And then you can have the feet projected on. You can even measure the feet if they're standing straight on. I'm going to measure how far they come out and stuff. Okay, so that would be a character. And you wanna make sure you give it depth. You know, you're going to draw through the bicep pack will come this way. That kinda stuff, right? You're going to start to add in details and stuff. But really, I just wanted to show you how to approach drawing a basic figure in these varying perspectives from straight on, from the top-down and the bottom-up from the side, and using the rule of eight. And what did I say? Once you get a rule, you can break it, right? So you can start to play around with it, do a bunch of different things. Obviously, you know, the real trick is not to just have a static pose like this. You know, that's the one I'm teaching you right now because I think that's the one you got to grasp at first for drawing figures in perspective. But you're gonna have to go more than that. You're going to have to have a dynamic posing and everything, right? So there's two ways to do it. Well, there's a few ways to do it. One, just, you know, get boson and just see how it works. But the second one is to start to use references. You can use magazines or yourself and photos, I think I've shown you guys that before in different videos. The other thing that I would maybe suggest is using some types of figures. I know there's a lot of 3D apps out there that help for this, right? And you can use those. I think it's great provided, you know, your anatomy. Because things can get really warped both with these types of figures and with the figures in the apps, right? You start bending them, start moving them, and then things start bending and moving, maybe how they shouldn't. And anyways, you should know where the muscles go. You should know the skeletal system at least a little bit, right? But looking at these figures, this is an example of a figure I have at home. It's not a perfect figure it out. Maybe I would adjust it if I wanted to really draw a great looking heroin, I would made her legs a little bit longer or something like that. Right. But what this does help me is when I start to plot out some complicated shots from different angles, some action shots from different angles. I might grab a figure like this, right? So I'm trying to show you a little bit of how the rules are and then how you can use a few different things to make it a little bit easier on yourself. So think about grabbing an app if you like it. Or some of these figures. They can run anywhere from $15 US all the way up to a 100 depending on where you're getting them from and stuff, right? But in my opinion, they're really, really worth it. So think about it guys and you know what? As always, keep practicing drawing in perspective. It's just the rules of perspective can be kinda tough, right? But drawing figures in perspective can get even funkier because each body part starts moving in a different direction. It's not like a little simple block building, right? So it's gonna take a lot of practice, but it's worth it when you get it down. Have fun with the guys, and keep practicing. 20. Anatomy Clothing: Guys and for chart here with another how to draw anatomy unit. We're going to tackle clothing and how it ends on the body. Let's get into it. All right, so let's take a look at this. I roughed out a few figures. Some you might recognize, some I drew poorly and you might not. And that's okay. We're just going to go step-by-step over top of them and see how close might fit on these mannequins type, right? Okay. So I think we're going to start off with something tight here, maybe a tank top or something, right. Okay. So let's see where am I here? Lines. There we go. Okay. So tank top usually has these bands coming from the shoulder point here. They might stretch up and there might be a little bit of a border to them, right? Give it a little bit of rays above the skin there. Right. And then depending on how low the neckline is, it come down like that right there. They also come underneath the armpit. Something along those lines. Okay. And usually depending they could be cut off high above the belly button a little bit low. Let's give it a little bit low. We'll give her some little bit more conservative look. Now. That's not really saying much, right? Right now we've got a tank tops sitting over here and you're thinking, this is not that exciting. So how do we show what's going on with the fabric? Well, we can come out and we have the outline of the breast, the, the under boob per se, but then we don't draw the shape of the breast much. What we're gonna do is draw back and forth how, how the fabric folds and pushes and pulls. Okay? This is something that we're going to encounter a lot is these push and pull points, okay, these pinch points. And so if if somebody is standing like this and you can see the flow, she's kind of pinching to one side. Then you might get a little bit of a pinch here in the fabric. And I'm pulling up to this side, right? As the fabric pulls this way. There we go. And now it's kinda tied up top here. This is looking way more like a tank top, right? Okay. Tight. Still shows the boobs, But it's all being pulled in this direction. Right? Okay. Sticking with my tight theme, why don't we give her some tight leather pants or something. Okay. So we're gonna go tight here and little zipper area here. Right? Now. Everything on tight pants seems to pull from the crowd shout, especially if they're leather, you're gonna see this kind of double folding of the creases, right? It's not just a single crease, not just a single line, but often a double folding, kinda like this. As it folds down. So you can see as it goes down on the straight away, it'll stay pretty straight right? From the crotch here. It will come down straight. It'll fold all around this bunching point, right? And it'll come down usually on the outsides, you'll get that straight line. But once we start to hit another pinch point, where things start folding up, it'll be around, for example, the knees or something, right? We'll get a lot of the fabric pushing and pulling in, bunching up around the knee. Okay. Let's see if we go down this side a little bit. It'll stay straight on the inside little bit, maybe the occasional pole as it's coming down. Right. But then around this knee it really starts to sweep in and bunch up. Right. There we go. Yeah, I'm liking how this looks so