Learn To Draw Legs (For Artists)

1. Learn How To Draw Legs Introduction: Hello and welcome to the tutorial. Before we begin, I'd like to take a second just to quickly introduce myself. My name is called read from a mixed media artist and create a work across a number of disciplines. Some such as sculpting, painting, drawing, illustration, animation, and game creation, using traditional and digital methods, 2D and 3D alike. I go by the name called space or space read on YouTube and call out read everywhere else. I post artwork regularly on my YouTube channel and Tumblr of days would sneak peeks on tiktok. Lots of things. You facilitating this tutorial and me as your tutor, I should do my best. With that being said, let's get into it in today's tutorial, we're going to be looking at the simple shapes that allow us to draw our legs the way we want to provide a perfect place for us to then go ahead and detail them or leave them as they are. Enough information will be provided in the face to get the idea of how they are formed to further extend your knowledge of anatomy. Checkout my female torso tutorial, also available on this platform. Let's begin. 2. Framing: Hello everyone. Okay, So today we are going to be learning how to draw some luscious legs. Okay, so let's get started. As usual, Azure throw the title down because that is what we are going to be drawing today. Miss out the luscious part in the title, so you'll have to excuse me, but we all know we all know a little secret. We're drawing lost his legs today. Let's get started. I don't know if you've seen my arm tutorial, but the framing that I've done for that is going to be pretty similar, if not exactly the same. And the reason why is because the legs follow a similar pattern. What we do if you want to follow along with me, draw a circle. This circle right here is going to represent our hips. Okay? Now this is the legs from the side view. Right? So we're drawing in lecture on the side view, this circle is going to represent our hips. Now what we can do is we can draw a triangle. Triangle. What we're talking about, Tango. I have not heard, might see yet what the **** squared, right? So what we're gonna do is we're going to draw a rectangle from our circle. So this is going to represent our hips. And again, this is from the side view, and this rectangle is going to represent our upper leg right? Now, what we're going to actually do is we can divide this rectangle into hops right? Now. Sorry about the blend. Just sat in my answer tutorial. What I mentioned is that on different people depending on the distribution of a, not so much actually, depending on their body fat percentage ratio, let's say, and also their muscle body fat ratio. You tend to get different effects. This line segments the upper leg can taper, which basically means contracts and get and get smaller, thinner. Or it can flare, which basically means it can expand and get wider. Now with a wider effect. You can, sorry, with a wider flash, Sorry. The effect that you can get is when your drawing is, say, a person with maybe larger musculature or maybe a largest statue in general, maybe there's more, there's a higher fat percentage with that person. So that's the type of effect that you can get by flaring here and maybe even flaring at the hips as well. Now regions such as the knees, which we are going to be drawing hair, and the ankles do not flat anywhere near as much as the aqua portions and sort of the lower portions are able to. And that is always, usually sort of like a balance between all of them. You say, Let's get into it, Let's get into it. So with this, we'll draw a straight vision. So we're going to draw a rectangle right now, 0, right thing guy. And then this region is going to be our knee region. Then we're going to draw a nova rectangle. Exactly the same. We're going to copy basically was up top. We draw another rectangle just below and then we separate it. So now we've got all of our leg dissections. We can put like a rough for here. I'm not going to pay too much. Minds are there or detail or anything like that? He says I didn't finish in searches. What we can do here is we can again, we can either flat or taper to give us different shapes. So what we're gonna do is on this particular one, I am going to keep the leg. This isn't proportional by the way it is. Then I will add more of those details is a tutorial progresses. So do not worry about that, but just focus on the framing technique first. And then we'll add all of those bits on afterwards. Okay, so what I can then do is you sort of straight drawing lines and I recommend this to the r is quite a lot in my tutorials. And we can, we can draw around the framing that we've drawn. We can pretty much follow follow this line. Now we've got a little bit of a bulge here because you got to have a little bit of the musculature there. Say if this is a man, and then we've got this central division here where we can