Simplified Anatomy For Artists

1. CH: Hello and welcome to simple an enemy for artists. This is Chapter one. My name is Taylor. Peyton have been a freelance artist since graduating in 2013. So about 6.5 years now. And I'm gonna be walking you through this first lesson or entire series of lessons, rather where, and we're going to be breaking down some anatomical concepts, simplifying them and helping you apply them with lessons that are geared toward repetition and understanding and intuitive as well as technical application. So, without further ado, this is basically just drawing in a plumb line a vertical and a horizontal line, which are very, very prominent in all of drawing drawing of all types. You'll see it in different kinds of drafting different kinds of design graphic design. But for our purposes, we're going to be using it to measure out the first half of our skeletal figure. So don't worry if you don't understand what's going on right now, it's essentially just a model that I'm drawing up, giving you a basic breakdown off all of the simplified parts of the skeletal an enemy. At present, the neck is a little too short. So what I do is I just last, so it with the lasso tool and build it back up. When you're looking at the skeleton, you really want to consider a few things, basically, that we are pretty much symmetrical as human beings. We have a bilateral symmetry, which means it's sort of 1/2 and half split. And that's what the line helps us to discern that vertical line down our Why access there? After we've drawn in that basic skeleton, you just start to consider things like the rib cage. Now, at first I kind of unfolded the ribs in an incorrect manner. And so this is a more accurate representation, albeit still very stylized. And lastly, the best way to do ribs if you want to simplify them instead of drawing all of them at once , is just to get the big shape in there and then to draw lines across it. So that's a little easier way of seeing and drawing the rib cage, and we'll go into more detail in that in a second. But basically we're just taking all these elements and kind of spacing them apart, getting the proper symmetry and getting a full figure that weaken reference as we start to draw some of the pieces. So that's our start, as we've kind of configured this skeleton and flipped him across the canvas. And now in the next little chapter, we're going to talk about a more detailed breakdown of the core or rib cage. 2. CH: all right. So as we continue in our next module of Chapter one, I'm going to talk more about proportion and measurement. Now these air just basic guidelines. They're by no means completely hardened fast. We just like to have a general idea so that we have something to measure against, even if it's not always the case. There's always any exceptions to the rule, but in general we like to have our figure be about 7 to 8 heads tall. That's pretty much the standard for proportions. As far as the human figure is concerned. It just makes it way easier to have something to measure against when somebody standing up straight and has all of their parts all of their anatomical limbs and other, um, items in just ah pretty basic pose. It's really easy to measure out that 78 heads tall. But even if you have somebody say, bending at the waist or taking a more dynamic stance, you can still use the seminary heads kind of measuring or yardstick, if you will. It just means that going to have to kind of curve or bend those seminary heads along the body and along the line of action, which again will talk a little more. But later, as far as a more detailed breakdown like I promised, this is essentially some of the parts that make up our core anatomy the anatomy of the torso. We're starting with bones because they're the hard surfaces that give us our overall structure and shape. You can talk about different kinds of bone structure. For example, people have very wide or strong bones very thick or round, and some people have, you know, sharper, thinner bones. And it's all based on things like genealogy and different types of heritage. As faras, your DNA is concerned. But when I'm just doing is breaking down some of these pieces a little more intricately so that you can get a better look at them and start to have an idea. Because when it comes time at the end of this particular series of modules for Chapter one , I'm going to give you an assignment to do basically, as I am doing here. And that is Teoh. Draw and configure these different bones and get them in, you know, rough approximation to one another with similar shapes toe how they're actually laid out because it will not only enhance your drawing ability, but it will give you more of an understanding off what makes up the human anatomy. What gives it its overall rough shape. And again, a lot of that is owed to the bone structure. So we have the chest which runs down the mid line. Obviously, you see that cartilaginous sort of plate that we have all of our rib cage connected to, and it acts as a central nexus for all of our ribs to return to into float around and I'll show you the back of the rib cage later. But most of the time you're going to be seeing people from the front or the back or the side. Nonetheless, the big shape of the rib cage. As you can see on the left figure there is actually very simple. You just take the bank overall shape that contours the ribs. You don't have to break them all up like this. If you don't have a super realistic kind of style that you're going for, I find this just helps with general drawing ability to be able to parse the complexity in the human anatomy, and we're obviously simplifying here like these shapes are actually far more detailed than I'm making them. It's really just about giving you that broad idea so that you can start to replicate some of these exercises and see the gains in your anatomical prowess. So what I'm doing now is drawing in. The CAA kicks at the bottom and the pelvic kind of girdle there. You don't need toe. Understand the names. It will help if you're more of a verbal learner or more of a linguistic learner. But for the most part, you really just need to understand the overall shape design. There's about 24 ribs, which is 12 pairs eso used. Divide that by two, and then you have 33 different little columns in the spine, also known as vertebrae. And then you have that pelvic girdle down there and again the names will come to you over time. Don't worry about that right now. We're just trying to get a little bit more of a detailed breakdown so that when we simplify , we have more believability. And for the very last portion of this module, I'm just going to point to some of these areas that I've labeled before we talk about the next breakdown of a more detailed part of our anatomy 3. CH: all right. So welcome to the next module. We've just finished breaking down some of the main aspects of our anatomy, namely the rib cage, a spine and pelvis. Still very simple, just basic shapes. But now we're gonna work on the skull. The skull is really important to understand because it's nowhere. Everything in the face really sits. So in order to get a better picture of that, I'm gonna draw the skull from several different angles. It's not going to be a hyper realistic rendition. It's just going to be the basic shapes in pretty accurate proportion toe one another so that you can kind of have an idea of the parts and pieces and again can copy these exercises later after you have kind of watch these lessons and carefully read through the assignment. Pdf. That's been included with this simple anatomy for artists course. So again we have that same degree of symmetry. Remember, we talked about symmetry in the first module, where we can just flip and take half of the anatomy and just mirror it over the y axis and or excuse me, the X axis. So the X axis being left and right on the Y axis being up and down, which you're all just relative, um, just easy ways to kind of discern space. So we've grown it from the front. Now I'm gonna draw her mouth. 3/4 of you. You have the two sockets where the spheres, the near perfect spheres that are the eyes are hosted. You have the sort of nasal passage bone which will permit you to kind of a heave, obviously, and draw air into the body. And it also helps to see the cartilage that the nose is built out of. You have a lower mandible, which is the jaw that allows us to Mastic, ate a k t. Chiu and to talk and to perform all these wonderful functions that any kind of head or most types of head can do. As for the upper part, that doesn't move that is attached to the rest of the cranium. That's called the Max Ella. And that is just a nice portion that's protruding forward on this profile view here, where we just sort of see the teeth coming forward and lastly, drawing back in the mandible. The cranium is basically just a nice egg shape and a lot of shapes air egg shapes. So it's easy to remember. But that pretty much covers all three basic of use of the skull Pretty much covers all the basic views of the skull, which you will be drawing quite a bit of in this course. So be prepared again. This is just sort of a general overview in these first modules, but we are going to be going into each of these pieces in detail. 