far. It also kind of sweep down in the direction. I get to meet a mistake here. They don't overlap like this. We'll just erase that like that. And then we can give them the big fold and then a fold-out maybe at the bottom here. We'll give her some bell bottoms or something, right? Okay. So this will keep folding folding over and then we're going to fold out leather bell bottoms. And I don't why not? Okay. Yeah. That's looking kinda stylish, right? I dig it and tell you how it looks. Let's go with this next gentlemen here. I don't know if you recognize them. I don't think I did a very good job of them. We're just going to throw a t-shirt on him. I want to see how a t-shirt sits, right. So we know a t-shirt usually has this this neck area, right? You know, the neck. Okay. And we know a T-Shirt usually cuts off right around here, somewhere mid or upper bicep. Right. And then where does the rest of it sit? Right? How does the rest of it for usually you're going to find some pinch points, usually in the armpits. And then if anything else is being pushed. This pinch point in the armpit you'll see like the sural come up and it'll fold this way. And then it might start to fold out a little bit this way. Alright? Okay. But what's actually happening on this side is he's pushing up against this year. So this will start to fold the fabric and it will start to be bunched up and pushing across this way on the shirt. So it's gonna kinda bunch things up a little bit, right? And you're going to have these big folds happening on the shirt here. The shirts going to carry down. And then maybe come somewhere around this point, right? But all these big folds are happening because of this arm and him kind of crunching down on this side. They can even come up as far as this way. Over the top here we might have some little bit of folding of the fabric. Sometimes there'll be a little bit just around the shoulder. Same on this side, maybe there's a couple little bumps. Folds around the shoulder here and stuff. Right. But now it looks like he's wearing a legit t-shirt, right? Yeah. Nice and easy. Just realized that where things are pushing and pulling from right there, pinching inside the armpit. His arm is pushing it on this side. So everything is being pushed from this side because of the shoulder and arm and things are kind of pulling up, being pulled and elongated this way, right? Not bad. Okay. That was we got a couple of type things there. We're going to throw something big on this girl. Nice big baggy sweater, right? So how do we do that? Everything starts to hang. All right. So there's sweater, I'm going to draw the middle of it and it's just going to hang, you know, it's going to be this big hanging mass. Okay. We can barely see any bump around the breast. It's not giving much form. Maybe a little bit off of there or something like that, you know, might split down this way. But really this sweater is massive. It's just kinda, everything's hanging and flowing in this directional sense of gravity is pulling right? The sweater, the sleeves. Maybe they'll come out this way. Maybe actually they'll round a little bit more round around their shoulders because there's no peak to these sweaters really, right? There might be a little bit of a crease that happens with the stitch, but other than that there's not a lot there. And when they hang down, this arm is bent. So there's gonna be a big fold. There's gonna be a big fold there. And it's going to come down here and fold even more. Fold around this hand. Huge folds as, as it starts to land down there, right? Same as this sweater comes. It's going to fold a little bit around that elbow. And then these massive folds as it comes around the hand, right? Because the weight of it is just so severe. So you can see how it's kinda slim, kinda slim. And then these monstrous folds down as gravity's taking it, you can even exaggerate more and fold it way down. Have these big folds down at the bottom, right? Does that make sense? I like this. Yeah, it's fun with gravity, just pulling down and giving these big, big old folds at the bottom, everything stays kind of form fitting for this maybe top 20 percent. But as you start to work your way down, yeah, gets heavy. Alright? Alright. Well, these look pretty good so far. Tight. Not so tight, but a whole bunch of push and pull to it. And then gravity's pulling away at this girl, right? Let's move on down. And we've got a nice form here to work with. You know, why don't we give it like kind of like a bit of a tube top dress. See if this makes sense. You know, shoulders exposed dress wear around this point. Then it's going to start to flow. So here, from here to here is gonna be kinda form fitting. You know, you can kinda see a little bit of the breast, right? Things are going to start to flow off of, off of the breast from there. But then I really want to start to see where the fabric would flow once it hits this line, will make this like kinda like a double stitch line or something like that here. Right. And then now how is it going to flow? Well, along the hip, It's going to flow as we would expect it to, right? It'll follow that, right? But everything else, you know, it can flow this way, could flow around, watch, It's going to flow and once it comes down here and it hits this leg is going to flow around the leg or just starts to flow catching the form and stuff starts to catch itself and flow in different directions a little bit, right? Basically it's being affected by this underlying leg here, the crotch a little bit and starting to flow out this way. And then we can kinda swoop it on over this way, right? So it's starting to flow out this way. And why don't we even do something a little bit funky here, attach this and see how this would look. We've got this swoop here and we've got more of the dress flowing. And flowing from this, this is a pinch point up here, right it, and it flows down and stuff right. There we go. And that looks kind of funky, right? Nice and smooth. I dig it. Okay? So one thing that I want to emphasize with this is, you know, we've got that directional flow and it's very smooth compared to the sweater that we were just doing. But because it's lighter than the sweater, it's it's a little bit of a softer, lighter material. As soon as it hits something like this leg, it starts to wrap itself around much easier. It doesn't bunch up at the bottom. It flows really nice and smooth, right? Okay. On something that's hard to draw that