just add an arrow. Just a very shallow, shallow arrow tongue-tied there. For our knee region. Then we can come down to the shen. And then what we'll do is we'll actually taper in because we're coming towards the ankle region, the ankle right here. This is going to be thinner. We taper back in here. Then on the other side, what we're going to do is we come down from the buttocks region. It's I said Botox, very politically correct. Clap, clap, clap. Then we come down here and then we take note of the cough region here. The coffee is gonna be around here. And the top of the top of the coffee is going to bulge out and then come back down and tape it in towards the ankle. Right? Now, some of us have some of us have very flat coughs, cuff muscles. So this definitely does vary. And one thing to pay attention to is obviously if you have referenced, then you can obviously mimic E reference and keep it very, very focused. But if not, then do your best to do your best to follow these patterns and procedures. Now you do get a little bit of a bulge that at the back of the knee and sometimes this can even be as straight as well. So again, it depends on how much of musculature and sort of how large the person's cartilages and tendons are. That can either be a bulge that way or straight. And then we saw if we filter back into the upper leg, if I was to rub this framing out, I'm not going to on this particular example. If I was to rub this framing out, I then get a very nice leg shape. And that's just off. Some really, really simple framing that also pretty much mimics the arm framing as well. If you haven't checked out the arm tutorial, then you may want to take a look, but if not, that's totally fine. This is the lecture tutorial and using this you can do the arms as well. Now, what we're going to do is we're going to use the methods I talked about at the start of the video, whereby you can either taper or flare. These segments on talking about not so, not so much this because this let me add some notes. This is the obviously knee region. Let's see. We've got this is going to be the we'll call it central leg for now. That's not the That's not anatomy. Anatomically correct. But we'll call it central. We'll call it upper leg. Actually call it upper leg for now. Upper leg. Say upper leg central for now. Then you've got obviously your hip. You'll have your buttocks region there. And then obviously you're like, Oh, continue up to your top hip. And that sits at the top of your cost six. 3. Taper: And right. So what would the leg look like if we tapered? So let's do that. Again. We're going to draw a long rectangle. Draw along with me. I'm going to draw a long rectangle. Then we're gonna separate it, but we're gonna do a little taper line, just a little tape align in the center. Then we're going to do exactly the same for the lower leg. Here. We show again small taper line right over there. So you can see. Then we've got small tape line there. We've got normal size and small tape line that will draw again also for representation. And just so you know, hey, this is leg from the side view. Got leg, side view. Again, not paying too much attention to the details. Just rough in the end. Then we are going to start using our straight lines to taper in, taper into the small region. That part there. We're gonna we're gonna do our buttocks region, which is going to be much smaller. Why? Because we tape it in. This person is going to be actually very skinny. They're going to have a very, very low body fat percentage. Then we're going to we're going to type a back out. Why do we take it back out? Because this is mostly bone, it's mostly joins, right? So what actually is happening is this is going to be your knee socket. So we're still going to have this. So then the back, we can have again. Low boasts like we did on the last one. The calf muscle. They're not gonna have too much of a calf muscle because we're tapering. So the person is going to be very slim. Taper in, withdraw in. There we go. Let's say for example, this person could be wearing like, I didn't know, skinny jeans or something like that. Using this frame, we've just basically built something that allows us to really easily, really easily draw our legs using, using this sort of framework. And not even just that. What we can also do is we can draw them without closer. This could be like totally naked leg. We can do sort of drawing the knees and the back of the knees and all of that kind of stuff like that. We've got we've got tons of options. 