How To Draw Female Torsos: Learn Anatomy of The Female Torso, & Pose It In Perspective

1. Introduction: Hey, it's Clayton. In this class you're going to learn how to draw the female torso. We'll talk about the foundational building blocks that you're going to use to construct it. We will discuss the anatomy and the primary muscle groups that you'll need to consider throughout it. I'll show you how to pose it and represent it from a number of different perspectives. Before finally demonstrating for you three different examples of a finished female torso drawing. Let's jump straight into the first lesson. 2. Front View Torso Foundations: So I always like to start out with the chest. And to draw the chest. What I'm really laying down onto the page is just the most simplest basic form of what you could consider a ribcage. I call this the chest first because that is what it looks like is a vest. I place in some arm holes which will show me where the arms are going to pop out on either side of the upper torso. I lay in a center line to show me where the front of the chest is going to be. And then I lay in another cross contour that wraps around the chest form on the horizontal plane. I also add in and Nicole. And if you want, you could even pull out the shoulder joints from the arm halls just to show where the arms would connect. You could do the same thing for the neck hall. Okay. So that's where our other body parts would connect to the chest. From there, what we can do is we can continue this center line all the way down to about here, where we'll find the pelvis. Now the first thing to note, and this is important when it comes to the differences between male torsos and female torso is, is that the hips of a woman usually going to be the same width as their shoulders. And so as we're drawing the pelvis here, which is not the same as the hips. We want to consider that we want to keep it in mind. What I would like to put forth is that the pelvis is probably going to be the same width as the chest, really maybe even a little bit wider. I'm going to draw that in like so. And the pelvis as far as its simple form is concerned, I like to refer to it as the pelvis panties because that's essentially what we're looking at, is a simplified pair of underwear. And when I call it a label such as pelvis panties, that just makes it easier for me to remember. You can come up with your own nicknames for each of these forms, whatever helps it stick inside your mind easiest. But essentially, I draw out an underwear type shape to begin with. You could think of it as also maybe a heart with the top caved in a little bit further. Whatever you want to think of it as, whatever helps you remember it. Think of it in that way. But once I've done that, I go ahead and I place in some leg holes. And then the same cross contours, the guidelines that wrap around the form that we laid into the chest. And that just gives us a sense for the three-dimensional surface form of the shape that we're working with. And the cool thing about it is that when we can break the female torso it down into these really basic forms. It becomes so much easier to think about. It becomes easier to draw, it becomes easier to lay down onto the page. And it really isn't that much of a hassle to build up from this to actually start to place in the anatomy on top, which I will be showing you how to do in just a moment. Once we've got the pelvis in there, we can draw out some hip joints. Now remember, these hip joints are really going to want to align with the width of the shoulders. So we're going to pull them out to about here. Now the torso, it does have its own proportions that we want to consider. If we think about where the head would sit up here somewhere. Then we consider that the breasts come down about one head or two heads rather. Then we've got the belly button which comes down another head, then the bottom of the pelvis, which comes down to foreheads. Okay, So if the entire figure is eight heads high, it's about the midway point that we're going to find the bottom of the torso, the bottom of the pelvis. We want to consider that if we take away the head and we're just left with the torso, while the overall length of the torso is going to be roughly about, let's say 12. Maybe three heads, maybe 23. So 12, and then maybe another half a head. So you want to just keep in mind those measurements. You don't have to be super specific with it. You don't have to stress out about it, but as long as you're just generally keeping in mind the different size ratios and whatnot. You'll, you'll tend to find that you're able to draw the female torso up to size fairly accurately. Now the last element that we need to lay in here is of course, what I like to refer to as the trunk or the muscle tube. That's just going to run down from the chest form into the edges of the pelvis panties. Now this area here is really a tube of muscle that is responsible for a majority of the torsos movement. You see the chest and the pelvis. These are just solid bits of bone. These are solid objects. They cannot bend, they cannot shrink, they cannot move on their own. What they are is masses, primary masses within the female torso that is responsible for powering it forward. So we can twist those at either end. And we can push the body's movement by doing so. The middle of the torso works a little bit like a, I guess you could call it a spring sort of system where you can twist it and propel the body forward with the aid of those two masses within the torso. But if you think of it in that way, then it should make movement of the female torso a little bit easier for you to get your head around. So that takes care of the basic foundations of the female torso from the front. But now what I'd like to do is actually show you how to place in some muscles on top of it. 3. Front View Torso Anatomy: Now it's not really all that hard to begin dropping anatomy onto the female figure. So we can start out with the neck at the top, which will lead down into the shoulders. And then we've got the collarbone at the base of the neck. I'm just roughly laying this in. But the collarbone on either side of the female body is going to run up from the middle out to the edges of the shoulders. Then the shoulders will come down over the top of the upper arm. The reason that I'm starting to draw those in there, even though we are focused on the female torso. Primarily at this point is because indeed the shoulders and the chest are somewhat connected. They work in conjunction with one another. So we can't really draw the chest without considering the shoulders. Once we've got the shoulders and the neck drawn in there, we can add in some additional additional anatomy here on the neck if we want to. Just for the sake of getting some anatomy drawn in there. Once we got the shoulders and the collarbone and the next sorted out, what we can then move on to is the rest of the torso. So we're working our way down from the top here. Now, as I said before, if we think about where the breasts would SIT, They would sit about well depicts rather sit about two heads down. But because we're talking about the breaths, they hang a little bit lower than those standard proportional measurements. So let's draw in some PECS as if we were drawing a male torso to begin with. Because actually the muscle structure here is very similar. If we were drawing a male torso, this might be how it looks. But because we're drawing breasts, what we wanna do is add onto the pictorial muscle because women do have picked as well. Very similar in terms of structure to men. So what we'll do here is actually draw those out. In terms of how big the brush should be. It really depends on the character, does not any one standard size. So again, they built off of that underlying pictorial muscle. The breasts. And really made of muscle. They're more made of fatty tissue that sits over the top of that pec muscle. And so there are similarities between male and female torsos. It's just really a few adjustments within the anatomical structure and features of the female torso that separates it from the male torso. And most of those are concerning proportions. But also a little bit of the anatomy differences as well, such as, for example, the breasts tried to make it as symmetrical as you possibly can. It doesn't have to be perfect. This is just a study to get the anatomy down. But once we've got the breast drawn in there, I think it's important to consider how the outer edges of the breast actually connect to the shoulders. And what you're going to find is that you get this armpit area that builds off of the breasts at the top and it almost looks like it's hard to describe. It looks like maybe a a teardrop almost. Okay. So you get this sort of shape happening. Okay, where you've got the main mass of the breast at the bottom and then this little bit that pokes out from the top and starts to venture into the shoulders. Now the shoulder muscles are going to overlap or at least I have them overlap. The upper area of the breasts once we get to the top. But it's important to remember that in the end, these are all connected. This is all muscle there. If the shoulders rays, then the breasts are probably going to raise with them while they will, guaranteed, they will raise with them. Once we've drawn in the breasts, we can continue working our way down for the most part, we've got the upper region of the torso sorted anatomy wise. We can follow this center line down to the belly button. Now remember that the belly button is going to sit about one more head down from the breasts at three heads in terms of the overall measurements of the human torso. So I'm going to place the belly button at about here. And what you'll notice is that the belly button of a woman aligns pretty much with the waistline of the torso. It's going to sit right in the middle between the chest and the pelvis. Once we've got that drawn in there, we can start to think about the ribcage area of the torso and how that connects with the abdominal muscles. Okay, so for the most part, what you'll see is that the breaths sit over the top of the ribcage a fair bit. So that upper arch is going to come up and it's going to sit very close to the bottom of the breasts. Now of course, it depends on the breast size of the female character that you're drawing. But if you've got large breaths that hang lower, you'll find that they cover the top arch of the ribs. The bottom of the ribs will come down to sit around about here and these outer edges of the ribs connect with the abs. Okay, so I'm going to draw in some abdominal muscles here. I'll start a little bit higher. So we're going to find a top set of abs here at the top, just underneath the breasts. And then we'll find another set below those. Then I'm going to build out the side muscles of the upper torso from those abs. And then we'll lay in the bottom set of abdominal dominant muscles, which typically longer than the top sets. And so you end up with something that looks a little bit like this with the abs that run down the middle of the female torso. And then these outer muscles that enclose the abs around the sides. And you'll be able to get a better look at these side muscles and how they're represented. But for now, what you end up with is this sort of pattern. If we were looking at the side muscles from the profile view, you would see that they would create a pattern that looks somewhat like this. Okay, So that's really what we're trying to draw the sides here just from a foreshortened front view. Now as far as the lateral muscles are concerned, which wrap around to the back, and they typically won't be super visible from the front. And then you've got the side muscles that continued down. And again, I don't know what the technical names for them. I didn't pay a lot of attention to that. Really, what you want to be paying attention to is just what they look like and where they sit and how big they are. But you have got these other muscles here. I'm not sure if they're part of the lateral muscles. I don't think that they are. But they're going to come down and they're going to sit on top of the hips, the hip bone. And then we can continue the tendon all the way down into the bottom of the pelvis there. Once we've got that sorted, then we can start to draw out the legs if we want to. But for the most part, that completes the front view of the female torso and the anatomical structure that makes it up. Let's move on to the side view of the female torso. 4. Side View Torso Foundations: For the side view of the female torso, we're going to start out with our basic foundations just as before. That foundational structure pretty much is what is going to allow us to be able to draw the torso from any angle in any position we want with ease. So if we can draw it, then we're already most of the way there. It's just a matter of dressing it up with the muscles. I in fact like to call this the mannequin model of the torso. Because it really is that it's an armature essentially that we use to pose the figure. This is what the chest form looks like from the side. It's very basic. We can place in the cross contours. One running down the vertical axes and around the horizontal axis of the form to describe it. And what I want you to notice here is how that upper body is actually slanting backwards in this direction. Okay. So the bottom of it is pushed forward while the back of it oh, well, the top of it is pushed back. Then we're going to continue down into the pelvis, taking that center line and curving it around until we reach the pelvis, which is essentially just a circular form when looking at it from the side. And the thing that I want to bring your attention to here is how it is slanted back in the opposite direction. We've now got the top of the pelvis pushed forward. Well, the bottom of it is pushed back and this creates a harmony and balance within the female torso that ultimately enables us to stay upright. That helped then, as the body is moving. These two different masses can compose themselves with one another in order to ensure we don't fall over, we don't lose balance. Okay, so that's that's really what they are. Then we can add in the leg holes just as before. This is what the Legos look like from the side. Then once we've done that, we just need to add in the muscle tube, the trunk. It's sort of like a corset of muscle that is going to join the upper body and lower body together. And that completes the side view of the female torso. Now let's add on some of the anatomy and take a better look at exactly what the different muscle groups, what muscle groups are going to be involved in, how they look when we're looking at the torso, the female torso from the side profile view. 5. Side View Torso Anatomy: So we'll start out just as before with the shoulders. Now the shoulders when we're looking at them from the side view, what you end up getting is not a perfect circle, but rather this. I would describe it as a shield, a very iconic shield shape. Okay, so it looks a little bit like this. And you can divide the shoulder up into three groups. And these make up the primary muscle groups of the deltoids. The deltoids really are the muscle groups that we're talking about here with the shoulder, but you can divide them into three parts. Once we've done that, we're going to draw in our pecs once again, remember that we want to still treat the female torso as though it has picks, but we're just adding on the breaths afterwards. Okay, now, the reason that we want to consider the anatomy, the muscle groups of the female torso. Because it helps to give us a reason as to why the body is shaped. The female body is shaped in the way that it is. Okay if we know what's going on underneath the surface, then we've got reason as to why we're drawing it in the way that we're drawing it and we're able to better and more accurately capture the shapes that we're after when we're drawing the female figure, it ensures that we've got some accuracy happening in our female torso drawings. I'm just going to add in the neck at the top here. You'll see that I've got that pushed forward a little more. Just to once again create some additional balance. What you end up seeing here is that the neck is pushed forward, the chest is pushed back at least at the top, while pushed