I've always found tough is suit jackets. So why don't we just draw jacket on this gentleman here. What I usually start with is the color. Maybe working on down like this somewhere around here. Usually there's the, this is a pinch point. The first button right from here will often have the outline of the or the actual color itself come up, come up here. Okay. So that's a basic look, right? But he's raising his hand. So we've got this kinda this is going to bring it up, right up to the shoulder here. And, you know, suits have these big old shoulders on them, big shoulder pads right there. They're padded to kinda give extra shoulder looks to them. Right? So if he's bringing this up, this is going to be artificially much higher than, than what we would normally see. Write this as kind of angled up this way, right? This arm is still going to be here because he doesn't have a massive bicep, but it's not just that, it's that material will usually hang below. It sits right on top of the form of the muscle, right? So this might bunch up and then form down into the lower part of the jacket here. And jackets sweep out, right? If it's sweeping out, you know, if it's coming this way, then maybe this would form a little bit out to the side here, something along those lines and it comes a little bit below belt line here. Usually suit jackets come around there. Okay. And the pinch points are all up in here. They're in the sleeve here. These are the nice drag L points, right to sweeping points, but these are the pinch points up here. And if I was to draw the cuff, not bad, this would follow along this lines. This would follow here until it hits this pinch point, right? Maybe we might get a little bit of a roll of the cuff there. Does that make sense? Let's see if we're moving on down here. We talked before about how elbows are often a pinch point. You know what, why don't I bring this one in here? And we'll just have this kind of sitting on. It's getting pumped out by the hip just a little bit, but not much. We're coming to the elbow here. We're going to come with the shoulder pad down down the arm. Usually there's a little bit of wrinkles around the elbow or sold because it's been pinched so much, even if it's straightening out or a semi straight, you still might get a little bit of a wrinkling on the, on the suit their right, the fabric holds that the crease. And you know, something like this to finish off that suit jacket. Not bad. There's likely three other buttons here holding it in place. Something of that positioning, right? Cool. All right. So what kind of material we're going to put on her? Jeans? Let's put some pants on this girl. Right. Low cut. I got I don't know. Some ILO. Yes. We have the little the belt loops and everything, right? And we have the zipper area. But the key thing that I want to look at is like this. Everything, this is a massive pinch point. It's a trap. No, honestly, like theirs. It pinches along the pelvis here in the hips. So you're going to see how it folds along what we're doing here already with where we kind of had the hips drawn and a little bit, right? So even though there's a pocket here, in a pocket over here, this whole pelvis point is often really wrinkly and stuff, right? Might maybe draw crease on the outside here. And it might just come down the gene just a little bit on the inside here. There we go. These are fairly form fitting jeans, right? So we can actually keep them pretty close to the skin. Sometimes genes can get back here, but for these only keep closest skin until they hit another pinch, stretch, pull point type of thing, right? And that's going to be the knees. So there's going to be those legacy creasing all around the knee doesn't have to bunch up too much. It can still stay fairly flush. But it's just that need areas. So used to being all bent though, those all of those creases are going to remain there right now as I look. Wow, she looks good. Good looking gene so far. Let's bring it on down. And why don't we throw a cuff on her, maybe somewhere around here. What did we say above the ankle? Somewhere around here? Yeah. And this creases coming down. So if we roll this cough, maybe the crease can kinda roll on the outside of him. That creases on the outside. So it's not going to be here. Maybe just down towards the cuff. There might be a little wrinkle or too little crease of where it's all folded up and stuff, right? Cool. Should we give the scroll top? Yeah. Why don't we do that. What I liked was little cuffs that we were doing down below. So why don't we put a little bit of a cuff here, right. And as if she's she's rolled up or sleep, sometimes the cuffs can be a little irregular, something like this. Right. And then what kind of shirt do we want? Collared shirt. Yeah. How about a button down and we'll go down the middle. That's roughly the middle, right? We'll give it a little little crease or something like that. When it comes to a shirt like this, you'll just see the outline of the breast, right? You're not going to see the great deals or details of the breast or anything like that. You'll just kinda see like some some pulling and pushing, a little bit of rounding around it, right? When you fold in here, you might see a little bit of a fold as the shirt comes to the bottom and the waste where it is a little bit of a pinch point because our torso bends and folds so much right up here. Maybe we can separate into some type of color. Let's give her a cool color and it's kinda covered up on this side. I'll just come around. Yeah. Don't mind me drawing through her hand at all. Right. I'm a little bit of a shoulder to it. A little bit of a shoulder. It's going to come out and on the outside it'll stay pretty flushed. But in here we know we've got tons of push and pull, right? It's around that, that underarm, right? So there's going to be a lot of that happening here. And a lot of it happening around the elbow. Here we go. Lot of it around the elbow, but it's all stretched here on the outside of it. Alright. Let's see what else do we got? Well, we didn't do this. So there might be a little bit of something else you can do is with every button that's just kinda rough in the buttons. You can do kind of a bit of a push and pull. And I can pinch point from those buttons and stuff, see how they, they, they pull the fabric a little bit. It doesn't have to be perfect, it doesn't have to be regular. It can be a little irregular and stuff, right. How does she look? Yeah. Looking