4. Flare: What does it look like if we do the opposite? Well, let's give that a go. Start off by drawing your circle again. Really easy. And again, you know the process already. What we're gonna do is we're going to draw a rectangle again. Down to the sensor. We're going to go and draw another rectangle. Excuse them what? I empty list at the moment so I cannot clear my throat. But it is alright, the show Chicago on, right? So what we're going to do is we tape up there, I guess what we're gonna do right now, That's right. We are going to flare. Let's flag will actually go past the perimeters of the rectangle. We're going to flat out now this character can either be a very sort of a high body fat percentage character or person, or muscular person. It can be either or you can play with, play with those sort of effects again. So again, segmented the rectangles into Haas doesn't really again affect the knee region much, yes, it will be bigger than a slimmer persons because you will have some more fats and more muscle tissue around the knee and all that kind of stuff. But it doesn't it doesn't hold Cao. Cao as much as these areas can, the areas that have more than a more muscle focused. Because again, there's not much sorry, not much musculature around the name. So let's do this. So we've got the buttocks region, which is obviously going to be larger as well because we are flaring. We saw him, I said, I think, you know, 60 seventies opera and flares and all the flat trials is, and all that kind of stuff. You could do that right now. Now that we draw legs, you can do flares, you know, totally up to you. What we can do is we can use our straight lines, we can draw we can draw our leg. And it's going to taper back in towards the knee region. Again, that's the same principle across all of these framing sort of setups when drawing the leg, sorry, taper back in towards the knee. And then we're going to do a triangle just like this. Semi again. We can have that bulge or we can do straight. On this occasion, I think I might use a straight just to mix it up. Then we've got the flare again. Now with this particular portion, what tends to happen is the flare will be a little bit higher on the leg. That's just how the sort of cough is positioned. So this bulge just here and this tape apart will be higher up than central in the rectangle. Okay? So keep that in mind when you're doing like high body fat, percentage characters or even muscular characters. Now there's a little bit of rounding there as well. Then we taper back into the ankle region, which is again thinner, is tapered and it's much more it's much thinner than the knee region, much more tapered than the knee region. Then we've already got a muscular character, character or life drawing or whatever, follows the same principle from the side. Piece of cake. You don't all in no time, no time. So you know it all now you can go away. I'm just kidding. I'm just kidding. Right. Okay. So now that we've done that from the side, obviously if you would flip these same principle would apply just flipped from the other side on front. Yes. So what I'm going to do real quick is I'm going to throw some notes or write some notes, shall we say? We'll say cough region higher. All we've got cough region is higher. We'll save the leg. Cough region higher up the leg. And then we've got the knee region. We say the ankle is tapered, thinner. Whoops. There we go. Thinner than the knee. The knee, right? We've got the knee which is also tapered. So that's gonna be very that's gonna be very, very thin but not as thin as the ankle region. Then you've got the upper leg taper. Sorry, not Taper. You've got the upper leg flat, just here. Flat. And this gives the effect that our character or drawer in is either much more most scalar, right? Or it is going to be a high, high body fat, fat percentage, percentage. There we go. So that's gonna give us different, sort of different character types. And also, you know, sort of not just characters like obviously again, like I said, this can apply to life drawing and all that kind of stuff like that. It's something to sort of keep in mind while you're drawing your different, your different characters in life drawings. But obviously if you're doing life drawing, drawing it exactly as you see it, that's, that's the way that, you know, life drawing works. But obviously, even with life drawing, people are gonna be following the same sort of framework and principles. Okay? And that's why I'm teaching this head. We've got the ankle, which again is tapered and follows exactly the same pattern. So I won't need to write it again as the previous, whereby the knee is fled more. Okay. And then we can actually go thinner than the knee region. The knee. That's because the actual joint that goes up here, I believe this is called the fema. The joints that goes from your knee to your hips that is actually thinner than your LEA socket. Okay. So that's how you can actually get your upper leg thinner. And your described the tibia, I believe tibia and proton. It'll come to me. It'll come to me later. Video, trustworthy. But you've got the tibia that as well. There is another there is another joint that goes down as well, but they are basically thinner than the knee socket. So you can actually get this region thinner than the knee and this region thinner than the knee as well. Okay. So