forward at the bottom. And then you've got the pelvis, which is going to be pushed back at the bottom but push forward at the top. And so you get the zigzag type pattern. But once again, you're really seeing a spring type formation occur, which is quite interesting to look at. And once again, it makes it easier to remember as well. Once we've got the breast drawn in, we can go ahead and continue working our way down the body. And this is where things get tricky because a lot of the time the arm is actually covering the side of the torso. But because we're leaving it out, which I've intentionally done, we should get a good look at exactly how the muscles are going to appear in the side view. Now you've got the main, one of the main back muscles actually that are going to be visible in the side view. It's going to come down from the back and around to the upper side edge of the pelvis. This is the lats, okay, the lateral muscles of the back. Very, very powerful. They're going to drop down the other side of it, the front of this muscle, if you will, that's closest to the front of the female torso, is going to drop down all the way down from the bottom of the arm into that same point at the top of the hips. Then we're going to continue this muscle, which is also part of the back muscles system. Down into the butt area. Next up we have got the abs. Remember, we want to actually establish where the bottom of the rib cage is first. I think that's quite important in order to find where everything else needs to sit. Released. It helps me do that. And then we're going to draw in the abs. We're going to start with the top set. And then the next set below it. Working our way down until we've reached the bottom set, which is the longest set. And of course you've got this side muscle that sits around the abs at the bottom, which we're going to sketch in there. And then what we're left with is a really clear look at exactly what's happening at the sides of the body as far as the muscle structure is concerned. And it's fairly easy to get your head around once you see it in practice it a few times. But it can be strange to look at in the beginning. If you've never really had the chance to observe it properly. Now what's happening around the leg area? Around the hips? Well, we've got the hip bone here that we want to place in. And just above that hip bone, we've got a large muscle that is going to join into it. These muscles actually somewhat transition into the butt. Okay. So the, the gluteus maximus, which sits behind the pelvis. You've got this long muscle that runs down the side of the leg here. Now, that completes the entirety of the female torso presented from the side. We've got the anatomy, we've got the back muscles, the side muscles, the front abdominal muscles, and then we've got the hip muscles around here. You don't need to get these 100% right. Once again, as long as you've got an overall basic understanding as to what's going on with the anatomical structure. That's going to be enough to really help you out with this stuff. 6. Back View Torso Foundations: Next we're going to go ahead and take a look at the back view of the female torso and see how that's represented. Again, this is often a tricky view that not a lot of people are familiar with because we just don't see it a whole lot. And most of the time when we look at a character is being shown to us from the front view or maybe the profile view, but even that is less common. So let's take a look at the back view here and I'm going to do my best to show you how I like to think about it and understand it. As far as its anatomical structure is concerned. It's actually very similar on a foundational level two, how we constructed the front of the female torso. We're going to start out with the ribcage. Remember that women do have a smaller ribcage. The men, men tend to have a bigger chest. Just in general, it's part of our biology, part of our makeup. It's part of the reason as to why also the hips are somewhat the same width as the shoulders, but at the same time. Another reason for that is of course, because women need the ability to give birth and wider hips make that process easier. So we've got the chest drawn in. Now, what you'll notice is that it looks a little bit different. Because if we look at the torso from the side, just as before, we can see that in fact, the the ribcage is pointed forward at the bottom. Okay, so we're going to see this curve. We're not going to be able to be looking up at the front of the chest vest as we were in the front in the front view. Instead of in the back view, we're looking at it in the opposite direction. So we'll see this curve happen and we will, again, the underside of it will be obscured to us here. And in fact, you'll notice also as we add in this cross contour around the horizontal axis of the chest form, that it is also now bending downward. It's dipping downward as opposed to up wood in the front view because we've got that tilt that we're dealing with in both of these views, which is obvious from the side view, but not necessarily the front and back. Next we've got, just as before, we've got the shoulders, which a guy to come out from the arm holes. So we'll get those drawn in there. Once they're placed in a drawer and will continue down the spine, the pelvis. Now here, rather than looking down at the top of the pelvis, we will be looking at the back of it. And we'll see that the curve at the top is actually inverted. It's important to notice how these forms appear in each of the different views because as we start to turn them in space, you'll need that understanding. It will help you to construct the human body. The human female body, much easier. And even what you're learning here can be applied to male torso is quite easily, again, it's just a few different cells within the measurements and the construction of the anatomy. But for the most part, this is really what you're going to be dealing with regardless of whether you're drawing men or women. Once again, we can see that if we add in this cross contour around the horizontal axis of the form that it is now being pushed upward. It's arching upward. We can add in the hip joints, which remember, are going to come out about as far as the shoulders. And then we've got the trunk, then joins the pelvis and the chest together. That is our foundational model for the back of the female torso. Now let's go ahead just as with the other examples and start to add in some of that anatomy. 7. Back View Torso Anatomy: This is where things upgrade in terms of difficulty, because many of us are just not that familiar with how the muscle groups appear from the back. So we'll start out with the neck. That's definitely going to be the easiest place to start when you're drawing the back of the female torso. And you can see me drawing here these muscles that run a diagonal trajectory down to the shoulders from the trunk of the neck. That's what's called the trapezius muscles. Okay, Now these trapezius muscles there, the star of the show almost in the top region of the back of the upper torso. So we'll draw in the shoulders here, the shoulder muscles real quick that aka that deltoids. They have a very similar shape to the representations of the deltoids from the front. It's going to lift up these trapezius muscles a little more, give them some additional mass. Once we've drawn those in there, we can start to take a closer look at how the trapezius muscles actually ventured down into the rest of the back, the upper back here. They're going to run down all the way down into about, I would say the middle point of the upper female torso to the middle point of the back of the chest. This shape for the muscle can be broken up into almost four pieces. Okay, so we've got this diamond that starts to appear right in the middle at the top. What's cool about the female body is that it's actually quite symmetrical. It has is the male body. And that division is going to continue down to the bottom. So this is really what you're going to be drawing as far as the trapezius muscles are concerned when you're observing them from the back, presenting them from the back. And just to give you an idea as to the forms of this trapezius muscle, I'm going to lay in some cross contours on those as well. Alright. So that's one of the primary back muscles. You can see how much space it takes up. It's a powerful muscle. In fact, the bank has a lot of powerful muscles in it. From there we're going to draw out the deltoids, the shoulders at their base. You can go ahead and add in a division between those if we want to. Once that's done, we can continue down the body. And what we're going to notice here is that we can see this band of muscle. Again, the corset wrap around to the back and sit just underneath the bottom portion of the trapezius muscle. I'm not even sure if the trapezius muscle is still called the trapezius muscle when you get to this point. But again, I like to group them all together in order to remember them a little easier. And you know what, you could call this the upper back muscle if you didn't want to get technical about it and that would work just as well. But once we've got this shape drawn in there, which sits just underneath the shoulders. This section here is what I like to refer to as the back shoulder muscle cluster. And these you'll find often get tight if you lift heavy things. A lot of the time. If you were removed list for example, you'll find that you get a lot of tightness within these muscles because they are responsible for pulling the shoulders back and forth, right? What we're going to see is a little muscle that occurs here. And by the way, just keep in mind that most of these muscles aren't actually visible on the surface of the skin. This is just what's happening underneath. And primarily what you're going to find is that these muscles provide more information for the silhouette. They inform the outer shape of the body rather than any of the interior details. Once we've drawn that in there, we can place in another big band of muscle that runs from the edge of that triangular piece at the base toward the top of the shoulders or the underside of the shoulders. It's going to look a little bit like that. And so you're left with is essentially something that looks a little bit confusing. But once you've drawn it a few times, It's actually quite easy to get your head around. Now, what you may want to keep in mind here as well is that you've got the sub forms. I would refer to the back muscles as sub forms. And then you've got the primary forms which are created by the underlying skeleton. Okay, Now the underlying skeleton is important here at the back because what you do see on the surface of the skin is a lot of the time the shoulder blades. Now, the shoulder blades are going to be outlined and appear like this. I'm going to use a darker pencil just to show you. They're going to look a little bit more like this. And you'll find that this contour, it is definitely present within finished representations, finished drawings of the female torso. It's one of the few details, one of the few contours that you're going to find a find on a finished drawing of the female torso. So just keep that in mind. So once we've got that figured out, we're going to continue our way down the female body from the back. And one of the things that we're going to focus on next is the bottom of this side muscles, the lateral muscles. Okay. Now, from the base of the trapezius muscle, what we're going to Draw route is this downward curve that wraps around to the side of the hips. And what we're actually seeing here, if you remember back to our side profile view is this curve. Okay, that's what we're drawing from the back here. So it's important to make sense of how these muscles are appearing and why they appear the way they appear in conjunction with each other views. Because then you get that, that model, that three-dimensional model starting to form inside your mind of the anatomical structure of the female body. Once that's done, what we can then do is according the rest of the outer shape of the upper female torso. We're going to see these side lateral. We're going to see these side, I guess hip muscles or waste muscles that form. They go into form around about here. And the thing to keep in mind, by the way, is that we do get some rather confusing compositions happen with the muscles here. But it's important to remember that one of the reasons as to why it gets confusing is because the muscles are layered over the top of one another. Sometimes they are thick muscles, sometimes they're thin muscles. When they're thin muscles, you're going to get those underlying muscles start to define some of their shape. And so yes, there can make it really confusing actually. But for the most part, what we're going to do here is just bring these middle muscles down into the base of the upper gluteus maximus, the upper bottom. And what you're going to see here is a little bit of a better look at those side base waste muscles which sit in which hug, which cuddle. That bottom set of abdominal muscles. Okay, so it's gonna look a little bit like that. Next we've got, as I said before, the gluteus maximus muscle That's going to come down and around. I like to think of the bum muscle as a butterfly almost. Okay, so it might look a little like this. And the reason I say butterfly is because it looks somewhat like this. The gluteus maximus muscle. Okay? Now, of course, the gluteus maximus is actually quite joined to the legs. It's responsible for powering the legs forward and pulling them back. So we can draw out our leg here. Remember that hips come all the way out here. Gives us that nice hourglass type shape. So the gluteus maximus from behind is actually going to run down into the back of the leg there. Sorry, into the outer edges? The outside of the leg. Okay. And we'll clean this up a little bit. Once again, this is quite confusing to look at. But it's really just what's going on underneath the surface. To give you an explanation as to how this female torso is shaped and why it's shaped in a way that it's shaped. It's really the underlying muscles that are to take the credit for it. Okay? And then of course you've got the divisions within the gluteus maximus that you can then make. Looks something like that. But for the most part, that's how the female torso looks. From the back view. 8. Three Quarter View Torso Foundations: Let's do one more anatomical representation of the female torso, but this time from the three quarter view. Okay, because that's what's really going to make it three dimensional. That's what's going to join all of these views together for the most part except for maybe the back view. Okay. So the top chest piece that we've been, we've been becoming familiar with throughout. Each of these views is going to look a little like this. From the three-quarter view. We are going to see that indeed it does come further forward at the bottom. While it is pushed back at the top. I just like to loosely sketch this out to begin with, until it looks somewhat right. We're going to place in the middle guide line that runs from the top to the bottom of this chest form. It's very important in a three-quarter view because once again, this shows us where the middle of the chest is at the front. We've got our horizontal guideline that wraps around the equator of the form. Then we've got the arm holes which will place in. And then we'll then we can add in the neck whole place in the shoulder joints. The neck joint poking out of the neck hall where the head would be placed on. Then we'll take this middle guideline and bring it all the way down to where the bottom of the pelvis would be. Now what you'll notice is that there is somewhat of a dip occurring in the middle of this line, just as there was in the side view of the female torso. And that's because of the shape of the abdominal muscles and how they're structured within that area. Next I'm going to place in the top of the pelvis. It's going to be tilted backwards. Like so. And I'm just roughly sketching that out. Again, this is such a basic model that is very quick to fix if you don't quite get it right. We'll draw in the leg holes on either side. Then just as before, we're going to place in our hip joints. And I'm going