pretty Boston that shirt, right? I like it. Okay. And last one, what are we going to throw on her? Skirt? We haven't done a skirt. Yep. Okay. So I waste low waste. Let's go high. We did low wasted pens. We're going to go above the belly button. And we can give it a little bit of a lip at the top right. But a lot of this, even though the genes and pans, we got the, all the creases around the crotch with skirts. We don't really have that, but it'll, it'll start to happen right around the waist. And then it'll happen because of the leg, the movements of the legs. So they'll fold around the hips a little bit. Let's see if I get a little bit closer in here. How far do we want to have this skirt starting to pull because of the legs? Let's see if I did this one again. Here we go. Starting to stretch out. There. That's a good looking skirt, right? Okay. This leg is pulling in, stretching the skirt across. Right. And then we'll give her something to wear up top because this is indecent. A top take little crop top tip of thing. Alright? What you can do sometimes is like draw a line here. And then you have just have a bit of the outline of the breast, the pole underneath, right? We've seen this before, the under boob type of thing, right? And how it pinches out from the armpit here and pinches on the other side from the armpit, right. Where we say this length of shirt, right? Little bit increases their little bit of creases on there. V neck. Let's go with V neck. So we've got a little bit of creases that come off the collarbone. And there we go. Yeah. I'm not a fashion designer. That much is clear. I think I would bring this down actually somewhere around here. Cool. And this is where you start to get the form of the character, you know, like make sure you can around things around it. That it's not just in your mind is not a two-dimensional thing, but it's three-dimensional. There's circumference planes and everything, right. Okay, So just a quick review. We tried some kinda tight pants and tight tank tops and then somehow I ended up down a bell bottoms. Don't know why I did that. Right. The showing how the underarms are often a good pinch point, but how, you know, like an arm resting up against the shirt gives some force. A shoulder stretched out, gives a bit of a stretch, right? How Wait, carries fabric down, especially if it's a thick fabric and heavy sweater, right? We talked about how lighter material will flow a lot easier and form over the, over whatever limbs are curves you have a lot better and stuff, right? And let's see. Yeah, there we go. See how that looks right. We talked about how shoulder pads are very eighties, nineties, eighties go with AD's and how they'll bunch up around when you lift lift them up and everything. But basically the whole lot of structure to them, right? How genes and any pens really, you'll get a lot of these pinch point around the crotch and everything. How it gets really tight up in there. No joke intended. And how even around the knees, even though the knees not bent, you're going to have these legacy wrinkles and stuff I get carrying over. Alright. And we did some cuffs making sure that the cuffs, sometimes they're looking really nice and uniform and sometimes irregular. And then how a skirt might look. This high wasted skirt, how the torso still has, you know, it's, it's a bendy point and everything. So you're going to get a lot of curve wrinkles flowing out of there and stuff. And then how the script might wrap itself around the legs as they move a little bit, right? And how for when it comes to the chest, how you don't have to show There we go. Yeah. You don't have to show all the lines or anything like that. How you can just show you a few little points that can give the circumference or the flow of the yeah. Here I want to clean this up for you a little bit. Basically what I'm thinking is like this is going to be shadow underneath here and stuff I got. All right. So a few of these little points you don't have to draw the entire breast or anything. You could just show where the drop-off is going to be in stuff, right? And where you can add in the shadow. Okay, I hope this little extra bonus lesson was interesting for you. We've talked tons about how to, whereas it to draw skeletons. Let's see, I'll bring this a little bit darker for you. There we go about how to do out the simplified skeleton. Then how to add form to them, right? How to add the muscles and everything in the different spots. And then now we've added clothing. How to add clothes on to these forms and stuff, right? Yeah, I'm, I'm really hoping that this helps you round out your characters more and give them a little bit more believability. Okay guys, good luck and keep practicing. 21. Anatomy Line Of Action: Hey, what's up, guys? It's ed and I've got a bonus video for you. Bonus warm-up. Could be either. I wanted to show you guys how I warmed up a little bit when I'm trying to get into figure work. So is this an anatomy lesson? Kinda, you know, when we're looking at anatomy, I've already broken down the, a little bit of a simplified skeleton and then we went into all the different musculature sections, right? Butt, sometimes the whole flow of the body also is included in the anatomy. Okay. So when I'm warming up when I'm trying to get loose and drawing, figure, work, gesture, line of action, these types of things are important. So I wanted to bring you into this and see if I can explain how I do it and then see if that helps you at all. Okay. Like I said, it's a good world and it's a bonus video. I'm just kinda throwing this in as a bit of an afterthought, but I thought you would appreciate it. Okay, so let's take a look at this sprinter here. Wow, he's pumping it out. Where's the line of action? What is the line of action, right? Easy enough, we can just say the line of action is the flow of the figure. That's the way I look at it, right? And the flow of the figure, it's almost kinda cool. We can see it going down his pants here. Is this, this is how this flow of this figure is moving. It's moving in this forward direction. He's a sprinter. He's moving forward. Seems simple enough, right? So once I kind of put this in, this line of action, I then come in and I kind of fill in my skeleton over top of it, right? I know that this is going to be the line of action. So I kinda, you know, I've got my torso, my hips. Remember the simplified skeleton we talked about? Right? I would start putting this stuff in here. His