4. CH: All right. So we filled up our previous canvas. It's time for new fresh one as we draw and discuss the views off the skeleton and folk. So this is going to be a profile or side view. You see, I'm started with that same simplified sort of egg shaped cranium, the S shaped curve of the spot of the spine. Excuse me. Which we will draw more. Aziz, we get into the spine and rib cage chapters. We've got the mandible connecting in about half way of the overall head shape halfway down , right down the center line there. And the various ribs, which all some seven of those ribs connected. The spine and the other ribs are not connected to the spine. Those air, called the false ribs and true ribs, are the ones that go back into the spine again. We'll get more into that later, but I really just want to show you the side view of the skeleton as it sits. Sort of Kim thematically meaning how it kind of has weight and how it's sort of arched along these different parts, how we're really engineered to bear stresses and strains of movement. And that's easy to see from the side view Profile views are often some of the most informative mornings, so that's why I'm just copying it over and drawing the side arm there. We haven't talked too much about the arms and hands, or how the ball and socket joints of the shoulder fit into the rib cage and this calcula scapula being those sharp bones that are sort of triangular and make up a good portion of our back. I'm going to be drawing more of those here in a second as I create this next plum line to help me again my symmetry and my measurements. I would make very good friends with the plum line simply because it allows you staying more on point as far as all your measurements I concerned these are very Ortho graphic measurements, meaning that they're very splayed out, very static and mostly for the purposes of information. However, we just take that big sort of overview because it'll again help us to kind of modulate, move and understand between the big picture stuff and the details, and to keep putting those pieces together to not only simplify your anatomy but to create more appealing and believable anatomy. So we're basically just going in and altering the shape of the rib cage to be more reflective of how it actually kind of moves across the x axis of our plumb line. Get re drawing some of the pelvic girdle. The shoulders are up a little high, so we'll bring those down now. The pelvic girdle. Excuse me now the shoulder girdle is there to connect down into the ball and socket joints of the shoulder as well of the scalp Ula, the two different sort of shield like bones that sit on the back above the rib cage and give a lot of form and shape to the back. Finally, we have the femur, which is the large upper leg bone sitting back down into the two smaller calf bones. And now we have a back facing skeleton, which will give us good reference for later 5. CH: So now that we have a breakdown of some of our anatomy, as far as the full skeleton is concerned, you know that it is seven. Date had high. It's tall and have a general idea of where everything is placed. We're going to elaborate upon that placement by taking the top of the head in the bottom of the chin with each of these measurements and break down the general proportion markers a little bit more. It's gonna be a fairly quick module, so you may need to refer to it a couple times, but we have after the 1st 1 the chin, the bottom of the pectoral muscles usually wear the nipples set. Then you have the naval, which is the portion where the umbilical cord gets cut. And it marks pretty much the halfway point of the body, after which we have the hand, wrist and the knees half of the shin and the ankles. So again, kind of a quick lesson, but really worth rewatching and getting the general proportions off 6. CH: all right. So keeping with our previous theme of kind of going full skeletal with our drawing, I'm going to be drawing skeleton or representation of the skeleton any 3/4 pose. So it's less Orth's or the graphic. It's a little more dynamic, and it's similar to the second skull drawing. We did, Ah, a couple of modules back, and in this case, we're starting again with the head I usually draw from the top down. You can draw however you want. As far as the anatomy is concerned again, we're going to practice. The pieces were gonna practice their connections and putting them together, and we're gonna practice the totality off the skeleton and the muscles. And we're only a little bit away from the overview of the muscle groups. But we'll get to that in the next module. For now. You see, there's a diamond shape that connects the first couple vertebrae that are the cervical vertebrae running up into the back of the cranium, Uh, or rather, you know, right behind the mandible as well. And then you have the shoulder girdle, the clavicle bones, which connect into the sternum that allows the rib cage to sort of blossom outward as you're seeing there. And then, lastly, we go down the, um vertebrae even further to the more sacred or lumbar region, and then we have the pelvis. It's easier in this drawing this particular drawing to see the connection for the upper arm bone, which is one bone into the two bones, which make up the rotating, wonderful, very multipurpose forearm and the mass of bones that make up the wrist. There's quite a few really interesting wrist bones that will get into later and saying with some of the full Angie's some of the hand bones. But it all kind of breaks down into the connections that those bones serve and the angles that they can rotate in again we will be covering all of this is just the general overview , the general scope and all these poses air very much, um, just representational. They're not dynamic. They're very technical. We're not going to get too far ahead of ourselves in terms of adding more complexity, that the drawing, because we just want get the ideas down. So you see again, there's two different bones for the forearm, allowing it to rotate and perform all the operations that it does, and that leads obviously under that wrists. And then we have the femurs and the different truck handers that air kind of jutting out from the risk, or I'm sorry, the hips there. They line up with the wrists, however, so that's a good way to remember those. Go back and watch the little quick module on proportions if that helps. And at the very bottom, off the ankle bones, we have the digits off the toes and those air really helpful for obviously keeping balance . It's like a simplified, shortened hand that allows us to perform a lot of the feats that we can is human beings. So again, this is just a 3/4 representation. It will help you as you refer to it in the pdf, and we'll just give you an idea of how to draw the skeleton from yet another angle 7. CH: All right. So this is our second toe last module in the first chapter here of our big sort of overview of things just so showing different drawing demonstrations and how those are applicable to the anatomy of the human figure. So in this one, we're going to again sort of lay out our basic building blocks. However, we're gonna be doing something exciting and that is drawing in musculature, as opposed to just the skeletal form. So the musculature is a whole another realm toe learn in and of itself. And of course, as I stated previously, numerous times, we will be going over it in detail. We're not just gonna learn the skeletal elements. We're going to learn the different fibers and different muscle groups and muscle bellies as well. It's all really important. And I know right now it can seem a bit overwhelming. But trust me that the more you draw these things, the more you have an intuitive understanding that will serve to carry you through your drawing process. So obviously, this is more of a biological male figure. You have the wider shoulder girdle and the thicker bone structure. I'm basically just going over that super simplified green under figure there for a more just kind of general proportion and guidance element. And that's going to allow me to just focus on drawing the shapes of the muscles, which again are stylized, very simplified, very easy to remember and easy to work with because the more you want hyper realism, the more you're going to have to rely heavily on reference. And one of my goals for