to try to get this shape as accurate as I can possibly get it here. I'm going through this very quickly because in the end you just need a general idea of all this stuff. You can practice it a few times if you want to. And I'd highly recommend that you do that you fill up your sketch book with as many examples of this basic fundamental mannequin model structure for the female torso. Until you become a 100% familiar with it. But certainly don't get too caught up in the details. You only have to really do that a few times in order to get the hang of it. And I'll show you in after these examples, how to draw that basic foundational model from a number of different points of view in different poses. And then had to put the anatomy on top of it just to bring this home. Okay, so that's the basic foundational structure of the female torso as represented in the three-quarter view. Let's now go ahead and begin to place in the muscles on top. 9. Three Quarter View Torso Anatomy: I'll start out with the neck. Because when it comes to drawing a full female figure, that's where I usually like to begin, is the head. Then I place in the neck that I work my way down the rest of the figure. And I'd just like to approach it in that way. I feel like once the head is done, then the rest falls into place because I use the head to measure out the rest of the body's measurements. So I think that's maybe why I tend to do it that way. Then we've got the collarbone which will place in around the top of the female torso here. It's going to come out to join onto the shoulders. The shoulder muscles that deltoids which will be placed around about here. Observe their shape. Try to familiarize yourself with it as best as you can. I keep it simple, as simple as I possibly can because it just makes it easier to think about. Once we've drawn in the shoulders, then we can build out the pictorial muscle mass, which will ultimately join onto the breasts. I like to bring the breasts down to sit just on top of that upper arch of the rib cage. Remember, we do want to try to keep proportions in mind here. Breaths can be any size you want them to be. So you can tend to make your own proportions with them. If you'd like to draw small breaths, then they're going to have, there's going to be a particular point to which you bring them down each time for your characters. If you tend to draw big breaths, then of course it's going to be a different measurement. What you do want to keep in mind with breasts though, is that you want to avoid them appearing as though they're sitting right on the front of the torso. You do want to have them come out a little bit. So one way in which you can ensure that is you can draw out a right angle from the middle of the collarbone as a guide to where the main mass of the breast should appear on either side of the female torso. So that's one way that you can do it. I tried to have them come down the same distance so that they're aligned with one another. Unless of course you want asymmetry, which there may be a reason for that depending on the character design. But then we've got our little bits at the top because there is some fatty tissue at the top of the breast as well. Keep that in mind. Once we've got the breasts drawn in there, we can pull out the eraser to clean it up a bit to tweak the shape if we need to. I will often do that, especially when it comes to drawing the female body. It's just comes with the territory. But once you've got the breast drawn in, we can then continue to work our way down the rest of the body. Remember we've got the belly button here. And that's going to run down into the bottom of the pelvis there. We've got the ribs, the bottom of the ribs, which I like to draw in as a starting point for the abs. Once they're drawn in, I can start to lay in the contours for the top set of abs. Placing the ribs and those side muscles that sit around the abs and continue building my way down until I get to the bottom set. Now what I want you to notice is this curve here. How, how the side muscles at the top of the hips will actually curve inward to narrow the bottom set of abs as they go down into the pelvis. Okay. So that's a good observation to make that'll allow you to capture the proper form for the female torso. Once we've drawn that in, we can indicate this back muscle here that's going to come out from the underside of the arms and then come all the way around and down into the top of the hips here. The lateral muscles, you can refer to these as. And remember you have got these masses of muscle that sit just on top of the hips there around the bottom of the waste, which we can place in. Then once we've drawn in a majority of the upper torso, we can start to work our way into the base. We've got these two tendons that run down from the bottom of those side hip muscles into the leg. Then we've got the hip joint here. So we'll lay that in. Move at some of the front leg muscles as well. Which will want to consider if we are indeed drawing legs onto our female torso. Okay. That just about covers it for the three-quarter view of the female torso. Now we'll I'll probably bring the shoulders down a little further. So sometimes we don't tend to bring shoulders down enough. It's important to remember that they do come a fair way down into the upper arm of the body. And again, I like to make I like to consider the deltoids as being part of the torso because they really are very much an important piece when it comes to the movement of the pecs than the upper chest. Okay. So that is our anatomical representations of the female torso in each of the primary standard points of view. 10. Working With The Base Torso Model: The next thing that we're going to be drawing up is the basic mannequin model version of the female torso. And we're going to be presenting it from multiple points of view, in perspective, in different positions. And because we're taking the anatomy out of the equation. So the different muscle groups where you're really going to be observing is the proportions, the pose and the placement on the page. So let's just jump straight into it here. I'm going to just draw up a few of these. And you can follow along if you would like, or you can come up with your own. But this is very much how I would actually draft up the female torso if I was drawing it out for real, for an illustration, I keep it very, very loose. And I try to add as much energy as I possibly can into it as I'm drawing it. In order to come up with something which has life to it, which has movement. I think it's really important to add that in as much as you possibly can. You want that energy to be instilled within the pose? Because ultimately that's going to come through in the final artwork. Ends. By doing these exercises, what ends up happening is you become extremely familiar with the different components that we're using to construct the female torso. Not only that, but you also find that you're able to let me start that one again, is getting a little too rough with it. You're also going to find that you're able to familiarize yourself with the scale of each of these parts in comparison to one another. Which is an important thing. In other words, you'll start to see the relative measurements between each piece. So you'll get an idea for how big the pelvis should be at this particular angle when comparing it to, let's say the chest. Now, again, I've got a bit of a twist happening within the torso here. And I'm looking at it from above. Now, on this much of a basic level, I do tend to do a lot of erasing in order to get it right. And when I do that, it doesn't really matter that much. I've haven't gone ahead and wasted a whole lot of time. Neaten it up. Alright, that's why it's so important to get it right at this point. Because if you can get it right at this point, then when you go to draw all the muscles and the design of the character on top later on. It's not that big of a deal. Okay, so let's do one from the back here. So I like to have the top of the torso and the bottom of the torso angling back in opposite directions to make it feel more dynamic. And once again, it does add that that sense of balance to the figure I think, which is important to have. We can do one from the side, but looking up at, at someone and you can see how rough I'm keeping it. It doesn't have to be exact. And believe it or not, this is more than enough to actually start building out a female torso on top. I finished female torso. In other words, the muscle groups and whatnot. Okay. So this is a twisted female torso from the top from the bottom that we're looking at here. So that's where her behind would be. You can just pull out your sketch book and start filling the page up with these really studying at, really getting to know how to draw the basic forms that the female torso consists of. And I want you to do it enough that you become completely and 100% comfortable with it. Not just drawing it well, but also maneuvering at around, turning it in space, looking at it from different angles, challenging yourself to come up with difficult poses. And I want you to. Reach a place where there's no pose that's too difficult for you to draw. For the female torso. You can have not just the female torso bending from one side to the other, but also downwards. So let's say that the neck hole is here. You've got the back there. We can add a cross contour in to show where the middle of the top of the chest vest is. And then maybe the pelvis is all the way back here in the chest is in front of it. Okay, so challenging yourself with poses like this is absolutely great. Maybe it the chest wouldn't actually be that large at the front and back. It might be a little bit more squashed on that plane, but this does the job. This gives you an idea, it gives you something to work with. And this isn't the be-all and end-all of your female torso is if this doesn't work out, it doesn't matter, it can easily be tweaked. That's the thing with this model. It's so tweakable, it's a test dummy. That's what I like to think of it as, is simply a test dummy. Keep these poses just basic. If you're having trouble. Just starting out with the base model, the female torso. Keep it simple, get familiar with it, and then start to venture out into these more dynamic representations, these more dynamic drawings of the mannequin model torso. Let's totally fine. You don't have to do it all in one here. You have to manage your learning. You build your learning up in much the same way as you build a drawing up. Now one thing I like to do when it comes to drawing the female torso is I'd like to if the shoulder is it tilted in one direction, then I'll have the hips tilted in the opposite. Once again, it just adds that, that extra little bit of dynamism to the piece. And you can really push that and trusting tilt. So you could have the upper torso bent right over, right over. And then you can have the hips tilted in the opposite direction in a really exaggerated way if you want. And what you'll notice is that just like an accordion, the middle muscle chub of the female torso is going to stretch on one side and compress on the other. Okay. So by the time you've done a full page of these, you'll be extremely familiar with working with the basic model of the female torso. And that's exactly the place that I want to get you to. Okay, so we've got another example here. This time I'm going to be drawing the female torso from above. We're going to have a little twist for the body to show the pelvis at the bottom turning away from us so we can actually see her bottom if we were bringing this to a finish. And how crazy is that by using this basic model, all of a sudden, drawing these crazy dynamic views of the female torso in perspective becomes quite easy. And the reason for that is because we're not thinking about this on a complicated level. We've actually decided to go ahead and simplify it for ourselves, which makes it easier to draw. And if it's easier to draw in the beginning, and you can get this base model fairly accurate. It's not that hard to just start building on top of it. Really all you need is something to work with. It's very much like sculpting, okay, you can think of this basic model of the female torso as the armature. Okay? It's what allows you to establish the proportions and the pose of the character's torso in the beginning. But later on, of course, you're going to add more clay in on top of it to start sculpting out those secondary details on top. Really tried to get creative with these poses. I'm drawing a few of them that are actually quite similar, but I'm going to try to really push myself to come up with something new and interesting. I mean, the human body can only be maneuvered in so many different ways. It does have its constraints. But let's say that we wanted to draw another example of the female torso from the back here you can see that I'm changing the scale of them from one example to the other. Because it is important to be able to also draw these basic models at different scales. You're not always going to be drawing characters at the same size. You are going to want to mix that up a little bit and it can become apparent that you'll get comfortable drawing them at one scale or another if you don't keep it in check, if you don't try to mix things up from time to time. By mixing things up, you become elastic. Lester. Your abilities become elastic, right? You're able to stretch them in different ways. Less to Thai iced. I don't even know if that's a word, but it sounds, sounds like it should be. Sense. Cool. Alright, so we've got another example of a female torso here, bending back. So try to twist it. Try to twist the or rotate the pelvis in one direction while rotating the direction of the chest in the complete opposite. Keep in mind that you're going to want that center line to run from the top of the chest down into the bottom of the pelvis. Either way that it will follow the trajectory of that twist. And I'm going to fill every single inch of this page up with examples of the basic female torso mannequin model. You'll notice that very roughly the width of the torso as far as the chest and the pelvis is concerned is fairly equal. Let's draw a much bigger example here just to take up some space. Alright, and what direction will we have it looking in? Well, let's have it looking in. Will look. We'll be looking up at the female torso. In this example. You can see I'm almost using a circle there to draw it out. And that's okay. This is going to be a very interesting pose that I've just come up with. It's a little bit difficult to draw actually. But again, when things are difficult, when they feel difficult, that means you're learning. So if you're finding this hard, that means not only do you need to learn it, but you are learning. Okay, So I'm going to have another crack at that. Yeah, that one's not working out for me. I think I'll start again. I didn't think that one through properly. Okay. So we'll add the neck hole in there and we'll bring down that center line into where we want the pelvis to be. And what I'm gonna do here is I'm actually going to twist the pelvis around at the base. Again, really trying to challenge myself to come up with poses that are difficult for me to draw. And what we're going to do in the next lesson is we're going to draw out a few more of these, except we're actually going to be placing muscles in on top. But I want you to just focus on the primary forms that we're using to construct the female torso here. That's what's important. I don't want you getting distracted with the muscles at this point. You've got to become familiar with this first. So don't move on to the next lesson. If you're not familiar with this basic structure, I mean, you should be once you've gone through this exercise with me, and then up a few examples of your own mannequin, mechanized female torsos. Because in the end, with repetition, you're going to get better at anything. It's funny how simple learning how to draw actually is. Oftentimes we know exactly what we need to do in order to get good at drawing something. It's just for some reason or another, we don't do it. We do not always do it. It's like going to the gym. It doesn't feel good. Sometimes it's not the most fun thing in the world to be drawing just a bunch of mechanized