now, with that being said, we're able to draw the leg from the side view. Now, let's start drawing the leg from from view. 5. Front: Let's do it. Legs. Right under that and then we'll say the front. The principal doesn't change. We're going to do a circle, obviously from the front. If you were drawn by flags and whoever you are drawing is standing straight, then you would mimic this parallel. So you'd have a circle, that circle where rectangle there, the rectangle there, et cetera, et cetera. Again, exactly the same principles. We draw these rectangles straight, straight down. Then we can just do a triangle to represent our thoughts at the bottom. Now again, same as before. We can choose to tapered at the ankle, which will most likely happen because the ankles, they're not like we said last time. We can keep the knee pretty much the same size. Then we can start drawing our drawing. So say for example, this was, let's see. We'll say this is the right leg. Should we say it's the left leg? Left leg. Now we'll say it's a right. Make up your mind. Okay. So we'll draw will drop down to the knee region just like straight lines again. Pow. Then what we can do is we can taper down again the ankle. Now, if a person does have big coughs, what you'll tend to find is, let me draw this rectangle again. If the person does have big coughs, again, just follow the previous principle that I told you in the last lesson, whereby you have your your taper line, sorry, your flatline. You're lying flat. Right. So you can see the cough from the front even though the calf muscle is on the back. If that makes sense, I will flare here. And then we'll come and tape it down to the ankle region, right? If you have a really muscular person, this will be fled and you'll still see this sort of ankle, most, sorry, the calf musculature from the front even though the coffee's on the back of the leg. With this example, withdrawing sort of like a. So if average character with low musculature or person with low musculature. Again, with four, I move on with the front VA. What we can do is we can draw sort of light, pretty much a rectangle in the middle region that divides, see that dividing line that represents on me. So we can draw it over that would draw a rectangle there that will represent only. Then we draw a line up. Right? Now, I would actually recommend to do a little bit of flaring just to show the calf muscle. It gives the leg a little bit more shape, but it does depend on what type of current. So you are drawing because remember, people are, people are like built-in phone in all kinds of different shapes and sizes. So it's not one rule for all. So some people may have no cause all you won't really see that much flaring from the front, if any at all. Some people may have quite a bit of musculature on the sides. So yeah, you probably see some flaring, et cetera, et cetera, bearing in mind. This is also connected to the cough as well or part of the cough. So that that's what that would be. But just more on sides maybe depending on the person really does. It really does change across the board. But again, we'll follow sort of like a general principle, okay. Then obviously with your leg, what you can also do is you can do some little triangles. They're just where your leg meets your fault. Or the fourth character. Because obviously those are gonna be the ankle regions right before you felt right before the character's foot. Now inside the crutch as well. When we've got this line here, the crutch does tend to unless people who have got like clothing on and all that kind of stuff like that, it does tend to come back in towards the hip. You can blend back into the hip and the circle region in this framing example. So keep that in mind. And then remember the knee was quite bulbous as well. So you may get a bit of rounding shape near the knee. You can draw arrows at either side. Like that. Then will allow you, you know, it's a nice leg shape. Again, it really does depend on your reference, you character, and all of these kinds of things. You know, the, the body fat percentage and all of that kind of stuff. Okay. Let's move on to, let's say a really thin coats are okay. 6. Front Slim: Let's move on to, let's say a really thin coats are. We've got the hip region again, we're going to follow the same framing pattern. Again, you know the drill through a rectangle and another rectangle beneath that. Bear in mind, I'm not actually doing these not really constant. One thing you do want to do is concentrate on the proportions as well. Now these tend to be equidistant. Maybe the upper leg is slightly longer than the lower leg. Okay, but when you're mapping out your sort of rectangles, maybe consider that now this is another thing that does change person to person. Some people can have actually really short lower legs and really short upper legs. Not everyone is filter equilibrium. Let's say. Again, these things can change. But