you, for this course, is to not be so attached to the reference after you're done with it, if you're completely dumped the court. So after this element, it's basically just going on to the more detailed muscle breakdown. So we have the big shapes in blue and now our various muscle fibers and the breakdown of those is happening in red. It's a very broad overview just to give you an idea of all these fibers overlap and kind of work together to create the tension and compression that go on within the skeletal system. And each shape contains different types of fibers that have been evolved over millions of years in 14 matter, another as it has for every other different type of living being. It's just going to be helpful to get a idea of what each of them look like separately. And then how they work together. So much of it is thinking of thes shapes as something that you can already identify with relate to. Like I've heard people call the leg muscles sort of football shapes. Or, for example, you can think of them as you know, sort of walnut shaped. Or what have you. Just things that you already have a strong shape understanding of, because that way you'll speed up your learning process. One thing I'm doing here is just changing the color of these muscles to better separate them. So they're not all one big red idea. It's just all different colors that you can understand a little bit better. The pectoral muscles, the delta where the shoulder, the bicep, some of the muscles in the forearm, the Brockie radi Alice. It's really about, you know, not necessarily knowing all of the names, but really again understanding these shapes. These shapes are going to carry you very far in this process. Now, next, we're gonna take a look at female anatomy, and you'll note right away that there are gonna be similarities, but also some key differences. So that's what I hope to elucidate in the next module. 8. CH: All right, Welcome back. This will be the second toe last again sort of lesson where in we're going to break down the counterpart to the male and that is the female anatomy. So in this particular little module, we're going to be looking at some of the key differences as well as some of the similarities. I'm going to set up my super simplified sort of stick figure here. I from gone through, ah, ways to set this guy up in the beginning. Drawing course. It's a very easy drawing basis to work with and to extrapolate from next. We're just gonna go in with some anatomy, much like we did with the male counterpart. Instead of starting with the faces, there isn't one that kind of started the neck and work my way downward A Z you can see already there are some pretty key differences. Essentially, women tend tohave a different shoulder to hip ratio, as in the hips are greater in with than the typical male set of hips. However, everything that I'm saying here is going to be based on the specific person. These are just general guidelines to help differentiate your masculine and feminine figures . I know when I first started drawing women and men, I found it hard to get them to look like what I wanted them to look like, based on the character that I was drawing. And so one thing that really helped me was to always create different shoulder to hip ratio to give much more, um, kind of credence to the way that female musculature curves a little more. Men typically have a much more blocky musculature, sort of ah, in general, more of a squarish format, whereas females usually have smoother, more oval esque forms. However, as you can see here, the differences aren't that great. You really just have, you know, less muscles on the female, but a lot more curvature, a lot more elegance, and it creates the effect of getting across that femininity, and it will basically permit you to help separate your figures. Whether you're trying to draw a masculine figure or a feminine figure, women have more, typically much Morley lift Excuse me feet on both in her hands. Definitely the bones just aren't as blocky as the masculine counterpart. But now that I have drawn out the basic format of the female figure. I'm going in and differentiating the muscle groups just the same thing that we did with the male. You'll see me do this a lot throughout this course, where we have one side simplify the other side, sort of broken down. I'm just shaking the whole area in because there's a muscle underneath the breast. But a lot of that tissue is fat. It's not exactly the same kind of fat as you would find beneath the abdomen. Speaking of fat, though, we will talk a little bit about that in this course because fat will differentiate and separate based on whether you are male or female, simply because we're biologically wired to carry it differently, based on our unique genetic makeup and our gender and whatnot. So either way, we're gonna wrap this one up and then we'll talk about your assignment as you can now see the musculature on the female 9. CH: alone. Welcome to the last module of Chapter One. This is going to be your assignment module. So be sure to pay attention. There will be a pdf included with all the assignments as well as pictures like these to help you as you just kind of work your way the region of your one. But I digress. Assignment number one is to construct a basic skeleton from the front, back and side angles. Then you can already the muscle groups on top of it. So again, I don't want you to worry about naming them. I don't want you to worry about getting them incredibly detailed. I want you to simplify so you understand it. I want you to digest the material in your own way, making corollary kind of connections between things you already understand and these new pieces that we've sort of introduced between rib cages, pelvises, shoulder girdles, arms proportions, all of that. So it's really easy if you're doing it digitally to use layers to overlay the muscles. However, if you are rocking the traditional mediums, then consider using a light box to trace over previous drawings. Or, if you're comfortable enough, just be sure to draw over your drawing with a different color or a darker tone pencil and Angkor blue pencil with pen. Something like that. Basically, if you want to go for a little bit more of a bonus than I would construct a skeleton from the 3/4 angle like you saw in the one of the latter modules of this chapter. So basically, this guy right here that is essentially the 3/4 view. It's just a view that isn't so flat. So that is your assignment. I wish you the best of creative power moving forward with it. Thank you for joining me on this quest to get, you know, sort of a simple understanding of anatomy. I know it seems like a very complex subject, and you could go deeper and deeper, infinitely, seemingly into any subject. But I just want you to have a broad overview for when you start working on your figures. Start designing characters. Start telling your stories whatever you want to do with this knowledge. So thank you again enjoying the assignment, and I will see you in the next chapter will be going Maurin depth on the head. Don't worry too much about the head and the muscles of the face on this one. Just get the body stuffed down. Just get the full picture down. And again. If you don't feel ready, that's okay, then. Just make mistakes. Mess up and correct them. That will teach you. Ah, great deal by actually going in and being critical of your own work to the degree where it helps you grow constructive criticism not, you know, beat yourself up. Criticism. That doesn't help anybody. So this is your assignment. Good luck. Happy drawing. See you in Chapter two. 10. CH02 Head Drawings Intro: Hello and welcome to simple anatomy for artists, Chapter two, this is our head and neck chapter. We're gonna be digging into some of the facial muscles, some of the construction practices, and just getting an overall view of what it means to draw ahead. So as per usual of sort of time, lapse these. I know what our attention is like in the 21st century. And so, in the interest of just getting you the basic pieces and building blocks, we're just going to move through these and sort of talk you through the process as you see me sort of contrived this head here. So basically what I did was I drew a sphere, cut the sign off and then extrapolated from the cross section on the side down to the jaw and drew my landmark features. So this is the Andrew Loomis method. Loomis's books have been free for a while on the Internet, and they're excellent. Resource is for artists who want a semi realistic style and some very palatable teaching that will allow you to understand methods of construction. You know much better. I think that Loomis is a really good teacher and a lot of my methodology is derived from Andrew Loomis's methods, but I digress. Basically, after