head right. Coming forward. Shoulder for those shoulders forward, the shoulders back. And I can start to fill this in, so hope this makes sense as we're looking at it. We're filling in a bit of a simplified skeleton over this line of action, right? Makes sense. I want you doing this along with me. But what we're also going to be doing is punching a little bit further, okay? So instead of line of action, I'm doing it right next to it. The exact same thing. Why don't we angle it a little bit more there. That's even pumped a little bit harder, right? So, oops, I want to switch my marker up. So what we're gonna do is, you know, here's the knee. I'm going to have the foot back a little bit further. All right. This leg here, I'm going to pump up a little bit more. The torso is forward. Notice how like this is just that extra angle, right? Okay. So this is something that you want to be pushing that line of action. I'm going to have this shoulder further forward, this shoulder further back, and have this arm maybe just up. So I'm pushing everything. Just that extra little. Maybe I'll bring this forward even more. Extra little bit in his head will be pushed up even further. Okay, cool. So this is what we're doing when we're warming up. We're finding the line of action and then we're goofing around with it, play with it just a little bit. Alright, Okay, so where's the line of action on this girl? Let's just go like this. We'll start to fill in. Oops, I keep forgetting to switch up. Sorry guys. We get to start to fill in the simplified skeleton, right? We know how it's gonna go. I'm hoping that this is just the after video for you write that at the end of everything, you're really able to easily come in and fill in a simplified skeleton with the Chevron, the head, all this stuff. And then what do we do? We come in and we push it just that little bit harder, right? How would you fill it in? Where, what would you do? You know? A little bit different. The chevron might twist a little bit more. Their shoulder might come up a little bit more. This leg might tuck under a little bit more, right? This leg might come out just a little bit more, right? And this is how you can push the line of action just a little bit more. The head might tilt him. So I've actually got the torso bending that way. I'm going to leave Romanness so that you can fill it all in your self-renew. I want you to get used to where's the flow of the action? Okay. It's not always the flow of the spine. Usually the spine is a good indicator, like we could say, it's this way, but it could also be this way. Depending on how you're framing your shot or where you want to emphasize. Okay, So if we're going to go this way, we can actually put it further. You know, have her hips here, had the foot coming up here, have this foot coming down here. And then. Line of action. We can actually bring this back in here if we want torso, head, we can do it that way. Okay, So usually line of action, like I said, is the flow of the character or figure or whatever, right? But it's sometimes in your framing, okay? So I think that one's easy. Push it even harder, right? How am I going to do this? Maybe further bend, right? Okay. This one almost the same, right? It's got this nice swoop to it. I want you to push it even further. Okay? So sometimes I, I almost do it like three or four in a row. Each line gets progressively bendy ear. Right here, I can backspace and go over it and stuff. But if you've got a piece of paper in front of you, why not just do it line after line after line and keep pushing it right? Okay, so let's see if I fill this in here. This one gets filled in even more. Maybe this leg comes out further, comes back. This one follows this line, comes back this way. Maybe because it's starting to shift. Now this will come up across his head, will come forward more. And this, and this one can come up here with the ball, right? Okay? So you can really keep pushing these lines and seeing how much bend you want in them. How much, you know where the emphasis you want to put is, right? Do you want to put it in, you know, which direction is the shot going? Sometimes with some of these guys, the movement is going this way, right? So you keep bending, bending, bending, right. To give more movement. We can do that here. You know, we've got this basic movement. And this basic movement, right? She's coming forward, coming this way, right? So we can bend this even more if we want to, if we're looking beside, bend it. She crumpled over and she comes really forward. And look at how that looks. That makes, makes a lot of sense. You start filling in the direction of the punch. The punch comes in, comes in further. Okay. The shoulder comes up, torso leads into it, right. Maybe the torso can follow this line. And her head crumpled under the punch. Her her head crumpled under the weight of the punch. Right? Here's her torso, here's the hip. So if you look, this one has a lot more impact than what we've got going on over here right now. This is just after a hit, right? This is after a reasonable hit. You can see your face. He's got it right. But this one, wow, look at that. There's power that's coming into this hit here. And this had been crumpled way under. Alright. And we can even bring her face into it a lot more, Right? Okay. So don't worry about adding the anatomy yet. Worry about the line of action and then adding in while doing the line of action, then really punching the flow. Do you mean like punching this curve and see, okay, I'm going to practice on these characters on these figures that are in front of me and see where their line of action seems to represent which direction are they heading, right? This girl's kinda heading down. Rhonda seems to be heading towards her as the punches, right? This character's heading this way with this curve, right? Once you get that down and you think, yeah, I can fill in the skeleton for this. I can simplify it up right? Then. Punch it even further. Punch that line of action even further. You know, really been that curve. We're doing soccer here. Bend It Like Beckham, right? Really punchy and see which direction is this figure heading and how far can I push it before it becomes Gumby ask, before it really gets to cartoonish. And you know what? That's not even a bad thing. You know, watch what cartoons do they really exaggerate, right? Okay. I've included, I'm going to add this to the normal worksheet that we're doing. So you can print off just