again, use this as a general principle because most people are close to that. Half and half, right? So let's do that. Right? So we've got two rectangles, just nice. Then what we're gonna do is we're gonna do our triangle. That represents our fault. This is gonna be a slim Carlota. We're going to taper, we're going to draw a tapered lines. You just stare again like we did with the last part. And then you use are straight lines. Again, it's gonna be the same leg, which is all left leg. We're going to type it in and we are going to do the same on either side. Now with this, there's no need to sort of go back into into the hip region like we did with this because there's not much there's not much musculature. So we're not going to do that is literally just gonna come straight from the hip region. Probably even flaring too much from the hip region as well. Because if this person's right quite slim, maybe that will come in a lot more. So I will sort of disregard these a little bit because of drawn them a bit too wide on this particular example. But the principles are still the same. So we're going to taper in again. Then we're going to taper some more where the uncle is concerned. Okay. Piece of cake. Piece of cake, right? So we've got a nice slim character or slim person, man or woman. Then what we're gonna do is again, the, the knee is gonna appear much more bulbous. Why? Because there's not that much musculature around the name. It's gonna seem really bulbous because that's what the knee actually is. It's very bulbous, I believe is called a ball and socket type connection within the human anatomy. So that is why or is it a hinge? I'm going to have to go back and check that. You see very hinge or ball-and-socket. But anyways, the shape of it is very bulbous. So if we were to look at the knee joint, I think it's sort of like I think it's sort of built like that. Then we've got sort of separates into two joints. You've got your femur, which is utah. Going off on a tangent here, excuse me, people. You've got fema and then we've got one of these is tibia. Whereas out the AMA actually, I'm gonna have to go check this. Hold tight. We're back just quickly check that. Yes, I am correct. Which is awesome. Which is extra, extra awesome. So we've got the tibia, which is the inside joints, the larger one, which takes a nice way. Then you've got the fibula. Fibula. Yeah, that's right. Okay. So sorry about the Blair and just sir. And then we've got the fibula. Outside is the fibula inside is the tibia. The tibia takes the most weight and then we've got a circle there in-between, which is the patella. That's actually like if you want to look at it in wherever some type of way, That's the knee portion. So when you put your hand on your knee, that starts most likely what you're putting your hand on your point, your hand on the patella and then fema is the top joints. Basically what I'm saying and the reason why I'm showing you this is this portion here. This portion here, which is the majority of your knee, is very bulbous, is large, and it's very round. Then the fema. And it's larger than the tibia and fibula regions. They can get like sort of really thin. At some points. They tend to do sort of like an hourglass. They tend to have sort of like an hourglass shape to them. These these joints head, right? Whereas you've got your knee, which is composed of all of these different connections that make it very bulbous. So on a slim person, this becomes very apparent because you haven't gotten the most musculature to cover these joints. Okay. That's why you can get that kind of shape whereby you tapering in widths. Then you taper even more to the ankle, or you taper inwards. And then you flare out to the same principle as before. We can draw our rectangle. The sensor part just to sort of give an idea of the knee. And we can also, on a thinner person, maybe you cut those off and give some hints. If I didn't know maybe the musculature underneath, totally up to you don't have to. The rectangle is enough. And that gives an idea of the knee in my tutorial where I do the knee, I actually say, you know, what you can also do is do some shading either side of the knee just to show that it's more it's very protrude protrusive. I don't even know if that's a word, but basically sticks out at you. Okay, Cool. And obviously before I'm in my paper, we want to include the little arrows that symbolize the ankles. Because our character or live drawing model will have ankles, wouldn't they? 7. Front Muscular: Again, same principle. Let's do the muscular, muscular figure really, really quickly. What I did, I did wonder sometimes why I cannot say muscular musculature for his time. Very well. I have no idea why somebody helped me. Right? Let's do this. Same again. She rectangles equidistant, equal in size and shape. Close to. Now what we're gonna do is we are going to, actually, first off, what I'm going to do is I'm going to elongate those