you get the features locked in the place in the eyes start at about approximately, um, like 1/3 down on the nose is halfway between the eyes and the chin and the mountains halfway between the nose and the chin, and that gives you the basic landmarks for where you're gonna place those features as faras . They're kind of proportions and distances concerning one another are laid out, and that's just a really basic head I've drawn there. Don't worry again. If you haven't really done a whole lot of this, we're going to talk more about the anatomy more about the simplification and just get you from bones to muscles to flesh in this. Just this whole chapter and this whole course Really, Um, basically, what I'm gonna do next to draw skull here, you know, like we did in the previous chapter is going in and putting all the pieces into place, and then we're going to use that as a basis to show you, you know, there's the simple construction, and then there's how the bones and muscles overlap to give us the facial features that we have now. I will warn you that as you continue to understand anatomy more so, especially facial anatomy, you will kind of ripped the veil off of your perception. And this is something I wasn't really consciously doing as I was learning and studying an enemy. But you will understand more about muscles underneath the face, the structure of the skull like I'm doing here and breaking the skull down into simplified pieces and surface planes. And then when people are talking, you'll be very distracted for a while because you have to re integrate your new knowledge of how all these pieces come together to create the human being. You see, before you, it might help to look at yourself in the mere for a little while first just to get that down. But this is essentially just a more simplified breakdown of the skull. It just shows all the surface planes and will continue in the next module here with more had drawing knowledge 11. CH02: all right. Module to welcome. Welcome. Let's draw some facial musculature. So I'm going Teoh first just sketch out a really similar angle to the skull up there. Except this time, we're going to break things up into the musculature as opposed to the bones. So I'm just dividing the service planes of the nose. I'm thinking about the ways that the muscles overlay across the different ridges of bone, the different surface planes. So there's some very large muscles around the eye sockets that sort of look like the, uh, I holes of the skull, the or vehicular sockets. But they're not. They're actually sort of diamond shaped, um, I muscles that allow us to express, you know, using our eyebrows and our eyelids. There's a lot of complex geometry going on there. We also have some strong, really strong muscles around the jaw, and a It's like two different muscles that wrap from the jaw to the corners of the mouth. And then, finally, some muscles on the chin and I'm going toe start some dividing some of the musculature with colors now, so it'll be a little easier to detect. So there's a ton of muscle fibers that are very thin that overlay atop the forehead. Those green ones are some of the muscles that draw our lips upward and allow us to express using our cheekbones and some of the musculature up there. Then we have, as I mentioned earlier, the muscles that run into the corners of our mouths and then some of that yellow eye musculature that orbits around our eye lids and into the all went to the eyebrows and a little beyond. There's a lot of complex musculature around the mouth, just due to the variety of shapes and sounds it has to make and elicit, as well as chewing masticated ing. You know all that good stuff. Lastly, we get those nice, big red muscles around the jaw and some of the intricate musculature around the nose as well as the forehead. So that gives you a pretty basic breakdown of some of the stuff that helps us a moat. Let's go to the next chapter or rather, module 12. CH02: all right, Module three of our chapter to dealing with the head face. Next skull, all that good stuff. So now that we have the musculature, I've over laid it on top of the skull causes at the same angle. And you can get an idea of how those things kind of interplay. So it was moving some of this around so that you can kind of have a side by side comparison . It just helps to have his money, layers of detail, understanding as possible, even in a really simple module such as this one. So next we're gonna draw a face straight on because it's really good to have Ortho graphic information information that is flat and easy to diagram. So we did our facial break up again, 1/3 down halfway between and then halfway between again, eyes, nose and mouth. Then we have two years which are in between, typically the first and second lines and the nostrils air at the bottom of the second line . I'm drawing in some eyes, which don't worry, we will go over I shapes and more I detail in later modules, after which I've sketched in the mouth as well and we're going to be breaking down all these facial details later. So I don't want you to worry about the speed at which this is occurring. It's mostly just toe further lecture and further kind of expand upon the information that on kind of giving you in these first few modules here to kind of lay the groundwork before I give you the assignment, the last much. So he's a very similar breakdown, albeit on a more stylized face. This is not a face that was using reference for so it's much more simplified, and I'm just taking those same muscles and breaking them up so that it's easy to see even on a more like, Westernized anime type figure. So we have one side where you don't see the musculature and other side where it reveals it . 13. CH02: okay, And then this view, we're going to be drawing a little bit more of an above you so almost like somebody taller than you that you're kind of observing. Although in this case, we're gonna be observing some of the simplified shapes that go into the skeletal and muscular structures. As you can see, there's quite a bit of interesting tubing that I've used to represent the neck and some of the connections there in. And then I'm just going ahead and subdividing the face into very interesting planes. One thing I want you to note is that you have an underside to the jaw, which a lot of artists myself included for a very long time, didn't really in for and the drawing, and depending on the angle, you won't see it very well. So I've just added a little bit of emphasis. They're using a sort of shadow approach, just shading it in a little bit. One thing to note as well as you can see on the skull that there is a nice sort of parallelogram shape that is not part of our, um are muscular structure, and you can really feel it as well if your mouth is closed, but if you open it up and kind of push in on the sides, and I would do, I mean, don't actually do this because I don't want anybody to hurt themselves. But if you do, you know, for learning purposes, do it very softly. But basically you have some gaps there where there's only musculature, and it allows the modularity and the expression and the chewing to happen a lot easier. That's why skulls don't have bone that goes all the way. And there are deep negative spaces around the lower mandible and the upper MK zilla, or the top part of the cranium. So that's one thing note. But mostly this one is just another way to break things down in a different angle. 14. CH02: all right, next module. We're going to be using that as reference as we draw from yet another angle. Another face. First, I'm going to go in and drop in those very helpful guidelines which I've been using up until this point. I would love for you to utilize them. That particular breakdown that we talked about in the earlier modules when you're working in your assignment. So this is just going in with super simple shapes, dropping the opacity after subdividing those simplified shapes and drawing another skull. Skulls are not only really fun to draw in kind of interesting way, but they help you to understand the underlying bony, rigid structures that make up a lot of our anatomy. So here's yet another skull, albeit more stylized this time, because I didn't have a reference for this one. I'm basically always hopping back and forth between using reference and not using reference just to see what I'm learning. It's something that I highly recommend in something that I have included in the assignments of this course, simply because it allows you to come from both angles of having something to draw from and relying purely on the understanding that you're gathering is your drawing. So that was the skull version. This is going to be the stylized character version again, just a simplified way of breaking up all these different anatomical shapes like noses, eyes, eyebrows and taking a really angular approach this time not too many rounded forms just trying to get this angle down. It's really helpful to practice driving the head and any anatomy really different angles just because it further increases your understanding of its geometric principles and of its shape design. So here we have yet another head at yet another angle. The last thing I'll do is drop in some necklines before moving on to our next module. 