female torsos. But it's going to really help us out later on down the track. We're going to be come so good at drawing them. We're going to become comfortable and confident at drawing them. Even more importantly. So let's keep going here. Let's fill up even more of the page with additional examples of female torso is okay. We'll draw a few more over here. And if you did this on a daily basis, I can tell you you will get very comfortable drawing, at least on a base form, the female torso. And you'll become comfortable drawing it dynamically from a multitude of different viewpoints. K. So here we're actually looking up at the female torso. Getting a nice worm's eye view. It's very powerful representation of the female torso. You can imagine a female character looking down at you from this angle. As far as the thickness or the width of the waste itself, that's completely done to you. Typically built looking female characters who are somewhat bath and wrong in appearance. What you will want to do is thicken that up. Whereas if you're looking at a female character who you would like to have more sex appeal, who's a little bit more petite, then you'll want to make it appear thinner. So what I'm trying to represent here is a female torso where we've got the top of the chest being pushed forward from the back. But then you've got the butt coming out and swinging back. Like so. And I don't know if I'm being entirely effective with it. But again, this is what's great about these exercises, is if you do a few of these from different angles, you'll become familiar with the movement. What you could do is you could even use some references for this. Construct the basic female torso model based on that reference. And then draw it. Draw the pose that you're observing in the reference from an angle that you're not able to observe a K. So if you've got a reference where you're looking at the female torso from the front. Try to draw that same pose for the female torso from behind or from the side. It's gonna be tough and you'll find it difficult. But that's because once again, your brain's working, your brain is being challenged. Now what you'll notice is that if the upper torso is larger than the lower torso, you're female, body is going to end up looking more masculine. Which is fine. If you want to create or convey a masculine looking female character. If it's not, then you'll want to just simply increase the width of the pelvis or decrease the width of the upper body, the chest region. The chest and mass, you could call it. Okay, we'll draw in another example. So the funny thing is, you might feel as though this is a little bit boring. Just drawing these very basic, very bland looking mannequin model, female torsos. But here's the thing. It's actually quite relaxing. You can turn on your favorite soundtrack. And you can sit here for half an hour and draw out, who knows how many 3040 poses of this basic female torso. And by the end of it, have a whole bunch of experience points built up. That'll aid you, that'll pay off later on down the track in a massive way. Now if you end up finding that you're doing the same pose, at some point, that's fine. Practices, good. Do the same pose, but try to mix it up. Be aware of sticking with poses that you're more comfortable with over others. Sometimes it's a creative challenge. It's like, what can I come up with now after I've drawn 30 poses for this female. Basic mannequin model. What can I come up with next? That's different. And you might notice that once you get really comfortable with this, your lines become loose, just like the lines on laying down onto the page. Now you'll notice that the more of these I draw, the loose or I get, that's a good sign that you're really starting to let this stuff sink in. Okay, It's a good sign that you're getting comfortable with it. Typically that the tighter and neater we try to make something. That means we've still got a little bit more work to do because we're trying to make it tighter and neat to overcompensate. When not sure about it. We're finding it difficult to draw and so we neaten it up in order to try to make it better. In order to provide hope that it will work out in the way that we wanted to work out. Now, sometimes it works and sometimes it doesn't work. Unfortunately. I do know that as you increase your ability to be able to draw this stuff and it becomes second nature to you. It's going to look looser, it's going to look rough, ER, and that's exactly how it should be, because this is just the foundations, just the foundations that we're dealing with here. So what if we did a female torso? We're looking up at the chest, but we're looking down on the pelvis as it's pulled back. I've probably done this pose already actually. But again, it's It's all practice getting that mileage behind you. That's going to be the key to your success, is setting aside a little bit of time each day to rewrite this whole process to disk. So you might be doing a whole bunch of these basic mannequin model female torso is right now. And he might feel like you've, you've racked up a few of them by the end of this lesson. But here's the thing. Tomorrow I want you to do it again. And the day after. I actually want you to do it again. Because if you don't, what's going on? Is it you're going to forget, especially in those beginning stages. So when you learn something new, you want to do it a few times over in order to make sure properly sinks in that you probably got it. I'm going to fill these little gaps up in here with some little mannequin model torsos. Once again, drawing the female torso at different scales is important. It's going to help you out later on down the line. When, especially if you're drawing comics for your comic book artist watching this, you're going to want to be able to draw characters at different scales, different distances. And if you've practiced that, of course it's going to be much easier. Okay? So we'll draw a few more out. We're going to continue this. I know that it's a, it, it gets a little bit old once you've drawn a whole bunch of these for 30 minutes. But let me tell you by the end of it, you're going to feel a whole lot more comfortable drawing the female torso. And I believe that you can do it if you've got the focus, you've just got to sit there, sit your butt down with a pencil and actually draw it out, have that commitment. Not a lot of people are able to do that these days. And if you are, then you've got a super ability. You really do. You're going to be ahead of pretty much everybody else who struggles to sit down and focus and actually draw out a whole bunch. Like who else do you know is going to sit there like a madman and draw out all of these mannequin model female torsos. I don't know anybody except for maybe me. And maybe you sitting down right now if you're following along and you've been drawing out your female dossiers for this long. Congratulations. You're one of the mad at people who are actually going to get good at this stuff. I remember my sketchbooks used to be full of examples of different body parts, just like this. Legs, full figures. And it really is one of the reasons as to why I'm so comfortable drawing the human body out to this day fairly quickly. I don't have any anxiety about it. I don't stress about it. I don't get caught up in the details or at least I try not to. Usually if I do get caught up in the details, It's because I haven't been doing my practice. Okay, It's because I haven't been drawing enough. And so what I want you to try to remember is that just like going to the gym, if you go to the gym regularly, you're going to stay tones, you're going to stay fit. If you take some time off, Then eventually there will be a point where your muscles start to atrophy and you're no longer as toned as you used to be. You no longer as well-versed. So let's try to draw an example of a female torso here, which is a classic pose, where you're looking directly at the side as it's twisting around from, say, the back or the front. Okay. So let's say that this is the front of the pelvis here that we're looking at. But the side of the upper body. This is a classic pose that you can take to the bank. This is definitely oppose that is used a lot within comic books, within pin-ups. We can do another version of that where the body, the upper body is once again turn to the side. But now we're actually looking at the back of the pelvis. So seeing the gluteus maximus there and the side of the body, the upper body. Now we can mix that up a little bit. We can actually have it so that we're now looking at the front of the upper body, the front of the chest as it turns toward us, but then we've got the side of the pelvis now. Okay, so once again, we've got that twist happening. Remember that we can mess around with the tilt here that looks a little bit boring for a torso pose. So in fact, what we can do in the next example is we can have the chest piece being pushed back at the top. And then we can bring this curve round. Looking at the pelvis from the side or even slightly behind as the upper body twist toward us, but it's also tilted back in the opposite direction to the pelvis. And that just makes the whole pose looks that much more dynamic. There's so much more movement there. Now. As I said before, there is limits, of course, to how far the human torso can twist in one direction or the other. But it is certainly something which is worth keeping in mind. Okay. So we can take a look at the chest from the top as the rest of the body swings down and then back. I don't think we've done that pose yet. You essentially want to be able to draw any pose with the basic mannequin model torso that you can, that you can think up with ease. And if you find again that you don't have enough twists in your torso is that there's not enough tilting happening, then do a few examples where you're intentionally putting that force. It's important to go into the darkness, to go into the areas of your artistic abilities that aren't quite as honed yet. And so if there is a particular pose that you are uncomfortable with drawing, when it comes to the female torso, then I would say practice it. The more you practice it, the less of a problem it's going to become. So here we've got the butt twisted in one direction and bent back. While we've got the upper body being twisted and tilted in the opposite direction to it. Again, it's all about opposites. Right? If you've got the torso pointed in one direction at the top, try to pointed in the opposite direction at the bottom. Keeping in mind the constraints. You can find those constraints quite easily with your own body. If you're afraid that you twisted the body to fire around and stand up out of your seat. It's good for you anyway, if you're an artist that sits down all day and actually see if you can push your own body to that extent without hurting yourself, of course. Alright, and if you can't, if you find it difficult, if you find it awkward, then maybe it's not such a good idea to draw your human torso in that way because it might look awkward and it might look uncomfortable for your characters. And the viewer, whoever is looking at your artwork will be able to tell that. Okay, so try to make your poses look as natural as you possibly can. At this point, I think that we've pretty much drawn enough basic mannequin model female torsos. Now let's go ahead and actually draw up some more examples like this, but we'll place anatomy in on top of them. After that, we will draw some finished, polished female torso is where I'll show you exactly what is going to appear on the surface of the skin with all of that underlying muscle considered. Alright, let's move on to the next lesson. 11. Female Torso Anatomy Pose A: Next up, let's do some more mannequin model female torsos, but with some anatomy drawn over the top of them. And for these examples, I'm going to do them a little bigger than the previous ones, just so that you can see exactly where those muscle groups go and what's happening with them as we maneuver it as a torso into different positions. Okay, So let's start out with the first one here. Let's say in this example that we wanted to look at the top of the torso, the chest piece from the side view. While we were looking at the bottom portion, the pelvis from the back. Okay. So just as before when we were doing the anatomical studies, I'm going to place in an arm hall. I'm going to place in the horizontal contour that wraps around the belly of the chest first. Then I'm going to take the center line down into the pelvis, which we will be looking at from behind. Now, it'll be an angled perspective. So it's not completely looking at the pelvis from the back because I don't I don't believe that the human body could twist that fire around. Again, we want to keep those constraints in mind. But just as with the upper body, we want to add in that sense a line running from the top of the form to the bottom. When I play C and the horizontal cross contour. And then we will go ahead and we'll place in the leg Hall. So that's the basic, on a fundamental foundational level. That's what we're dealing with as far as the mannequin model is concerned. So what I'll do at the bottom of the chest before we move on here is I'm just going to go ahead and mess or link because we might be able to see underneath it just a little bit here. So I'm going to to tweak that someone we're looking at the chest from above. So when we're dealing with really basic forms like this, it does become easier to figure this stuff out. So I think it would probably be a little bit more like that. Alright, great. And I'll just tweak the shape a little up here. That's looking good. I'll bring the top of the pelvis up. So I'm really starting to focus in on the masses at this point, resizing them, reshaping them as needed. Again, if we can get this part right, it makes the whole series of steps that come afterward much easier. We'll place in the arm joint, we'll place in the hip joint. And then we will place in the muscle tube. Now, we want to take this central line at the back of the chest and we're going to twist it down and I haven't run into the back of the pelvis because of course, the back of the pelvis is going to align with the back of the chest regardless of what direction it's turned in. X. We'll go ahead and we'll place in the other side of the muscle tube. Like so. I'm going to have the upper body, the chest, slant even further back. We want to push that tilt a little more, I think. Okay, there we have it. That's looking good to me. Again, on this foundational level, I find that I sometimes even spend the most amount of time because I know if I can get this right, I know if I can get this down, then the rest is going to be smooth sailing. But once we're at this point, we can start to place in the anatomy. Okay. I'm going to go ahead and turn this blue so that we can place the anatomy on top and see a distinction between the underlying foundational model and those different muscle groups that we're dealing with. So we have got the PECS which will join onto the breasts. Okay, so we'll end up with something like this from the side. Okay. So we're essentially looking at the side view of the female torso up the top here. Okay, so that'd be the breast. And of course that's going to join onto the shoulder, which will sit at the top here as well. So we'll draw that out. We're going to see the armpit underneath. And of course, if there was an actual arm there than we would draw that in. I'm actually trying to represent the arm is being pulled back a little bit here. So Mike come out this way if we were actually drawing it in there, but I'm not drawing it in there. So I'm just going to leave it at the shoulders and move on. Once we've got this drawn in, we can think about the center of the back here because that's going to help us to it's going to give us a place to start building out the muscles from the middle of the back. Okay, so we've got this large muscle. The course at least I like to think of it almost as a course that's going to run down from the middle of the back to the sides of the hip. Okay. So it's going to twist. And remember that that muscle drops down from underneath the arm. I don't know if this is 100% accurate, but you can take a pretty good guess once you are familiar with the basic structure of the female figure and you know where those muscle groups go. What you're really doing here is you're just making an assumption. You're making an assumption as to where everything is going to sit and where it's going to go. So I'm going to do some erasing here. After a while. What you're going to find is that the muscles and the foundation of model tend to work together to help you figure out whether or not what you've drawn is accurate. So if the muscles are looking weird as you lay them on to the foundational model, then that means you may have messed up that foundational model to an extent. Okay, just like here in this example, I realize I needed to raise the hips a little bit more. I just had a gut instinct moment that that was the case. Once that's done, I can continue the middle of the back down into the base of the gluteus maximus here. We've also got this side muscle around the torso that's going to be placed at the bottom, just above the hips, and surround that bottom set of abdominal muscles. Then we've got the other side of the back muscles, the lower back muscles here, which will also run down into the middle of the gluteus maximus. Then we will draw out the butt down into the legs. Like so. We can continue building the muscles up for the gluteus maximus around the leg as we work until we've completed the bottom area of the female torso. Next, let's work our way up the figure. As we attend to the the lats. So we can call these the serratus. I guess these would be the technical name for these muscles. The serratus. Again, you don't really need to necessarily know or understand them. But they're also known as the obliques too. So this would be the serratus, that's this top set here. Then you've got the obliques, which is really what this side muscle is cold there, right? And getting the names often escape me. But it's certainly a prominent muscle that you want to take into consideration, no doubt. So what we're going to be looking at here is how they form around the abs. Okay, so let's say that we can get a peek at the top AB, they're just before the body twists around. This is what we're going to be observing. So that is the muscles of the back, end of the side of the torso, back of the pelvis that we want to be considering, that we would place over the top of that foundational model. 