these pages if you've already printed off the normal PDF document that I sent or you get to print it all over again and run your practices. Okay. And as always, I included some extra stuff here for practice. You know, some interaction between characters and a lot of flow for different sports, right? Where's the action line? Sometimes it's not just a line, sometimes it's a hook, it's a curve. Okay? So get in there and then after you've done this, I strongly recommend do this all the time as a little bit of a warm-up. Whether you do the figures that I provided or whether you go online and just Google like athlete's sports in motion, those types of things, right? And you know, martial arts, fight scenes. Wow, You'll get a lot. Okay, I hope this was helpful for you. And I hope as a warm-up, it's something that you do as a bit of your routine. Have fun guys. 22. Anatomy Turnaround: Hey guys, I'm back and I've got something interesting for you here. Well, interesting, I don't know, kind of a wrap-up of sorts. You know, a lot of people have messaged me and they're like, Okay, I think I've got it. I know people have been sending me pictures in their sketches and everything, right? But they kinda wanna see all those pieces put together, right? So I thought, what am I going to do but make a turnaround. Now, what does the turnaround exactly what you see in front of you? This basically a figure turned from the front, the side, and the back so we can go through some of the body parts and just see how it all fits together. Now listen, I am not going to be teaching you all of these body parts. That's not what I'm here for. This video. I covered that, right. The point of this unit is more of just a review addressing some of the questions that I see constantly popping up from my students. So we're not going to go over every single piece, over every single muscle. This course is six hours long plus, right? And it would take me six hours to go over it again, probably here. But what I am going to do is kinda delve into places that I see a lot of people popping up with the same troubles and see if I can just kinda wrap it up, review a little bit and see if it helps you. Okay, so let's start with the front, right. Some things that I want to see is from the ER. I want you to bring this band down towards this collarbone, okay. Especially the front of it. I think it's important. So even if the head starts to turn, hello fees starting to turn and looking this way or whatever, right? But this band still brings here and this one is still coming from the other side and stuff. Okay, so the main thing that I see people messing up with here is not bringing the sternal mastoid down to the collarbone here. Okay. Another sticking point is going to be right here. This point right here. This is the PEC, delts, bicep kinda knot insertion, but where they all kind of meat, it is the PEC insertion because the pet comes off of here and spleen plays. I think I'd talked to you about like a fan type of thing. So it's going to come off and split this way, right? Okay. So yes, this is a critical point for the PECC. But also if you notice the bicep actually comes underneath it and you can't always see it, right? Depending on how big the bicep is. But maybe I'll switch colors here sometimes for yeah. Yeah, the bicep is coming up and underneath it and inserting in around the shoulder joint here where the shoulder connects and stuff. Okay. So it'll insert up in here. And that's why it's by subs part of its function is shoulder flexion and stuff, right? Just a minor part. But anyways, it goes underneath this PEC, so the pecks going to lay over top of it. Okay. Then the garlic clove, remember our side garlic, garlic clove oil. Look at it from the side again. We've got our front delt here and our side delta visible here. So this is the front, this is the side. Okay. Usually from the looking at the arm, what I'd like to do and this is something that I recommend for most of my students, is if you're going to draw the bicep and draw a center line down the bicep. Okay. Because what that's gonna do as you start to go down the arm, you're going to find like, if I want to then turn the bicep out a little bit, you know, if the biceps is going to be coming out this way, well, then the palm is going to rotate the form. Everything is going to rotate out and the thumb is going to be out this way and stuff, right. Okay. So when the tricep will start to come behind and all that kinda stuff. Okay. So try to find the center line of that bicep. I think it'll help you just to plot things out. You obviously won't stay in your finished piece or anything like that. But it will help things follow the line. It doesn't exactly follow them because, you know, you can twist your wrist a little bit and stuff for it or a lot. But I think it's good to just when you're laying out your arm direction. Now, what else do people run into? The whole abdominal wall. Things I want you to remember. Belly buttons here above the belly button will be the Six Pack 1, 2, 3, 4, 5, 6. Okay? If they're super lean, you might see eight. Genetics might split the bottom half in to actually attend pack or something like that. Okay. The love handles the obliques here. It all kind of lines in 2D, this pelvis actually. So you can think of it kind of like is this weird? You don't want to draw it like this making necessarily, but you can think of it as this weird bend that. That helps move in this direction. So it's always going to be twisting, coming off of the pelvis and stuff. Right. I also talked to you. I see a lot of people just kind of guessing. Run the nipple line down. And remember the serratus are kinda like fingers that are lining underneath this. And they can kind of go like this type of thing, right? Depending on how much you want visible. The last will be slightly visible. And that's come up behind here from the front right. Oh, one thing that people have been kinda messing up with and I thought I've explained it pretty well, but if you draw an a girl, the boobs do not sit right here. All right. You know, unless through this, they were the skinniest grow ever and they just got implants or something. That's not where they sit? Yes. This is the general nipple line ish for a man depending on nipple placement and all that kinda stuff, right? But you gotta figure like movies have weight, right? So drop them down. They're going to hang, there's going to be weight to them. They're going to come up into this