15. CH02: all right, so in this module, we're going to take another angle, except it's going to be a little more extreme than previous angles. And it's also going to showcase a female face because one of the sport we haven't drawn one yet. So again, the same simple breakdown of shapes using that modified egg for the skull and some tubing for the neck and neck, musculature, windpipe, all that good stuff. Then we drop the opacity and starting with eyes as our basis, figure out that the or vehicular socket would wrap around that way and in the top of the head in the forehead, sort of orbiting backwards, and those get adjusted later. Then we have some of the shape design of the jawline and just a little hint, a little accent there for the bone of the jaw versus some of the under carriage of the neck . Then we reconstruct that, as we often do and get a back of the cranium to further add believability and accuracy, test out some various forehead angles, and that's pretty much our female equivalent at a different angle. 16. CH02: Okay, so let's talk a little bit about some of the various features that we've been drawing up until this point. Very quickly. Draw the multiple times here, and the first thing we're gonna start with is the ear. So the ear you can think of as a pretty simple shape. It's really only got 3 to 4 points if you want to simplify it, or you just do a couple curves from the side profile of you. Years are probably the easiest to draw just because it's flattened out. But as you can see here, it can be tricky to get some of the inner workings of the year to look right. Typically, there's only really two large shapes, the one that houses the whole of the year and the upper portion, which is much more in alignment with the tip of the year. So you can break those up however you like, and add sort of a lying in between them is what I like to do. It's not really important that you get super detailed with years unless you're doing a portrait. But if you want to add more detail than I would just start to focus in on what the big shape of in areas again, A lot of things air kind of a modified oval or egg shape. One easy thing you can do as well is just to drop a little occlusion shadow beneath the ear lobe at the very bottom. Help pop it away from the head. Some of your lobes really stick out, and others are more fuse a form with the rest of the skin itself. When I'm drawing right now is going be the I, which is basically a sphere that has a bump out for the lens that houses the iris as well as the pupil and the Square A is the white part. So here we just have a stylized, zoomed in detailed I drawing. Basically, what really makes an I look more believable is to get to some thickness on the two leads. That sort of house, the I. You have these two lids that kind of sit above and below the eye, and that large or Bic Euler socket muscle that holds everything in place so that sphere is well kept, as you can see within the socket of the skull. If you're also really up close, you couldn't spend some time grouping eyelashes, so those are just some of the various parts and anatomy that the I consists of. It's really very easy once you get into the groove of drawing the two lids and giving them thickness, and then understanding where to drop your iris and pupils and then getting some of the geometry, some of the thickness of around the eye to show that it's housed within the articular sockets. Using the upper and lower eyelids near the nose bridge is also the tear ducts, so those can help out a little bit of believability as well. A lot of small, intricate shapes in the eye. But once you have them memorized, then it becomes really nice because your characters will have a lot more personality and believability. So this is the eye from a side angle. You can see there's a very slight bump out for the iris and the pupil. There's a small little inference of the tear duct. Then there's more of the musculature that's sort of armors. The I gives it protected because it's an immensely vulnerable part of the body. But it's also very useful for expressing it's one of the most expressive parts of the face because of all those unique muscles that wrap it. And because we have such a wide, kind of range of angles that the lids and the, um, eyebrows consort of add emphasis to So here I am just bumping that I had a little bit more . One thing you really gotta watch out for with eyes is their symmetry and how they look at different angles. Since I have so many kind of detailed shapes around them, it could be hard to figure out the perspective in the angle on them. But once you draw enough of them, you'll get really good feel of how that sphere kind of orbits around and sits within every other elements, like the lids and the tear ducts and things of that nature. So next we're going to do the mouth, and here I'm starting with just two large sort of modified rounded boxes, which are gonna act as the gums and teeth. I didn't feel it was necessary to get to detailed with these, but this is still going to be a pretty helpful breakdown. You basically have two incisors that sit at the very top some would call it is the more buck teeth. If you have those that air too pronounced, you have four. That's it at the bottom. And then you have your canine teeth, which are the sharp ones that people always see. Some people have very sharp ones, and people are not very sharp. It all you have all of your molars as you start to move backwards in the mouth. Here's another angle so that you can see sort of how they sit and curve around the jaw a bit like, ah, horseshoe or like a small can of fish. There are really cylindrical shape that is basically broken up into So, uh, the teeth are usually a little less important cause you're not this close. But if you are, it's really hopeful that have an understanding of how they kind of fall backward into the mouth. Here. I'm just drawing them in the context of having a bit more of a skeleton. And then we have the classic kind of walking chomping teeth shape that people use in the toys you've ever seen those with, like a little key on the back and the teeth walk and chew at the same time. It was really popular for a while, but I haven't seen that toy, but it's really that's actually pretty good for learning anatomy. So I suppose, much like the um, the eye is kept within the orbit killer socket and protected by the eyelids and the various um, eyelashes. The teeth are protected by the mouth and the lips. So here's some of the musculature around, as well as the M shape of the upper lip. You also have a lower lip, which curls around again, sort of forming around that cylinder. Here's some sketchy teeth within that to showcase that element, but usually I like to start with the M shaped first, the M shaped being that line that you see when lips are together. You also have that small teardrop shape, or sometimes it's a bit more of an angular shape that sits right above the lips, dips right between the upper lip on the bottom of the nose. Usually, I like to color in female lips just to help distinguish them. You have sort of the angles that happen as the mouth is used to express. It could expand and contract and get pulled or pushed by those outside facial muscles to help make different shapes and different sounds. Again, it's a very robust part of our anatomy and worth understanding how those muscles can expand a contract or squash and stretch it on how the lips will transform. Ah, lot of understanding Anatomy is knowing the basic shape and how the basic shape transforms . So here is a profile view, as we often like to do, because it makes things pretty clear and you can just see sort of a stylized view. Here we have some noses that are gonna be drawn. Right now. The noses are very interesting. Siris of shapes. You have the core of the nose, which is that circle the ball of the nose and that gives way to to nostril wings on each side. So sometimes you can really see how the construction of the nose is broken up in half by the ball of the nose, but sometimes it's completely hidden or something. It's very subtle, knows, coming all sorts of shapes and sizes, but you have the top plane of the nose, which is the bridge, and then you have those two side planes which I'm emphasizing right now. You have the nostrils, which are the holes that we use to respirator. And finally the wings, which sort of protect those those orphans is. The main thing to keep in mind is the symmetry and the basic shape construction. 