12. Female Torso Anatomy Pose B: Let's do another example here. This time of the female torso facing toward us at the top. And maybe even the same with the pelvis will have that facing toward us to so that we can get a good look at the muscles. But we will change up the position, maybe the tilt of these two major forms that make up the mannequin model version of the female torso, the foundations of the female torso. So maybe the chest in this example is going to be tilted forward. Indicate that it's tilted forward simply by pulling down that horizontal guideline that wraps around the equator. Then we've got the center line, of course, the vertical center line. And that's going to run down into our pelvis, which in this example, I'm actually going to have the pelvis facing forward. So pushing outward, something like this. So now what we're going to see is the abs actually compressing against one another. And maybe in the final example we can have this tilt occur in the, on the other axis. Okay, So this is the front and back axes. Will maybe we'll have it tilted too, from one side to the other in the next one a case. So we want to take this center line and we want to bring it down to describe the front of the pelvis there. Now this is not necessarily going in the direction that I want, so I'm just going to erase it and start again. And sometimes what I'll do is I'll start to build out the trunk of the torso as it leads down into the pelvis. I might even restart this. Let's have another go at it. Again, I'm going to loosen up here because sometimes if I get a little too tight in the beginning, I start to overthink things and it doesn't always work out in the way that I necessarily want it to. So going to have another go at it. Again, it's not a big deal. Just it didn't work out for me the first time around. And that's the point. That's why we're using this basic foundational model is because we're going to make mistakes. It's inevitable, no matter how experienced you think you are, you going to make mistakes. And it's just part of the drawing process. You want to be making mistakes because you're always learning something. Your brain's working when it's trying to solve problems. I've always found drawing to be the ultimate puzzle. The puzzle that never ends. So I'm just going to tweak this top mass, the chest vest. I want it to appear as though it's coming forward now because it is a little larger and appearance than the pelvis right now, what is happening is that we're getting a more masculine appearance for the pelvis. So we want to fix that up. I'm just going to tweak this until I get it right. Again, you're getting a live demonstration of me making a mistake with my drawing and actually fixing it. Which I think can be just as valuable sometimes as when it goes completely to plan because that is, so unlike many of our experiences, it rarely goes to plan for me. Unfortunately, this is a weird, awkward pose to put the torso into. In any case. It's going to look a little bit strange. In fact, I don't like the way that the pose is looking at all. So I'm going to maybe reposition, reposition the bottom of the pelvis. I'm going to add a bit of a twist to it. It was just too much of an awkward pose, I think. And I'm even going to change the top chess piece here. Sometimes if a pose isn't working, it's not working and you've got to call it quits and go to call it a day on it. But you can see how quick it is to just knock out a new one. It's very fast. And that's the beauty of using this model. So I guess now instead of having the pelvis being hunched over, we're actually pushing it back in this case. And this could give us a better look at the anatomy in fact, in either case. So that's okay. That works for now. But that's the basic model that we're going to be using here. Now let's go ahead and place in the anatomy so you can see how fast it is once it actually starts going to plan. Okay, So we'll start out with these two little lines for the pecs of our female torso. You can see that the arms I've brought them up, they appear as though they're being brought up. So we'll lay in the shoulders. At this point. Does look like a, quite a masculine torso, but bear with me. We will be adding in the breaths in just a moment. In fact, we'll add those in now. Okay. Let me get rid of that. I'm not liking the direction that's going in either. Lay in the neck. Let's start there and see how we go with that. It's a little bit better. I think. Sometimes if you're being too tight with it at the start, as I said before, it can mess you up. It doesn't give you the room to explore. You'd need to be loosened the beginning. That's the key. That's what I've found, works for me best. So we've got the breast drawn in there. You can see that I went a little smoother that time. We'll draw in the shoulders once more. And I'm just going to go ahead and define the outline of each of these major areas more clearly so they can see what's happening with them. And I will tweak this anatomy if needed just to make sure it's all looking right. Okay. So that's the breasts and the shoulders taken care of. Now let's go ahead and draw in the abdominal muscles. The underside of the ribs will usually be fairly visible. Depending on how much weight your character has. But uses there'll be visible and what you'll notice is that the breasts, the shoulders, and the bottom of the ribs are all going to align with one another. Regardless of the tilt or regardless of the positioning of the female torso in perspective. So just make sure that in any case, all of those are aligned. And then we've got the abs which will place in now. I'll drop down from either side of the ribs. At the top. We want to take this center line, bring it down to the belly button. Just so that we can align the middle of the abdominal muscles properly. Once we've got one set of abs drawn in, we will place in the other. Now keep in mind that we've got the female torso being pulled back here in this example. Which means we are going to see some foreshortening occur. Then we've got our obliques. So I'm using the proper name now. The obliques which are going to come down to hug the side of that bottom set of abs. And I don't want to make them too big because we are drawing a female character here. And sometimes it's easy to draw those larger than they actually should be. So I'm bringing those down all the way down to the top of the hip bone, which is where they would end. And then finally, we've got the tendons that dropped down from the bottom of the obliques and into the middle of the crutches base. And that pretty much makes up, for the most part, the middle anatomy of the torso. So this is another anatomy study except for this time. As opposed to the start of this class, where we were looking at the diagrammatic views. Well, the anatomical makeup of the female torso. We're now seeing how these muscles are going to appear as the female body is in motion, as it's placed into different positions. So that's the abs. We've got the breast drawn in, we've got the obliques. Now we want to take care of the serratus and a lateral muscles. Again, don't worry too much about having to remember the names of the muscle groups really, you only have to remember them if you plan on teaching it to other people. So it can be a bad teacher sometimes because I forget. But we're going to draw those in. And I'll start out with the lateral muscle, which is going to come down like so. And it might not even come out that far to be honest with you. So if I need to, I'll tighten it up. Sometimes you really wanna do is just look out that the outside shape of the female torso, see if it works out. And it looks the way that you want it to, because you don't necessarily need to follow that underlying foundational model. If that's not right, then don't follow it. Simply tweak the shape until it is the way that you want it to be. And that's exactly what I did just before. Okay. So I think that that's looking pretty good. We'll add in the ribs on the other side as well. Okay. And then finally, we've got our legs which are going to drop down from the obliques, or at least that's where the top of the hips will begin and lead down into the legs. So this would be where the hip joint is. And then we've got the upper leg muscles which we'll want to take care of them. And as far as what the upper leg muscles consist of will leave those for another lesson because that's a whole other body part that deserves its own class. But that is another example of the female torso. Except this time we're looking at it from the front. 13. Female Torso Anatomy Pose C: Let's do another example now. Where we, well, let's just see where we go. I'm not even sure what pose I'm going to do for the next female torso example. But let's see, maybe we can do, I know. Let's do a top-down representation of the female torso here. I guess we don't have a whole lot of examples of the female torso from the back just yet, at least in the top of the top region. So we may go ahead and tackle that for our last example. Again, I was getting a little bit too tight there. I want to loosen up. If you're having trouble with this stuff, loosen up a little bit. And what you'll find I think, is that it makes the whole process much easier. Now I do want to try to make this example the same size as our previous examples. So we'll draw that just a little bigger place in the pelvis at the bottom there. Keeping in mind that perspective that we're dealing with. Sometimes I like to draw in a line that would signify the tilt of the shoulders and the hips in comparison to one another like so, that can really help. Going to sculpt down this base form a little more in order to get it looking the way I want it to look before I start laying the muscles in on top. But remember that any errors here within the foundational model can be solved with the aid of the muscles that we're going to lay it on top because they do help you to fit the human body together in a sense, in the correct way. Now I'm going to draw in the muscle tube that sits between the upper body and lower body. I'm going to extend the chest vest down further. Again, making some tweaks here as I work on the fly, pulling out the eraser. When I need to, as I need to. I've repositioned the neck hole so that we're now looking down on the top of the female torso. Even more so. And I'm just really trying to get a sense for the tubular form of that middle piece of muscle that joins the two primary masses together within the torso. I am looking at the outside shape of the torso as much as I'm looking at and observing the interior major forms. And these are the major forms, really the chest vest and the pelvis that we've got to deal with. But I think that's pretty good to go as is. It's very sketchy and it's very rough, but it'll work for what we need. And now it's time to start placing in the muscles on top. Okay, so again, if I keep it loose, I'm probably going to have the best luck. So I'm going to remember to do that this time. We have got the collarbone that I'd like to add in here before we get too carried away with the breasts because the collarbone is going to help us to establish that angle within the perspective we've drawn the female torso on here. And it's dynamic perspectives that can make the whole process all that much more trickier when it comes to drawing the anatomy on top of the basic foundation of the female torso, which is why. It's important to familiarize yourself with the mannequin model version as much as possible so that you don't have to be concerned about that as well on top of everything else. Because at least if you've got that down, It's something that you don't have to worry about as much anymore. And you can focus on the things that are of a larger concern. Okay, So I'm going to place in the middle guideline that's going to run down from the chest fist into the pelvis. I am trying to think about exactly how that's going to work. Again, It's, at this point, it's like trying to solve a big puzzle. That's really what it feels like. So once that's done, I'm going to draw in the abdominal region. We have got the shoulders up here. So if we place in the shoulders, that'll help make sense of things as well. So we'll draw those in. And again, I will be showing you some examples of how the female torso looks in a finished state. So these are our anatomy studies that we're doing at this point. This isn't what you're going to be drawing for a finished torso illustration. Unless it's an anatomy study. It's probably not the most accurate shape for the shoulders, but it'll do for these examples here. We've also got the neck, which we'll do some work with for a minute. Because the neck is important. It's an important component of the body that we want to consider, especially on women. Because of course, women have typically longer appearing next than men. And so they do get noticed on women a little bit more. But I'm going to start with the trunk of the neck. And then once that's in, we can build the anatomy around at someone. As we bring the two side muscles of the neck down to the center of the collarbone. Then we've got the lateral muscles that come out from behind. I'm sorry, not the lateral muscles are trapezius muscles that come out from behind it down into the rest of the torso. And given those lateral muscles, sorry, those trapezius muscles might actually be a little too bulky, making our female character look more muscly than she should be. But for now, that's okay. It doesn't matter too much. Okay. We'll draw in some of the other neck anatomy there. Thicken up the trunk of the next somewhat, I think that could do with some extra thickness. Again, on this foundational stage, you can pull out your eraser as much as you need to. For finished drawing, you don't necessarily have to place an older muscles. It's completely fine if you don't, you don't have to get this deep detailed, this comprehensive with it. This is just to show you definitively, at least on a moderately definitive level, what the muscles are going to be doing as the torso is placed in perspective and positioned into different poses. So once we've got the top region of the female torso sorted, we can then go ahead and we can place in the rib-cage. We can then place in the lateral muscles. Coming in from the back. We've got the serratus and the obliques going to wrap around from the back and then enclose surrounding the abdominal muscles. We are looking at a perspective shot, another perspective shot of the abdominal muscles. Abdominal muscles which are both compressing and stretching since the body is twisting and tilting in different directions. And I want you to become comfortable with doing that because that's the reality. The body is almost in constant motion, even when it's at a standstill, you're going to notice subtle tilts and twists because the body needs to do that in order to balance itself and unnatural way. Then finally, we've got the hips and the legs, which are going to be pulled out from those hip sockets. There's leg holes. And we can go over the top of this. We can define the anatomy just to make it clearer, easy to see. If you really want to get detailed with the muscle structure in the middle of the body here. What you're going to find is that the muscles are going to fan out across the body, across the upper chest, underneath the breasts. But that it was a fairly difficult representation of the female torso from this angle. At the same time though, it, it taught us a lot. And we can see that those muscles do maneuver in certain ways. They stretch and they can press depending on how we're putting the female torso and motion. 