because I kind of wanted to kinda want to pay attention a bit more two proportions. I'm gonna put the knee here. I'm going to extend the rectangle. So if you'd like to do the same with your drawings as well. Standard rectangle just to hear. We are going to separate those into Hoff's or at least the top one. Again, we're going to flat like we did last time in the last lesson. We are going to flare. And then here, rather than separate at halfway, we're going to raise the flag higher. Why? Because that's where the cough flats and flats higher up the leg, higher of the lower leg. Now, again, we're going to draw the hip region. Then we're going to flare out Towards are flat point. Same again here. Now this character has much more musculature. So we have that little divot, like I said in this example, we have that little divot where it comes out from the hip region and then this crotch area basically into the crotch area and then flat out and then back into offline. Just like that. So you end up getting like a wider upper leg portion. Then this is going to taper back to the knee region. The knee region is going to be bulbous. Why? Because we've got all our knee connections and they are shaped that way. On this example, the musculature or the muscular example. See every single time we can, we can do a little shallow curve either side to show that's where only is. And then flat back out towards and again, follow along with flat back out to our cough. Because what's happening here is basically because the cough is well-developed. We can actually see it from the front. Even though calf muscle is on the back of the calf muscle also extends and includes the side region of the back of our leg. So that's how we can see that sort of that sort of bulge effect from the front even though the calf muscle is on the back. And again, what we'll do is from those flat points, either side will taper back down to where the ankle is. There we go. Just like that. Right off the bat. Because because our framing is so nice, we can easily draw a character, live touring, model and all that kind of stuff when we can use this frame into sort of map out how the leg is going to be formed and shaped. Again, same principle like I showed you before. In this, we can draw our rectangle where the is. We don't have to cap it tops and bottoms. We can add a little bit of shading either side if we want to just to basically emphasize, hey, this is the knee region and it is protruding out. Job done there. And then obviously like we can do a little triangle just symbolize thoughts. We can draw the little arrows just at the bottom to show, hey, that's where the ankles are. Remember that the inner ankle is just a little bit higher than the outer ankle. Type that when the advisement or into consideration. Okay. There we go. We've got like a quiet even muscular or higher body fat percentage, character or leg drawn here. Using those framing principles. Very, very simple. To do. That allows you to draw your legs. 8. Inside Leg: The only difference with, say, for example, if you were to draw the characters inside leg, is that you would have half of this rectangle. So let's say that we were drawing this. I'm going to draw the leg right here. Why? Because I don't think there's any point in going in doing a full inside like tutorials since it follows exactly the same pattern. And I've already told you feel that you know, that you know how to use this basically framework to set up your different body weight characters and variations. I believe you'll be fine with that part so I won't slam not against your heads. But the only difference with the inside is obviously, you're not going to see when you do you need portions, you might draw, maybe align that to emphasize how you need protrudes. This is the inside, inside of your leg. Then you might have a little bit of an arrow just to just to show where the patella your kneecap protrudes as well. Then when you get to because, I mean, it's not too much different from the side view that we did. When you get to the region, let us say that's flat. There we go. When you get to the ankle, what I would recommend is when you're drawing these ankles, you can do an arrow. If either side of each other. You can go online or grab pictures from wherever will look at your own and draw your ankles in a different way. That's how I do mine. Obviously. It's totally down to you is yes, I'll leave that to all of your discretions. Leave that to your discretion. That's the inside of the leg. 9. Muscular Bent: Righty. So the question is, what happens when you bend your leg call what happens when you bend your leg? Is that what you're asking? Well, my different I'm going to show you I'm going to show you now, not unlike the arm tutorial, which you may or may not have seen, what we do is we draw that framing setup right angle. So let's do that. So we'll say legs bent. First of all, spent. Right, so we'll draw a circle same way as