17. CH02: Hello. Welcome to the assignment portion. Very last module of Chapter two. Basically, we're going to be just working our way through some numerical values, doing some very large volume type studies in order to really understand each of these different types of head drawings, different types of shapes that are associate ID with the muscles and the bones and the flesh and all of the features. So it basically starts with 30 skull drawings which close toe these guys right here and this one as well. 25 face muscle drawings where and you can see some of those on the side of the face and pretty much this will face. Then you have 80 head drawings from reference. Now, I looked at a little bit of reference while I was doing the lessons. Overall, this one is from reference, and the skull was from reference. But I want you to do that with full faces or closer to this one, even though there's almost done from imagination. Speaking of which, then you have 25 head drawing from imagination and if you want to do a little bonus round 25 expressive had drawing, So go for some or expressive portrait's, whether from your imagination or from reference. It's up to you, but it's a pretty straightforward assignment. You just have to work your way all the way through the numbers here because it's going to help you cement your learning as faras. The different layers of anatomy go from bones to muscles to flesh, as I've stated so, basically, it will really help you if you just focus on, you know, doing some various angles, various types of complexity, going from a little more realistic, too much more blocky and stylized. Your understanding, the shape design that kind of drives the overall look, um, it's really gonna be helpful if you go from things that are referenced and then test your imagination. There are lots of ways to play it, but I'll leave that part up to you. If you don't know what else to do, just work your way through the list and then evaluate after and then maybe work on. The things that you're noticing are consistent mistakes and patterns. So that's your assignment. I wish you happy drawing, and I will see you in the next chapter in the next week 18. CH: all right, so Module two of Chapter three still dealing with the torso, you may have noticed that all the torsos in the top are male torsos we're now going to be getting into some or female torsos as far as having an X Y chromosome are having two X chromosomes. So this is just a simple guide, a nice little being shape that was divided and then dropped in opacity and then going in and starting with the breast. Tissue breasts are very interesting to draw, simply because again, like abs that come in many different shapes and sizes, they can be teardrops. Some could be closer to like wider bananas somewhere a little more flat. Some are more full, but it really depends on your character or the anatomy that you're breaking down. The drawing. The rest of the figure off the female is really a lot more soft and angled, rather a soft curved than the males, which is more angle a Z see. The neck is also smaller in diameter, as is the You'll see that the limbs usually are as well in later modules. Hips are always going to be a bit broader, a bit more full and robust on able to, um, they're young, obviously, due to their with they're designed. This faras biology goes here is a similar female view from the back, whereas before we were drawing it from sort of ah, front angle, this one I'm drawing scalp ula some of the trap muscles in red, some of the neck muscles that run up the back, also in red and in blue, just sort of going in and subdividing a lot of the, um, a lot of the spine, a lot of where the rib cage would end approximately. So again, very simplified female torsos. Very easy to understand, very simple, to draw with a couple different rounds of practice going to go into a little more detail with this one. Basically, it's the same simplified shape that just gets some divided and turned into inappropriate base for whatever anatomy were trying to draw in the torso, our trunk. In this case, we're just going to start by drawing in the bones. The female rib cage is a smaller opening at the bottom of the diaphragm, and the spine is essentially same. We still have 33 vertebra and again as I mentioned, the pelvis is going to be wider, and it's going to actually change the shape of the hips quite a bit as far as hip shape goes. You'll note that since it's more pronounced, more push out to the side due to the the width of the pelvic bone, you'll be able to see that a lot more as you start at the top of the legs. I was moving the pelvis in this case a little bit lower. You're not gonna be able to see the full kind of structure of hips from that side view. But rest assured that you will, during this course, be able to kind of note the differences between male and female anatomy pretty easily. And I know that's something that I struggled with for a while as an artist, and I'm sure that's something that a lot of you who are taking this course and judiciously working away with the assignments may be having trouble with as well. So we're gonna make those determinations pretty clear. In this case, I'm showcasing how the obliques of the female differ from the mail, and those are usually pretty soft. There's not a lot of hard cut shapes. However, if female chooses to develop her musculature and whose body fat she could have comparable kind of cut toe her body, it's really just a matter of how much fat sits on top of how much muscle has been developed . So here I'm just sort of showcasing the anatomy. So it wasn't the most appealing drawing for demonstration purposes. It showcases the hips, and you can see they flare out quite a bit. And I'm just using those purple lines to subdivide and help you see the distinctions between the shapes, the hips, since they're kind of flowing out, sometimes you don't see a lot of the old leaks. In contrast, it's really much more about the sides of the pelvis protruding and thus creating more of that hourglass that we're so used to see again. I want to stress that there are no ideal body types, really. There's no standard. We're really just here to learn about what the shapes can be and how you can kind of manipulate them based on whatever you want your character look like or feel like. It really is up to you. I just want to give you some of the tools that have really helped me to create the male and female figures that I have found appealing. But it's whatever you find interesting. So in this case we're just doing another quick redraw. You'll notice again, line of action or spine in a quick green there, this female having a little bit more of that dip in the hips at the bottom of the rib cage . Not a lot of fat. You can basically see how that really effects the con cave nature off the ribs versus that offshoot, the hips. I just wanted to emphasize that a little more because I want to drive the point home. So again, just subdividing in red, showcasing some of the forms, especially the roundness off the breasts and then all the way back up to the neck, which is again thinner. Then the male next by quite a notable margin and again just using that last spine of action for this last part of the module to again redraw another female torso. These are pretty much from imagination, but it will be doing them from reference from the assignment portion, as well as just a couple more demonstrations that I will do throughout the course where I'm working much closer to reference on. That's essentially the core. There you can see the glutes jutting out, how it connects to the legs, and then we just have interesting sort of hourglass shape, as mentioned before, so 19. CH: all right, So in this particular module in Chapter three, we're gonna be breaking down some of the distinctions between the male torso. So the male torso is blocked here as their anatomy. 