PEC insertion or the nipple is going to be lower, that type of thing. And now this is figure is looking really strange, but I think you get what I'm talking about right here. Alright, well, I don't know anyway, some of us in here, you have it make more sense for you. Okay. So yeah, the boobs will often, not often. They do, they hang, right? And so now you can see how, although it looks kinda grotesque on this male figure, it'll make more sense, right? Anything else? I want to talk about the and the frontier, the flexors and extenders, right? Have this bowl come this way, so it's shaping this way. Whereas in this one flows into the risk. More has a flowy outside to it. All right. Here's another one that really is starting to get to me that I see repeated again and again. The thigh. All right. I want you to find your center line of the thigh as it moves up. So if this is the thigh on this side, the center line is actually going to be here and then it can follow the knee, right? You can fold the knee down and then you can go all the way down if you like. All right. Okay. All the way down the shin or something like that. Right. But the reason I do that is because when you start plotting your muscles, then you can see that the rectus femoris comes off the middle. Basically write that down below it. The vastus medialis can come up and everything can come off nicely off that center. Okay? So if you get that center line going down the middle, then it helps you plot all the other muscles on the front of the lake. Okay. All right. I think that's the main things that I discovered from the front people who are running into from the side. Let's talk about a few things here. One thing is the shape of the delt. You know, some people will just do this or do a little heart or something like that. That's cool. Actually, I think it'd be great if you do this kinda heart-shaped. How the delts form into it though. You can have a huge middle dealt small rear delt, and a small front don't, you can change it up and have a large dominant front delt, reasonably midsize, mid dealt, and a rear delt that's a little bit smaller, like so this is front, middle, rear, right? You can change it however, your character is like if you look at bodybuilders or you look at the average person walking down the street or doing some sports or something, you're going to see a lot of different shapes and functions. The thing that won't really changes its insertion point, kinda this mid arm area, right? So I want you to kinda come off of there. When you're drawing it though, you don't have to draw all the details and stuff, right? You can just kinda have some, some of the lines coming in stuff, right, depending on how, how defined the character is. Okay. Next thing I want to talk to you about, is that something I see a lot of what I would like you to do when you're plotting an arm like this, Let's say here is your shoulder joint and stuff, right? Let's say you want to plot in the upper arm as a cylinder. A lot of people who use cylinders when they were first learning how to, how to draw, right? Okay, So I'm going to rough in these kind of cylinders, right? It almost looks like a weird toy hinge or something right off of this cylinder. Then you could think of it this way. The bicep is going to come up in this way, right? Okay. So the bicep comes out away. The arm can be Street in this part that comes to the elbow, right. But then you can have this part of the triceps coming here and this rear part, the inner head of the tricep coming like that. So when you start to clean things up then do I mean like this, it ends up looking like exactly how you wanted to plot it out and everything. Alright. Does that make sense? So same with it. Why don't I do it off to the side here, just so it makes sense, right? The bicep might come out this way. And the deltoid is here. For an example. The tricep, maybe you could do this heading here, this one here, and then this one comes down to the elbow, right. The brachialis, radial brachialis. Yeah, let's go with this. This can also come off of our cylinder and come down this way. And they all kinda lead in the same direction. I like drawing a line that follows are little hinge here. And then the flexor of the forearm comes underneath and then you cut it into that the hand here. Right. Okay. Cool. One thing that, oh, here's something that I ran into a lot is that There's something called the IT band that runs along here to the knee and along the side of the leg. And if you look at a lot of anatomy charts, you're going to see that kinda it's a white band and it kinda has its attachments. It's ligament attachments and stuff. The thing is you don't really draw it. Okay. Unless you're drawing an anatomy chart, right? Usually the quote on the outside here, the vastus lateralis has its own fibers and patterns and stuff. So when you look inside of it, you won't see that band. That's not what's visible. Was visible as the occasionally is a little bit of muscle striation and stuff, right. Okay. So this is where we run into is I think that studying anatomy charts is awesome because you're going to see what's underneath everything, right? But it can sometimes be a little misleading. Okay. And when I say misleading, I don't mean it's wrong. I just mean when you start when you're studying these charts, but you don't understand how many layers are being stripped away that can start to mess with Yen stuff. So yes, it's good to study those things, but it's also good to look at somebody with actual skin on them. So you can see, well, this is what it's supposed to look like, right? What else are people messing up with here? And I say messing up loosely. I just mean struggling with, right? I think the traps, we can still go with this kind of diamond shape, right? But traps are individualized. So sometimes it might be this big bump of hugely developed nervous, right? Other times it might be a nice slope, right? It's coming from the base of the neck there. You might have this small little divot here. You might have an indent somewhere around here. The thing that I would emphasize that I see people mucking up with a little bit is, you know, make sure you get this center line going down the back as its center. If you start to turn your character, that center line is going to turn with it and stuff, right? So make sure it's flowing with the with the back. Okay. Anything else, people from the back, sometimes these delts can be this is actually the rear