before. Except we're going to draw a rectangle that goes this way. Why? Because the leg is bent. Of course we're gonna do it that way. Now. Instead of, instead of just drawing a line like we did before to sort of half, half our rectangle. What we can do, we can do it one of two ways. One way is we do that. Which obviously is more familiar to you because we've been doing that. Then drawing another circle obviously symbolizes your inbox, honest, it's not being box, but this will seem, this will symbolize your knee. Again, very bulbous. And then what we can do is we can draw another rectangle leading from a piece of cake. Then obviously, we can then like a triangle, just symbolize the fault. Probably thrown out. Let's see, beg to be fair. There we go. Then what we can do is we can have these, again. This region is going to be higher up because that's where the cough, again move flat. Then the thing to keep in mind is depending on again, the person's body fat percentage, the amount of muscularity or musculature the person has is going to play a, an effect in this. And we control that with the sort of segmentation of these rectangles here. Obviously, the more muscular our character is, the more flat these going to be. We'll start off with a really muscular character right now. I actually got that word, correct. Yeah. Okay. What are we going to do is we're going to go up to meet on musculature here. We're going to round that off. Well, not rounded off. We're gonna keep the straight lines, but yeah, we're going to go straight here, we're gonna go straight there and then we're gonna come down here towards the knee, the hip. We're going to come back up that region. It's a bit of a zigzag. Okay. Then what we'll do once we come to the knee, will follow what we've what we've drawn around the around the circle of the knee. Then we're going to flare here because we're taking into account the back of the calf muscle which is fled higher at the top. Then we'll round that off similar to how we did the muscle. Leave these cold, the glutes going straight down here and then we'll taper to the ankle region. Then same on the front. We'll take the ankle region. We can flare a little bit at the front again because one we've fled that line so we can match our reference. And what you tend to find is again, more muscular. People have muscles in places that you didn't think you could grow muscle. Yeah, that's very interesting about mosquito FIFO. So, yeah, always good to check. We tape it back into our reference right here. Sorry, reference for the ankle. And then like I said, just in the previous lesson, we can, we can draw our inner ankle just there with two arrows that represent that. We can draw our line just there to symbolize, Hey, this is where the knee is. And then we can't forget this region. So we'll round off of Botox just here. Flat back out. These are the hamstring muscles and then we'll flip back in the back of the knee. Now what you can do is link. This finishes kind of like on a point. And there's actually a lot that happens underneath there at the back of the knee with the flexing and the tendons and the cartilage, know what kind of stuff like that. But as we're drawing the inner or outer leg, because obviously the appearance is going to be very similar when you're doing this sort of framing technique that we don't, we don't need to pay attention to what's happening at the back of the knee. Why? Because you're not getting to see it. That is basically how to frame a bent voila. 10. Slim Bent: Really, really easy. And again, I'm not gonna go into all the different variations of, hey, how do I actually, I will do a thinner lag because they're awesome. Subtle differences with your, with your normal. Like let's say, let's say you didn't flare these, right with your normal legs, you would pretty much follow that leg shape. So there wouldn't be the sort of the sort of peaks, etc. They wouldn't be as apparent with that example. Why? Because there's not that much musculature on the person. But let's do a slim person. How is that going to look? I think obviously you can benefit from this, so I'm not going to let you guys suffer with that. We're going to, we're going to explore that. We're gonna do. Our rectangle. Here is a bit sketchy. But again, it's just to give you the idea to be able to go away and do all of this stuff yourself. Right? Again, we're going to do a circle. Again. We're going to do a rectangle that leads off, off set circle. Now we can do our lines, but again, we're doing a skinny person. So what we're gonna do is gonna be tapered and same again on the lower leg. We're going to follow exactly the same principle as before we, when we drew slimmer Coyote is we can go around the Botox region. We're gonna taper in. We're going to taper in here. Now with a slimmer person, they tend to follow your framing much more tightly because there's no again, musculature there. So we're going to taper in and