10 study in general have a stronger, wider shoulder girdle. So that's the clavicle that runs across the top of the deltoid, or shoulder muscle and makes for a good base for the trapezius muscles, which are actually run further down the back than the classical muscles or the sort of bicycle handlebars that are sitting there seated beneath the neck. Males have more pronounced abdominals, and this is due to usually lower fat than their female counterparts, as well as the muscle density. And sighs just tends to be bigger in general. In the abdomen, you have the rectus at Dominus, which is the full kind of six pack muscle that we all know and love. Then you have the external old bleak, which is that little side muscle that protrudes above the hip bone. Males tend to have a narrower waist because it's not meant for their Children. They also have larger lattes, or LaDonna store side, which are some of the biggest muscles on the back, and it's really helpful toe. Get a clear view of the latter miss Door side because we'll be drying them quite a bit from the back, and they take up a lot of realistic back there. So what I'm doing right now is I'm taking the pectore Alice or Pec muscle. There is an upper and a lower pack, so I'm just sort of dividing those aligns to showcase the musculature there. There's not a muscle, really. Some pecs run into each other at the midline of the chest, but sometimes there's a gap, and it's just that bony kind of breast plate. It's that nexus where all the ribs come together, and we call that the sternum as faras, the green shape I drew down there. That's just to emphasize the old, bleak, that sort of pentagonal shape that wraps around the matter. All sides of the torso I'm starting to shade in some of the muscles on the abdomen. There are really interesting names for those muscles, like the Saray Tous and things of that nature. But so long as you remember that there's just a group of three and the bottom ones of the longest and the hardest to develop because they require a lot of targeted movements as well as very low body fat. So that's why people covered a six pack. Some of the other muscles that I'm drawing right now are the trapezius muscles and purple and some of the bands that wrap around the neck and various shades of green. It's really kind of integral that you understand that all these muscle groups have their own shapes and all their own kind of geometry as they wrap around different parts of the bigger, more basic shapes. When I'm drawing right now is a back view, and again it can look similar to the front view. But the scapula and the latter miss Door Sigh really separate the front from the back as well as the lack of pectoral muscles, will also be able to see the traps a lot better, simply because the the way that they terminate is much more parent in the back. They actually dig pretty deep down into the upper back, and then you have the latam this door side, which are very large. Actually, they're very big back muscles on. If you develop them, then it becomes even more noticeable. They basically run from the scapula, pretty much down the lower back there at the top of the lower back. Rather so, in essence, we know have front and back views that we couldn't grow upon. The arrow is pointing to one of the protrusions of the latte. 20. CH: and as we proceed here, we're basically just going to be drawing the male torso from a couple more Ortho graphic angles. Very good for understanding. I will keep on repeating that point because they're just so crucial. For example, three D modelers, Oftentimes, when modelling characters or objects would use, or the graft views because based on Ortho graphic views, we can project things in more dimensional ways. And if you want to know more about that than there's a little bit of it touched on in, might begin drawing course. But it's really more about anatomy here, so we're just trying to showcase all of these shapes. And the simplifications there, in the sort of rhombus shapes that I'm using to show where the arm would be or where the hit would be, are just placeholders, of course, because we're focusing more on the core. There are some red demarcations for the trapezius muscles. I'm separating out the pectoral Alice again, showcasing two of the big parts of the latter Miss Door Sigh. Going to the Saray does and some of the more abdominal muscles and just going through by making a plumb line and kind of showing where things begin and end. You have the belly button, the nipples and the A lower part of the job for the head. Which again, if you remember from our first module, those air the 1st 30 markers on our body when it's standing straight up and that works for male and females areas. Another interesting thing to note is the bending of the torso. The running of the torso is rather crucial because if it were just a stiff, rigid object than it would break if we tried to do things like this. But fortunately it's got a lot of flexibility, especially when it comes to forward bending. And that's what you're seeing right now is I'm drawing and kind of showing how the abs kind of crunch into one another. That's why they call those crunches. When you do those exercises, I'm sure you're familiar with drawing the clavicle. That sort of wraps around the shoulders and helps give form to the traps at the front. Just a placeholder for the arm showcasing a little bit of the lat going down to the oblique and finishing off the tourists over here. So this is basically the kind of run of the mill athletic male that you'll find in anatomical breakdowns. And it's really helpful to know how to draw these types of characters because often your protagonist will be in this shape so 21. CH: all right. Next we're gonna talk about the female torso. Of course, females have brought her hips rounded forms. They have a narrower shoulder girdle, so the clavicle is more V shaped as opposed to just parallel with the ground. And Siemens also are prone to store fat a little easier, so they don't have as much of, ah, cut. Look to them. You can't see the muscle definition and demarcation so much as in areas where the muscles are very separated at the edge, simply because most females are just more prone to have a softer appearance. Their necks are much thinner than the male counterpart, at least in general, and the trap muscles are also usually a lot lighter simply because they don't have a as much of a wide shoulder girdle. And so it's not as much room to develop really strong trapezius game as you can see. It's pretty easy to note. The difference is already in the female sketch, with the broken down kind of rib cage shape, very simplified, super simple pelvis shape. I think that's probably one of my favorite ones to use for drawing quickly. Just that little interesting band there. It's almost like a little moth and then the legs and the end of the pelvis. One of the best things about learning to draw the core is that pretty much everything stems from the neck, the arms, the legs, and once you're able to bend it and twist it and find the center of gravity regarding its balance, then you'll be in really good shape for just having an easier time simplifying and drawing the anatomy of your figures. Much like we had a back view for the male portion. This is the back view for the female portion. I'm just going to quickly flip it here. As you can see, you have the lateness door side and the scalpel on which are not as strong but can still be developed quite nicely. And then there is the glutes, as well as the thighs and narrower waist that some women tend tohave and then the arms, which his shoulders air held aloft in that particular pose. Thus, the kind of accentuation off the lats as well as the scalp Ula. In this particular pose, we're just taking those two shapes and kind of crunching them together, showing the compression of the torso and adding just just just a little bit more fat than the other one. So you can see that when you bend over, you kind of get that small. Um, that small protrusion off sat on the abdomen and then just drawing in the other parts in a pretty normal capacity, reconfiguring all the little areas like the lats, the breasts, the rib cage. The first green kind of oval is the rib cage, and the second is just the bottom part. You can use whatever shapes you want and just kind of aligned them together in order to start sculpting out your forms and configuring how things are going to be allocated as far as the limbs or the twists and turns of the torso. So it's really very helpful to have the simplified element of the anatomy down. But it's really important to know just sort of basic freeform and geometric shapes because they're easier to draw and thus easier to kind of uses guides for the more complex things. So that's essentially it for that drawing, moving on to another bent over drawing, just showing various angles and actions. So that time we're just going in with the line of action bent over and then configuring some of those abdominal Benz. When the female bends over, you still kind of conceive how the shape of the breast will change based on you know, the weight of the density and how much fat or the cup size that's important to know as they're performing. Actions that are affected by gravity is all actions are, and then the hips. I always like to kind of showcase the hips by adding a little padding just to the side of where the pelvis would sit. It just helps to accentuate the feminine form a little bit more, and you can usually get away with style. Izing it so there's