14. Female Torso Anatomy Pose Practice: Next up we're going to do a few examples of a combination of the basic mannequin model, female torso with the anatomy on top. But we're going to draw some quicker examples. Okay, so these are going to be really fast studies that you can do in your sketchbook practice and get familiar with, just as we did with those base model mannequin female torsos. Okay, so let's just jump straight into it. We're going to start out with the basic forms, the chest, the pelvis. Now sometimes I won't even draw the pelvis is something separate. I'll kind of dropped down the tube of muscle and then I'll draw route the pelvis shape at the base of the torso and then construct a pelvis panties from there. But you can see how messy this is. Although this is all I need to begin sculpting out the rest of the female body. Because what they do then is I'll draw out the breasts. And this is much more realistically how I draw. I keep it quick. I keep it fast. I keep it super basic. I usually don't place in the abs for a female character simply because really, it's quite rare unless you're dealing with a ultra muscular female character to see them. But you can add them in there if you want. For sure, we know how to do that now. And we can even go ahead and start to indicate the positioning of the legs in some of these examples if we want. Okay, so we've got one female torso drawn out here for the most part. And we can draw in some of the neck muscles as well if we want. This is just extremely rough. Just for the sake of a study. But let's really see if we can push this. Now we didn't get to do an anatomy study of a post female torso from behind. So let's go ahead and do that now. This is the perfect opportunity to do that. Again, drawing out my pelvis, dropping it straight down from that tube. That sits between the pelvis and the chest. Okay. So here what I'm going to do is start sketching out the outer shape of the female torso. I'm thinking about where the neck is, so I'll draw the neck out. Because remember that that's going to lead us into the trapezius muscle, which runs down the middle of the back. And then from there, we can start to build out the other areas of the female torso from behind. The other muscle groups. We've got this big lateral muscle that drops down and runs all the way out to the top of the hips. Then we've got the middle lower back muscles, which run down into the, into the top of the butt. Got the gluteus maximus, which is going to run down into the legs. Now, here's the thing you don't need to get these muscles exact at this level of detail. For these studies, you just need a general idea of where they sit. The reason that I say that is because at the end of the day, you are not going to be representing all of these muscles on the surface of the skin anyway. So as long as you know their shape, as long as you know roughly where they need to go. It's fine. It really is. Okay. So that's the female torso from behind. Let's go ahead and do another example up over here. Follow along with your pencil and sketchbook and let's see how many of these we can push out in the smallest amount of time. Again, it's important to do these studies in order to apply what you're learning. In order to get it to sink in. If you're not doing that, then that's when you'll find this information goes in one ear and out the other, it simply isn't enough to just listen to it and to watch it, you actually have to do it. So this will be another female torso drawn up from behind. We will place the anatomy on top. The more you draw the female torso from behind, the more comfortable you're going to get with it. Most of us are uncomfortable by default just because we don't do it enough. If you want to get as comfortable as you are at drawing the front of the torso, withdrawing the back, then I highly recommend that you just get that mileage up. Any, these are just really quick studies. Once more don't be too concerned with getting them 100% accurate. The fact is, is that you're doing it, that you're getting the idea. And I would even say that if you do find you're making mistakes on one example, simply correct those mistakes on the next one. Draw out another example where things are looking more correct. And what I wanna do is really observe how these muscles are going to be led by the underlying primary forms of the foundation that we've established. This back muscles is lateral muscle is actually going to twist around with the pelvis as we view it from behind. Okay, so we'll bring the bottom of the gluteus maximus into the sides of the legs there. Alright, that's another example of the female torso from behind. We don't get enough of those. But for now, we'll do an example from the front. This is just going to be a very basic example here. Once more you'll notice it is my habit to just drop the pelvis directly down from that tube and then to draw in the form of the pelvis after that. Because I like to focus on getting the shape right. I think that's probably the reason that I do it primarily. And we're reverse engineering the whole thinking process by taking a closer look at the anatomy, you'll notice that I'm really focused on shape here. So we could take this shape, we could tweak it and we can leave that most of the anatomy and have a pretty done good looking female torso sitting in front of us. After that. It's just that we look at the anatomy because it helps to explain to you why I shaped things in the way that I shaped them. Because it is ultimately indicating that underlying anatomy in a stylistic manner. But in the end, silhouette is by far the most important things. So even if you get all the anatomy right or you think you get all the anatomy riot, but that's silhouettes still doesn't look as good as it could look. The shape, in other words, of the overall female torso doesn't look as good as it could look. Then you've gotta go back. You gotta get your eraser out and you've got to tweak it as best as you can. Okay. So that's the breasts, That's the shoulders drawn in. Let's indicate the abs a little. Again, even if they're not represented on a finished female torso, I think it's nice to just see where those abs are going to sit. In an anatomical sense, just knowing where they sit is going to help you to capture the shape of the body that much better. It's all about shape. In the end, all about shape. Let's draw the torso from the side here. But now we're looking up at it and we're pulling it all the way back as well. Quite a dramatic pose for the female torso. But one that I think will challenge us in a positive manner. You'll notice that I. When ahead and I just drew the pelvis out there without dropping it down from that muscle tube. So I don't always work in the exact same way. Each time. I I do what I need to, to serve that particular piece that I'm working on at any 1. Now, drawing the breath in here is going to be tough because they actually will sit off the surface of the top of the chest. And remember that we're looking for the most part at the chest from the side here. So I think we'll draw at the bottom of the breasts first. We'll draw out the top of them. They're going to flatten out. Unless they're synthetic breasts. They're going to flatten out because bursa, like anything else, gravity will apply to them. So the flatten out across the top of the chest there. Just a quick study so I'm not going to spend too much time tweaking it and getting it accurate. We've got the back muscles from behind what you're going to run down into the top of the hips. Now I can't help myself. I am going to pull out my eraser and I'm just going to tweak the shape of the breasts somewhat here until I'm semi happy with them. And I'll jump around to the back of the female torso and just modify the shape there until I think it looks right. Sometimes it just looks off to me. And I think once you become super familiar with the anatomy of the female torso, you'll find the same thing that you would just intuitively start to recognize when something looks off. Even if you've done it to the book. It's, sometimes you're just going to end up making little errors along the way that need to be addressed later down the track. And that's completely fine. That is the nature of the beast. So it's another example of the female torso drawn up from a rather difficult angle. Let's do another small one here. Okay. Once more, starting with that mannequin model version of the female torso, drawing it out and then placing the anatomy riding on top. You can see that we're looking at the top of the chest bend all the way back there. Which means just as with the previous example, we may end up seeing the breasts flattened out on top rather than hanging down. Then we've got the ribcage. The abs, which we'll draw in really quickly. Try to get fast. Try not to spend too much time on these. And your speed will naturally increase as you practice this. So if it is taking you some time right now, that's totally fine. Take the time you need, especially if you're not well acquainted with the female torso. If you're just coming into this for the first time, really study the muscles, really try to neaten them up and get them right. Because certainly that's going to help you out in a big way. Alright, next up, we will draw routes a, another representation of the female torso, I think from the back again, except this time I'm going to have it from the direct back. And we're going to rotate the body so that we're looking up at it. We're looking up at it and we're looking directly at it from behind as well. And there's a slight tilt happening. Okay. Alright, so that's all we need. You can see how quick I went and sketch that out. Doesn't have to be anything fancy. Will draw in the shoulders and we'll draw in the neck. Because from the neck we can begin building down the trapezius muscle, which is going to drop to about the midway or the bottom really of the chest. Maybe the mid point of the chest rather. So about here. Now we've got those back shoulder muscles. Next up, we'll draw in the muscles that sit just below it. And they'll come down all the way down into the top of the gluteus maximus. The spine will draw in as well. Then we've got the button muscles that are going to run down into the sides of the leg, the outer sides. And that completes back view of the female torso with all the anatomy drawn in. Let's do another example. This example will draw out the female torso laying back at the top. And then we'll add in a curve here that runs down into the pelvis. And maybe we can be looking at the pelvis from the side here. Well, the chest at the top is twisted toward us. Okay. So because the chest is tilted upward to such an extent, we're going to see the breast flatten out once again. So what we're getting a good look at is how the shape of the breast can be modified. How they deform under gravity. And it can be tough actually, it can be tough to get these rights. So just kind of pull out my eraser there and really try to think about it. Okay, I think that'll do. They are going to appear a little more circular since they're flattening out on top of the chest. Whereas if the body was pushed forward, then they would appear more like teardrops. Or dare I say it, water balloons. I mean, breasts behave in very much the same way as water balloons. In fact, if you sit a water balloon down then on top of a surface like the chest, then it's going to be affected by gravity. It will expand, it will flatten out. And in fact, that the breasts are probably the hardest part of this pose that I'm having trouble with. I'm going to continue to pull out my eraser until I get it right. You'll notice of erased away half of the foundation there because it's simply wasn't serving me. And so I'm just going to keep tweaking the female torso here until they get it right. Once again, the base model that we're using for the female torso, it can be pushed and pulled and sculpted and whatever way you like until you've got the ideal representation. Of the female body that you're looking for. Add in the abdominals and the obliques, and the lateral muscles here at the back. And there we have our next example completed. Let's do a few more. After this demonstration, you should have a pretty good introduction into how to draw the female torso and a multitude of different poses and also lay the anatomy for it in on top. So hopefully you're following along and you're drawing up your own examples. I think that if he can do that, it's going to be what gives you the most results. It's what's going to be the big payoff from taking this class. And I think that anyone can get good at drawing anything they set their mind to anything they practice. Drawing is just like handwriting. It's a technical skill. And as long as you can put that time into practice, as long as you can dedicate yourself to it, you will see results. I have no doubt about that whatsoever. Everything you need to know about drawing female torsos. I am showing you right here. The only reason that it will be ineffective is if you don't apply it. So certainly apply it. And I think that you will find that it just has a massive payoff. Is It's funny because no one can really do the work for you when it comes to drawing, when it comes to learning how to draw various things, you've really got to take the reins and put that time in in order to see any result from it. Okay, So this is another slightly strange pose that I've decided to go with a really like to challenge myself with these demonstrations. I like to come up with poses that I don't, I don't think I've ever drawn, to be honest with you. But again, following the theory and the techniques that we've been covering here, it doesn't matter really if I've drawn it before or not. I can just go through the same process and hopefully see see the results coming together in a way that leads to like the end result looks accurate. It looks right. And that's the main thing that I'm looking for in the end. You can do this with each part of the female body in order to get comfortable with it. I'd honestly spend a week on each spend a week on each part of the human body doing exercises like this. And you'll find that you get very comfortable with it quickly. Okay. So we've got another twisting motion for this female torso. On drawer out some legs for it. Placing the breasts, placing the abdominal muscles, the obliques on either side of the abdominal muscles. And you just work your way down, work your way down until you've reached the bottom of the female torso at the base of the pelvis. Then move on to the next one. Can't forget the lattes at the sides of the torso there. Let's do another example. By