then we're gonna go all the way to meet the knee. Joints. Will go around the knee joint. When a tapering again, I'm not gonna have much musculature around where the coffee and then we can taper towards wherever the wherever the ankle is going to be. Okay. Then not is pretty much how a skinny or slim, very, very slim person is going to look. And that allows us to frame slim people or character drawings with a bended me. Now obviously depending on the degree, you can get different effects, but with a slim person, you're not really going to get much because again, there's no musculature, whereas the larger person, you tend to get the bulging here. If this leg words you extend, you get less bulging here and here because the muscles stretch into perform the action so to speak. And then if you were to pull your leg in more, you get more bulging in the muscular or more muscular regions. So that is how to draw your legs. Bent. Right? So let's use up, let's see, should I use another piece of paper or actually, let's do the back of the leg here. Now. I'm not going to actually yeah. Thank you. ****. ****. Show you the back of the leg as well on a new piece of paper. 11. Useful Summary And Outro: We got righty. So we've got back, leg, back, leg. Rhea, there we go. Leg back. You get the idea? Same principle again, no different. All the way through. This is, this is actually a really nice, easy one. Framing wise that allows you to pretty much locked down your legs from any angle. It's really good framing technique, so don't you forget it. Obviously. You can use this to draw your comics, your animations, all kinds of things and get the effect that you want and that you're after. Now the only difference, I won't go into all of the other stuff because it's exactly the same. With with regards to flare and taper lines. The only difference I will say is the back of the knee, which will again appear like a rectangle without tops. I wouldn't say too heavily, but with the rectangles, I would make them I would make the rectangles wider. And that's because you get like a tendon policy cartilages, the more apparent in the back of the knee. So you get this sort of much wider rectangle. That is really the only difference in the extent now depending on, again, how muscular your character is, you may add more details and things like that, but otherwise, outside that's fine. It can maybe you can maybe do. I didn't know a tiny little bit of incorporation of the cough muscle. But most of that you're gonna get by doing during the flaring portion at the bottom, right. Again, no need to do that. And lastly, when you're tapering into your, your thoughts, maybe another rectangle to symbolize the Achilles. Achilles, which is the tendon at the back of your foot. Very sensitive area. You'll know what it is If anyone, if anyone pinches it hot or heavily. With these techniques in the framing techniques, that easily allows you the power to draw legs very, very quickly, efficiently and easily. Alright, so definitely take this away for yourselves and practice. And you'll be drawing believable legs in no time. As a ways I usually say and state that it is always a good idea to use reference along with your drawings. So I would definitely do so. But if you feel that you find drawing them without, then these are the principles I would recommend to use in order to achieve the effects that you're after. So definitely keep those in mind. Lastly, just some seasons and salts. You may want to have a faint line where by your leg bends at the back. And maybe depending on how the body FAFSA, each of your character, you may be drawing using your circle to draw the buttocks region from the back as well. Now, probably do a tutorial just on the buttocks, buttocks region and the green region. Hold out for those. But in the meantime, I would again, if you're drawing your leg from the back, just again, go around the circle. Then follow the principles that we've been talking about in the tutorial. At the top. This will flat into the groin region as opposed to flare back into the groin region from the front. And then what we do is we literally just follow the same principles as we did before. Say we did our flare point like vat will have our calf muscles and then we'll taper back into the ankle. Then you could, you could draw your character with trousers on etc, etc. Now obviously if you drew your character with trousers on etc, then you wouldn't have, it wouldn't be necessary to draw in details such as Achilles and other things like that. So it totally depends on your drawing, your character, and your life model. Obviously, depending on whether you're doing life drawing or not. With that, I believe you're set, go away and do all your different types of drawings. Ladies and gentlemen, I hope you enjoyed the tutorial. I hope it was slick and smooth enough for you to understand and be able to go away and do what you need to do. Don't forget life. Reference.