delt. Okay. Comes, comes up this way and comes over the rear delt. The side really isn't visible from this, this view. You gotta watch and maybe see how people turn around. Some people's results are not that large. This guy is obviously overdeveloped and stuff, right? But yeah, don't get too hung up on this that much. What I would do instead is just actually, you know, what I do. And I'm sure you could do it too, is take pictures of yourself from, you know, turn, turn, Turn, turn, and listen. I'm not mean like a bodybuilder or anything like that, right? What you're going to see at least where things kind of sit, right. And as you followed in a turnaround, in a full turnaround of this is three-stage turn around. You could do a six stage turnaround and really see how their shoulder, how the garlic turns around or the other thing is like, Sorry, just like how we had that peck insertion overall on the front here, that was really important. The next thing is this back insertion that the back is going to come out underneath the rear delts and kinda come this way. It can give it little lumpy through the rhomboid and teres major, minor area and stuff. Again, as it sweeps into adults, I drew in some fibers here, but that's more for just showing like how would they sit and spread, right? And it comes up this way. I wouldn't do that. I would have like it would my bom, bom. Bom. And now you can see, okay, well, it's maybe bumping through some of this part. It's bumping as it hits the lat and it comes down into this part here, I want to have a little bit of the obliques from the side. It looks like love handles, but it's actually a muscle pack with that loves to pack on fat, right? Glutes. You know who? Strangely, everybody's drawing them really well. So I don't know if, if I taught it really well or people just have a lot of focus on it. I think, you know, the simple thing is to draw two nice little circles. Draw a line down the middle, coupled underneath, cup it underneath. Now I will say this, this is where one actually now that I'm thinking of it were one thing that people mess up on when the leg is moving forward. Like, let's say this one's a little, this, this one here is a head, right? You're gonna have this cupping of the bot that kinda gives a nice coupling of the button. You know, it's got this nice swoop at the bottom of it. All right. But when the leg comes back When this one push it back and if it was kinda raised up a little bit, what that does is actually push up against the glute. So the hamstring pushes up and so the leg, if it's slightly raised this way, it's going to push the group that way. So if it's either standing or street, you're going to have that nice cupping of the glute. But if the leg is racing backwards and up, it's going to push against the hamstring will push against the bum, and kinda raise up against it. I thought I saw most people are pretty good with the kind of diamond shape calves and stuff, right? Just remember that outward sweep, that inward hook and then coming back over and stuff, right. Okay. You know what guys out of all the art that was sent him to me. Those were probably the biggest trouble spots and stuff like I was really impressed by how everybody was doing. They're just there was a bunch of solid art. Of course it's not perfect. You know, like I said, there's these little sticking points and hiccups and everything, right? But everybody's doing awesome. Try to put it together. The one thing that will help you put it together though, is once you kind of get into all of this, start to smooth it out. Here's your shoulder, Here's your on the triceps right here is the elbow. Here's the form into the wrist. You don't have to draw every single fiber. Instead of that, you just kinda give a hint, hint. Hint here. Maybe a little bit of definition in the elbow. Maybe a little bit of definition in the forearm. Right? Maybe the occasional vein coming through and that would be it. Right? You need to know some of the underlying muscles so that you see, okay, well this is where it bulges and this is where the next bulge happens and that kind of same like you want all those bumps and bulges in the right place because if you don't have them there, that look really awkward, right? Well, but that doesn't mean you have to strip the character down to having no Skinner anything, because that can also look equally as awkward. So make sure you find that nice middle ground, especially if the character has clothes on or anything. All right, keep in mind how much fat is on the, on your character, on your finger that you're drawing. And what type of clothing is on there. You know, if it's a suit jacket, how's it going to sit? The color is going to be here, right? It's probably going to come to here. It'll break there. There'll be some wrinkles coming down. Or here's the, you know, the fabric coming up right? There's going to be a lot of wrinkles coming in here and stuff like. So you want to understand what were the bulges are even in fabric, right? But you also want to keep it kind of loose and not draw every muscle going, pushing through every piece of fabric. Okay guys, I hope this turn around really helped you. I hope it helped you get through some of the sticking points you might have been running into. And if there's any questions at all, make sure you message me and I'm pretty good at getting back to you. Alright, have fun, and as always, keep practicing. 23. Anatomy Thank You: Hey guys, thank you so much for joining me in this how to draw anatomy course. It's a big one. There's so many parts of the body to go over. But you did it, you accomplished it. Hopefully by now, you really feel comfortable with simplified skeletons and then filling all the parts in-between, right? But if you don't if there's something that's still confusing, you send me off a question, leave a comment and say, Hey, what's going on here? Because if you're questioning, chances are other students are questioning too. So if I can answer it quickly, heck, I might even do up a new unit and update the course a little bit for you. It's a win-win for everybody, right? If you do like this course, if you're enjoying it, do me a favor, lever a big thumbs up or something. Reviews helped me tons helped me to create more content and keep putting courses out there for you. Speaking of courses, I've got 20 something bloated up here. If you'd like this one, be sure to check out the next one. And you get to hang out with my face again.