going through example. After example, we could do some more dramatic representations of the female torso with some. Major foreshortening because this technique is going to work for those as well. Don't worry. I've got the breasts here. We're looking down onto the female torso from above. In this example. We've got the shoulders that are going to come out on either side. I'm just using my basic shield shape for the shoulders there. We've got the collarbone coming down in a V-type shape. We've got the back, the upper chest area there. Then we've got the lower body joining into the pelvis or the mid section joining into the pelvis. Although it is dramatically foreshortened. We can see the gluteus maximus there. The bottom. Again, tough angle to draw the female torso on. But one which I think we've done a pretty good job with. Let's do the female torso in a reclining position. You can see how quickly we can just knock this out. All that matters is we get something down onto the page. If we can get something down on the page that we can work with it. Alright. Drawing the breasts here. They are going to be hanging in the direction that gravity is pulling them. Let's keep that in mind. They might even be pressed against the floor here. In this reclining position. If you want, your female torso is to look natural. These are the things that you will need to consider. You don't just want breasts standing up on their own. Even if they are implanted breasts, for example, they will still be some gravity applied. And you'll want that, you want that to be present in your artwork in order to capture a natural, realistic and believable appearance for them. Okay, So we'll draw in side of the ribs, draw in the abs them the obliques, and take that amount of anatomy down into the pelvis. Okay. Let's draw out just a few more. A non torturing you. But this is what you came here to do is to learn how to draw female torso. Is this my friend is what is going to get you there. Because we are drawing a heck of a lot of them throughout this class. And I hope that by the end of the class you've got a sketchbook full of examples just like this, of different female torsos that you've drawn up. The basic female torso model. And then the anatomy drawn in on top of it. By the end of the class, you should have, my goodness, who knows how many of these torsos drawn up? You'll be definitely comfortable with drawing the female torso at the end. You will have to be. Okay. There's another one, again, just a basic, standard female torso. What else can we fit in here? Let's see if we can draw a representation of the female torso. Where we're looking at the back of the chest. The side of the pelvis. I don't think we've done one of those yet. Again, if we can draw in the neck, then that's going to help us out. When we're looking at the back muscle anatomy because from the neck down we can start to place in the trapezius muscles. Then we can add in the back shoulder muscles, the lateral muscles, then the obliques. And then finally we've got the hip bone and the gluteus maximus, the behind of the female torso. Let's add in another female torso up the top here. And we could for short and this female torso have it jutting forward toward us at the top and then back toward the pelvis. Okay, so now we're getting really dynamic without poses here. And we'll add in the breasts, which are going to overlap the trunk of the torso quite significantly him. Well, let's add in the collarbone first because that's going to give us an indication as to the curve of the chest as we look down upon it, which will help us to attach the breasts. Okay. And most of the trunk part of the pelvis is going to be obscured here, so we don't really have to worry about the anatomy of that. Who knew foreshortening could be so well, I guess non time consuming. Get our eraser out here, just erase that construction behind the breast there. And really that's what it is, is drawing the things that you can't see when it comes to foreshortening. That's how you get good at it. Alright. I will draw another example of the female torso. Up from the side here. We'll have it take up this entire space just so that we can make things along a little. This will be another one where we're looking at aside but slightly back view representation of the pelvis and a slightly front view representation of the chest looking up at it. Okay, so we might be recapping on this example somewhat here, but that is never a bad thing. Course. Okay, I'm going to draw in the breasts at the top. There we go. And then we'll join those onto the shoulders. Like so. And then we've got the lateral muscles actually going to come down. Then we've got the obliques wrapping around the side of the body toward the front, just sitting above the pelvis. Got the abs there that we can see that general form. With the abs confined. Then we've got the lower back muscles, which we'll add in the butt muscles. Then I'm just going to do some tweaks up here just to neaten up the whole situation. Because it's certainly messy. A little bit too messy. What I've added here. Okay. I might get rid of that Far Side breast there. It's probably not needed. And I'm just going to bring in the anatomy on the front, the torso. They're not the best example, but it'll do. And I think we'll leave it at that. For our female torso examples. We've gone from the foundations, the initial mannequin model female torso. We've added the anatomy on top, and we've tested out a whole bunch of different poses at different scales and perspectives. Now it's time to apply everything we've learned to some finished female torsos. 15. Female Torso Study A: Alright, so now that we've learned about the foundational model of the female torso and how to add anatomy and on top of it, how to put it into different poses and perspectives. Starting to take everything we've learned and actually put it into action with a final polished female torso. Three, in fact, we're gonna be doing three different examples up here. So we're going to go through the exact same process except maybe not so much into the anatomy. We're going to be keeping that fairly basic, but we are indeed going to be starting with our foundational torso model. So I'm just going to sketch something fairly lightly here to start out with. This is the chest vest that we have become well acquainted with at this point. I'm going to just drop down that muscle tube, the middle bit that joins the pelvis and the chest together, start to draw out the shape of the bottom of the pelvis from there before actually segmenting away the pelvis and separating it from that area. I just find that that works a little better for me sometimes. For some reason. Now, I am going to make the front of the pelvis facing this direction, while the chest faces in the opposite direction. And I'm going to take some time to just tweak the shape of the torso here. I'm going to add in the legs. Okay. So we've got the front, we've got the side and we've got the main leg shape, the main leg form there on that side of her body. And then I'm going to drop this side of the pelvis down. Thinking about the tilt of the shoulders and the hips in comparison to one another. And I'm going to draw out this leg and pull it out in this direction. Okay. I think that that's looking fairly good. That's a good place for us to start. You can get a real sense for the movement or real sense for the pose. I do think that I need to add some additional balance here, so I'm going to pull the chest back a little. Remember that this foundational stage is everything in order to figure out what will make this in order to ensure the success, essentially of our torso drawing. I'm really liking the direction that it's going in so far. I think that this is a good pose, is aesthetically pleasing. There's a decent amount of movement in it. There's some dynamism within it. And every part of the body, no matter what the poet should feel like, it's got movement in it. We'll draw in the arm holes. Now. I almost feel like we could pull the torso over just a little bit more there, which I think we will do. I'll bring the hips up. Again. I'm looking at the outside shape of the body at this point. And I think that just about does it. That's looking good to me. Wonderful. So next up, I'm going to go ahead and convert this to blue and draw riding on top. And we're going to draw out the anatomy. Now I'm not going to be drawing every muscle group in here. I don't need to because in a final finished illustration of the female torso, a lot of the definition of the muscles is going to be fairly subtle. We're not going to need to add that much into complete this drawing. In fact, women tend to have more fat throughout their body due to hormones and biology and things like that. And so they just appear softer in general. Now as I work here, as I add in the anatomy, all go through another pass of reshaping the body. If I think that it needs to be reshaping. I have got the collarbone here, which I'll add in, leading it up into the shoulder section where we're going to join it onto the deltoids. And you can see that I'm getting into some of the muscle groups of the shoulder there. That's going to help me to define its shape, to figure out what its shape really needs to be. That's really what I use my knowledge in anatomy for is just defining shape. That's what it's all about, especially when it comes to drawing female characters. That's what you really want to be focused on. Because shape is your biggest ally there. It's really all you've got to work with. So I'm going to take the time to draw out some of her arm. So I'll draw that out. Just very roughly sketching it in there because these are more completed representations of the female torso. I think that we can take the time to do that. It will help us to position the shoulders a little bit easier as well. Each part of the body sort of informs the others. I've found. So that's going to be our shoulder there. And we can have her arm come out a little bit further at the top here again, just balancing that pose. At this point where we're just making it up. This is all coming from our imagination because we know how to use the fundamental model to define that pose to begin with. And now what we'll do is start to draw out some of the anatomy here that we'll be dealing with. I'm not going to be defining the abs here. I really don't feel like I need to. What I will do is lay in the serratus muscle and the obliques. They going to be fairly prominent here around this section of the body, but then will lead the abdominal area down into the bottom of the pelvis. We've got this tendon that runs down the thigh, the inner leg. And then we've got the hip bone on either side. We'll add in the muscle that goes around the top of that kinda joins onto the bot as well, Funnily enough. And then we've got the top quad of the leg, which we'll add in there. And we'll do that on both sides. In fact, we've got the thigh, the inner thigh. It's going to come through there. And then that is our basic anatomy sketch that we're going to use to form the basis of our finished female anatomy and drawing. Now, I am going to make some tweaks here. I think that the breasts could probably hang a little lower. I feel like this sitting too high up. I'm using my eye to judge that. And a lot of the time you'll find that most of you are like us, me, you, everybody has this natural intuition, whether they draw or not, of the proportions of the human body. That's why we can tell if something doesn't quite look right as far as proportions and measurements are concerned. So just keep that in mind. Keep it in check. Make it something that you're observant of when it comes to drawing the female torso. Okay, so that is how anatomy layer placed down. Next up, let's draw in the final outline. Okay. And this is where we're going to neaten things up. This is how I would finish one of my torso drawings. And here, as I said before, what we're going to be depending on primarily is shape. That's what we want for the most part is shape. Even if we only outlined the outer contours of this female torso that we've been drawing up. That'd probably be enough. It would probably look great. Okay, now of course we've got the obliques here. There is going to be some definition where they reside. We might have a little indentation here just underneath the ribs, at least the bottom set of ribs. So we can draw that in. And usually they're going to lead into the abdominal muscles. So we control those out. Once again, there's not going to be a whole lot of detail here that we need to define. If we have got a fairly built woman, then maybe, maybe we'll show some of the details. In the area where the serratus meets the obliques. That can work fine. I'm going to do some erasing here. Just because I feel like I could define this area a little bit better. But for the most part, we can leave it at that. It's a fairly good female torso. We don't need to make it more complicated than that. At least the mid section. We're not done yet. Make no mistake. Okay? Can see that I'm adding line weights in to the outer contours. You can see that I'm adding line weights to the outline of the female torso that I'm illustrating here. And I'm going to place in an indication of some of these leg muscles. We do get a fairly obvious Division running down the inner thigh, separating it from the front of the leg. Then I'm going to draw in crutch. As far as the leg muscles are concerned, I'm not really going to define them. I might define them more on a, on a man, but not really a woman. I want the thighs to appear soft. And if I start adding in defining muscle groups, It's just going to make them look hard and rock-like. I don't wanna do that. Next, we'll tackle the right-hand side of the female torso here. And for the most part, same deal. We can simply just add in an outline for this leg because any additional definition is just not going to be necessary. Unless we're drawing a really fit muscular character, which honestly, this female torso already has that appearance even without the additional defining of those muscle groups. So once again, it's, it's really something that you wanna be extremely wary of adding too much detail to the muscles of your female characters. Certainly only do that if you want them to appear superscript. Next up, we've got the middle division, which we can add in. That's going to run down the belly from the top. Going to get my eraser out here and just clean this area up. Someone. There we go. Then we can start to outline the breasts. Now at this point, I can focus on just the line quality of the finished outline because I've figured out how big the breasts are going to be. I know generally what their shape is going to entail. And so I, I've moved on from that phase of the drawing. Leaving space in my mind too, focused on, focus on the final aesthetics and get those right. Okay. I'm making my way around the breast on the opposite side of the body. I'm taking a little bit of time, but I am working fairly fast. And if I notice any tweaks do need to be made to the shape of the breasts or any other part of the body for that matter. I'll get my eraser out. And I'll certainly go ahead and do some additional sculpting if need be. Everything is changeable, especially if you're working digitally. So never feel like you have to stick with anything that isn't quite working. Because you can always go back and tweak it. Always. Go ahead here and just erase that down a little. We've got our shoulder muscle there. And we don't really need to articulate the divisions in the deltoids on a regular female character. We can just leave it to the outline to inform the viewer on what's going on in that area. And that's all we'll need. Placing the collarbone on the opposite side. Now, again, that's just going to be a basic outline. Nothing too fancy. Oftentimes the simpler the better when it comes to drawing female characters. And once we've got the shoulder drawn in place in the bottom of the arm. This is where the bicep would be. Then we've got the tricep. And then finally, to finish off this female character, what I'm going to do is just add in a quick outline for the neck. And that will be that the nickel be consisting of something like this. We'll see those trapezius muscles dropped down from the back sides of the neck. But unlike a man, those trapezius muscles are going to have quite a deep dip. Okay, and so this will be what we're left with. We don't have to apply too much detail to the anatomy of the neck. That's not going to be required. And in fact, we can pretty much leave it at that. We've, we can add into the lateral muscles. We did somewhat forget those, so we'll draw those in. But other than that, we've pretty much completed this example of a finished female torso. 16. Female Torso Study B: Example number two. Let's now draw the female torso from. Let's draw it from the back. Okay, so we can get a good look at exactly what we will be defining and what we won't be defining when it comes to drawing a finished female torso from behind. Just draw this out real quick. I will add a slight twist to the torso for this example. Can thinking about the tilt of the upper body in comparison to the lower body. In order to create some balance. Can see that I'm doing some pretty big changes already to that foundational model. Once again, I know that if I get this right, it's going to solve me a whole bunch of potential issues later on down the track. One of those main issues is just getting the balance of the female torso, correct? Then I think that is looking much more balanced, which is great. Okay, Wonderful. We'll draw in the trunk of the body now. And you can see that the upper body is twisted in the opposite direction here. Just to make things a little bit more complicated. I like to do that for myself sometimes. Okay. I'll erase that down because it's probably got a little too much height to it at this point. But I think that's looking good there. So really that's all we need to move on to the the next stage where we're going to now go ahead and place in the anatomy on top. So we'll convert this to blue. We'll start to sketch in the anatomy just roughly. And we need the neck here to begin adding in the back muscles. It's just something that I find is necessary most of the time. Remember that the trapezius muscle is going to come down to about the midway point of the upper chest. Then we've got the shoulders there. And we'll draw on an arm as well. We've got the shoulder on the opposite side of the body, which I didn't think is going to be doing a whole lot in this example. We've got the back shoulder muscles. And then we've got the lats, which are going to be somewhat compressing and stretching here. In this example. Remember they come down in an interesting way. They, they come back around almost enjoin into the top of the gluteus maximus. Can see them right there. So that little bit of fat, fatty tissue just above the tail bone in that area. Then once we've reached that point, we can start to draw in the butt muscles. Like so. Cut the hip joint. We can't forget about the hip joint because that'll tell us where the leg is. Put the obliques. Then we've got finally the legs. Okay, done. I think that gives us plenty to work with. So now let's go ahead and move on to the final line art for this female torso. Now in order to get this dark line that you see me placing around the figure, I'm just pressing harder with my pencil now I'm working digitally and Manga Studio with the darker pencil tool. But the same thing applies. If you're working traditionally. You're just pressing harder, defining what is there on the page. And really trying to add some, I would say character some style to the outline of the female torso that you're drawing. Now once again, you can see that even though I'm not defining any of the interior muscles or at least very few of them. Within my female torso. Indeed, I do still two seem to be presenting a rather built female figure. And so it doesn't, it just does not take that much to actually draw route. A female torso that looks rather muscular. You don't have to add a lot of detail in there at all. Now, as I was talking about at the start of the lesson, one thing that will become a little bit more apparent in the final representations of the female torso is the the shoulder bones, the shoulder blades rather. So we're going to keep that in mind as we lay in these muscles. Now, there's not going to be a whole lot of definition. And the trapezius muscles. It is a fairly, on a regular person, it's a fairly thin muscle that lays over the top of the skeleton. And more often than not, what you're going to be noticing instead is the shoulder bones which are going to come down and then back up. Okay. So we'll do that again. Going to come down to about here. Then going to come up. And that's really all that you're going to see as far as the details on the back is concerned. So in some ways that the back is fairly easy to draw. Once again, you've slipped the shoulder blades here, but they are just this subtle details, subtle definitions. You may have some indication of the middle of the back, especially toward the bottom, going down into the base, just above the gluteus maximus. But once again, we're keeping all these details fairly subtle. Remember we're drawing female characters here that don't require a whole lot of interior definition. It's all to do with the outer shape. I'll go ahead here and I'll outline the pelvis. The bud is going to be one line essentially as we bring it around. So I'm going to try to keep this line nice and strong. I'm adding line weights as I go. So I'm varying the thickness of the line as I work in order to get some additional appeal incorporated into the final lineup. We'll draw in the middle of the gluteus maximus, leading it down into the leg. Then on the opposite side, we're going to see it lifting up just a bit. And I think we could even pull that leg out just a little bit further. In order to tweak the shape. Can add a slight dip in there if we want, but it's really not all that necessary. Again, the less detail you add in, the softer your female characters are going to appear. And I personally do like the soft look for my female characters. I find that too just it has a little more femininity Within the final presentation. Okay, so that's the back view. We can go ahead here and add in a few more little dimples and indentations just to describe the anatomy of the pelvis in this area? Certainly, but other than that, we can leave it there. We'll place in the shoulders and drawing the neck. When I try to get these trapezius muscles right? So I'll draw those out and give them some extra height. Again, who knows if this is exact? You'll never know. As long as it looks right. That's really all that matters. In my experience. That is how next finished fine tuned and polished example of the female torso presented from behind. Let's do one more example before we wrap this up. 17. Female Torso Study C: For our final example, we will draw the female torso up in the side view and maybe add a little bit of a twist to the pelvis in order to get that extra dynamic touch added into it. Okay. So we've got the side view of the chest that we'll get down onto the page. Just adding and adding that in there really quickly. And then we've got the pelvis, which I'm going to rotate toward us ever so slightly, just so that we're not looking at a direct side view. Try to make things a little more interesting than that. And that gives us more than enough to work with, I think so. Besides adding in the legs, I think that we're ready to draw in the anatomy. Okay. So I'm going to convert this to blue. Jump up to the top here, sketch in the shoulder real quick. And of course, we'll place in an indication of where the arm might sit. Probably somewhere there. Piecing together the human body can certainly be a challenge, but it can be a lot of fun as well. I've found we've got the neck here, which will bring up someone that should help us out with the trapezius muscle that will run down the back. We've got our back shoulder muscles here. We've got the lateral muscles which are going to run down the back and into the top of the hip. And then we've got the breasts. So quickly. Sketch the one that we can see at least in from the side. And then we'll draw out the ribs. You can place in an indication of the abs if we want to as well. We've got the obliques, which I'm roughly sketching in there. Again, that the first row work, sometimes the better off I am. I've found. I don't know if it's the same case for you, but I certainly find that that that's how it works for me. I just end up overthinking it otherwise. And I find that working quicker and sketchy or puts me into more of an unconscious state where I can depend on my artistic intuition a little more. I'm not quite happy with the shape of this breast and how it's looking. So I am going to erase it and completely get rid of it. Probably what is making it confusing for me is I've got the arm pointed up like that, so I'm getting a little just a little lost as to how it should look. It's looking rather pointed. So I'll have another crack at it. Again. I just I keep on trying until I get something that looks moderately right. And maybe this one is right looking enough, so I'll leave it there for now. Maybe just needs to come down a little lower. Bear with me while I try and figure this out. Sorry, I'm going to ignore that arm for a moment as if it wasn't there. And I think that's going to work a bit better. There we go. That's what I'm looking for. Okay, great. Looking at the outside of the body now, sketching around the shape to refine it somewhat. Then I'll place in the bottom AB the oblique on the other side of the body. As the pelvis turns toward us, we have got the hip joint. So add in the muscle on the top of that. The muscle here. And of course we got the button muscles, which we're going to draw out as well. Okay, Wonderful. Now I might tweak the final shape there in the finished artwork, the finished drawing. But I think for now, that's looking pretty good. I think that'll do. Okay, So that is the next example that we've got to work with for our female torso. Let's go ahead and finish it up. We'll convert that to blue line. I'm using the same pencil the whole way through regardless of whether I'm sketching or laying in the final outline, I just, once again, I simply increase the amount of pressure I'm applying. I make the lines less sketchy. And I tried to neaten things up as best I can. And I'm going to go around the outside of each one of these muscle groups, defining the exterior silhouette. And once more, I don't need to detail out the muscle groups too much. That's not going to be necessary. Especially on the back. We want to keep it simple. I've got her arm raised there. What I'm going to do next is outlined the breast. That gave me a little bit of trouble during the initial drafting phage of the phase of the anatomy. But I feel like in the end we arrived at a solution that worked. I'm going to break the line. As I lay in the bottom of the breasts, they're drawer out the front of her belly, lead it down into the crutch, bottom of the pelvis. We've got this center line for the belly button. That'll give us a clear look at the twist that's happening within the torso. As it twists around. Pull out my eraser again, and I'm just going to do some slight tweaks. I do feel as though I haven't quite got the back right. I'm probably looking too much at the side of the bank there. So I'm going to erase that out. And we are getting a little sketchy. And now I want to be careful of that since this is our final rendition of this example. And I'm just going to draw that in and hope for the best. Or maybe I just need to narrow it out somewhat. Maybe that's the key. Okay. I'm going to drop back down to my muscle layer for a moment and start to figure out some of the issues of the back that I hadn't yet considered. So let's say that. And get the middle point of the backup here. Okay, there we go. Maybe this will work, maybe it won't work. We'll see. I'm going to work with that though. And I'm going to erase the bottom of the breast here. Change the shape of its underside curve to indicate the rotation, the correct rotation of the upper body. I'm going to erase this line. And then what I'll do is draw in the hip form right there. Sometimes we can see it, just a little indication of it. Okay. Now this is looking better. This is what we're after. Placing the shoulder blade going to come up there. Then we've got the middle of the back That's going to come down. And then I'm just going to tweak the outline. The shoulder blades here. Like so. It's still not working the best. So I'm going to erase and have another crack at it. Don't give up easily. And I suggest that you take on the same attitude, that you remain persistent, as persistent as you can be with this stuff, as you try to work out the different issues that a whole that is the holding your artwork back. I do it all the time and I find that for me it is one of the greatest learning techniques that you could ever hope for. It'll, it'll teach you things about yourself as an artist that you couldn't ever have imagined. I would highly recommend it. I just recommend staying with it, staying with it until it's done, until you've worked out what's going wrong and bringing it home. Alright, That's a little better now I think. I'm glad I'm glad that I stuck with it. And hopefully it'll all work out for the better. Now. Next up, what we wanna do is add in. Our lat muscle, will draw that back in. There it is. Now I'm probably starting to get to, to find with the muscle structure. I don't necessarily want to do that. Because remember this is the final artwork, the final drawing. So we want to keep things subtle. Not to find. Next up we've got the legs, will draw that in with a nice clean outline. We'll place in her bottom so we're getting a good look at what the belly looks like from the side front and you can't see it from the back. We're getting a good idea of what the the gluteus maximus looks like from the sides, from the back. So hopefully you've got a well-rounded knowledge at this point. All the females anatomy and its involvement in the torso area. What does the torso and tail, you should know now? You should know how to construct it on a basic level. And you should be well-equipped to place in the anatomy. Hopefully, it no longer is is too intimidating to you at this point. So now what I'm going to do is just indicate where the hip is. We'll add that in. And I really do think that that's probably it and maybe we can place in a dimple just at the back there. But otherwise, I think we've got that pretty much sorted around the back bottom region of our female torso. Now we can go ahead and add in the outline for the opposite hip. Draw in the leg on that side as well. And that completes all three examples. Female torso. Course later on, you can add clothing to your female torso as you can really place the design in on top. But if you can get to this point, the rest is just icing on the cake. It's easy-peasy. I hope that you've enjoyed this class. Thanks so much for watching. And that completes our female torso demonstrations. So if we take away the underlying construction that we use to arrive at these final representations of the female torso. You can see that they really did help us to arrive at a fairly gorgeous outcome. These are solid female torsos. Hopefully, on the page in front of you, you're looking at something similar. Maybe you've chosen to do up your own female torsos and not exactly copied. What you see here. That's completely fine. No worries. But if you have been following along, congratulations, That's fantastic. This does however, complete our demonstrations as three demonstrations for the final polished representations of the female torso. 18. Assignment: Thanks for watching. I hope that you enjoyed this class and that you've got a ton of value out of it. But now it's time for the rubber meet the road or with your assignment. Task number one is for you to draw up a series of foundational female torso sketches, fit as many of them onto the page as you possibly can. Task number two is to draw in the anatomy on top of these foundational female torso sketches. Then finally, task number three is for you to give those female torso is a finished outline. Polish it up into the final representation of your female torso drawings. Once you've completed the assignment, submit it into the project section of this class for feedback. Good luck, and until next time, keep drawing.