females like you're bending over, and that's essentially it for around the females here. It's really useful to be able to distinguish them between the masculine and the feminine just because you're going to be drawing characters of either gender whatever dinner you want. So it's helpful to have some pieces to play with 22. CH: hello and welcome to the last module before the assignment in Chapter three and this one, we're just gonna be doing a side by side comparison just because things were a little bit more disconnected before, and it helps to have things kind of right next to one another so we can see the differences dare to compare as it were. So this left side here is going to be a front view off another male torso sketch. And so, needless to say, the right side will be the female torso sketch. It's just good to go in and continue to elaborate upon these forms to show slightly different shapes each time and to get a feeling for how these things are constructed. As you're going to this course, I invite you to pay attention to where I start, who are end up and when I kind of go back and do little flourishes or marks for because it helps to indicate what parts air, you know, perhaps closer to bone, or if you want to show some or musculature or a different curve in the hips, things of that nature. But I still want you to find your own way of discerning anatomy and drawing it. This course is really about you. It's about how you're going to configure your figures and what you can do to sort of simplify and build off of some of the things that I've learned over my over a decade of experience drawing figures. They're definitely the bulk of my freelance work, and I have spent the most time feeling sketchbooks with figures, with anatomy drawings with character sketches. And so I feel that this is just a helpful way to help up and coming artists or artists who need more anatomical help. I kind of learned the process because all of us kind of develop different skills as we go. Some artists are phenomenal anatomy and could barely draw background to save their lives. And really, it's just about understanding the tips and tricks and the fundamentals that go into each and every pursuit, but also making those key mistakes and correcting them. Oftentimes, we just have to fall flat on our face a few times and make some really less than desirable arts in order to really learn. So here's another altered kind of turned on a movie. A 5 60 of the back and just showing the larger scapula mixed with some of those big LaDonna store side muscles and going down the lumbar region again. There's some really interesting shapes at the bottom off the torso, especially in back views, since we have a side by side of male and female view in our other screen. I've just gone down the same in this one. So here's a little more dynamic movement in the female because the lats are smaller and a different insertion and endpoints. You can just barely kind of see the breast as I finish redrawing it, cause I find a shape that's suitable. And it's good to think about how the skeleton is moving beneath all of this, because it will help you to discern how the muscles were gonna be late on top, where the bony parts are gonna be, where the really soft parts are gonna be. And it's just fun to draw things that are not static because it's a little more story, a little more expression. So now gonna do another female variant, this time from a different sort of side view, starting with some of the lats trapezius in shape with arm would go drawing the breast, bumping out the glutes or the but and then bringing in the ribs and the core. So it's really easy to kind of forget that there's too long lines that run along the side of the abs to like tendons, two ligaments, one of the other. Basically, the If you look at the anatomical breakdowns, you'll see them as white as opposed to read. And those are really helpful and kind of distinguishing what the muscles of the abs are on but the muscles of the abs, or rather, where they kind of end. So it's just helpful to know that they have that kind of shape as they make their way downward toward the end of the torso. So they had just done a couple different sketches as to some of the simplified shapes on the female figure. From the side, the lattes, scapula, some of the trap muscles and some of the neck banding, we're gonna have get another view, a more masculine variant. Men having that more triangular composition on this one, being a little more dynamic and bent as you can see by the line of action that I started with. Oftentimes, a line is just a spine. You just wrap everything around that we'll see you do that over and over and over the office course. And I think that is one of the most helpful ways to start your drawing. But nonetheless we are basically coming to a close. So the last thing I'll say is that when the core is bending and stretching, one side is stretching out, and being tensed on the other side is sort of compressing and kind of crunch there, so you can see that will fold over a little bit on the other side is gonna stretch out a little bit, just showcasing more bone and the other side hiding some of the bones beneath the muscle belly. 23. CH: it's a welcome to the very last module of Chapter three or Week three. The torso in court, your assignments? Pretty simple. There's just 80 different drawings to do. I know that seems like a big number, but once you get into the flow, you really start to kind of lose yourself in the process, which is one of the most fun things about. Art is basically to draw 20 torsos from front 20 from the back from the side, all using reference. I wanted to really understand the muscles of the core, then 20 torsos that freestyle. So whether they're male or females up to you and it's pretty straightforward, as I said. So I wish you the best of luck. Happy drawing. And don't forget to focus, take deep breaths, take good breaks and I'll see you in Week four. 24. CH: Hello and welcome to Chapter three. I had super glad you made it this far. It is an absolute pleasure to be here with you. I'm take Peyton. I will be guiding, used to rule with this chapter, as I will every other chapter and module. And in this chapter, we're gonna be drawing the torso slash core. It's the trunk of the body. It houses pretty much every important organ say, for, you know, some of the and then at the very bottom of the reproductive ones. But that's neither here nor there. Basically, what we're gonna be doing this chapter is breaking down some of these very complex shapes and bony structures and figuring out how we could simplify them. So when it comes to the core, there are quite a few ways off parsing it or thinking about it. The rib cage could be really just kind of turned into, almost like a coffee, me in shape, except with a sort of removed part of the bottom for the diaphragm at the very bottom off the rib cage. It sort of has that U shaped opening. It's wider in angle, but our own men than it is on women, and we're just gonna be starting with a quick male torso over these bony structures so you can kind of see how it all fits together. Basically, skin is an organ, too, and it's there to protect muscle tissue and ligaments and tendons and things of that nature . So, really, the core is a very important element, because it's going to be twisting and turning and creating a lot of balance as far as our figures go, and I'm just gonna talk a little bit about the anatomical breakdown of it. So where the ribs are closer to the surface, and with less fat, you'll be able to see red meat, the pectoral muscles or the chest muscles of the year. There's a little bit of inference of detail, and that usually shows up as a result of the rib cage pressing close to the surface of the skin. There isn't as many muscles to interfere there, and there are always various bony landmarks that you could look out for when it comes to anatomy. At the very bottom has the spine shoots down from neck to the lower part off the torso. I didn't draw the pelvis in there. But that's what kind of gives the hips there with and and that is really helpful to remember on. We will be drawing the pelvis, but rather a simplified pelvic shape. The pelvis is the center of gravity. It's sort of like they got little stirrups on the bottom, and it really helps to kind of give us a dynamic element to balance out the hips. But one thing you want to pay attention to right beneath the chest muscles and kind of scooping around the back. There is the lattes, I believe. They're also referred to as the light of this door. Sigh, because they're on the door. Solar back, part of the body. The lats are really helpful for pulling motions, and you'll be seeing them a lot more prominently in a figure that has its arms, its arms raised. Excuse me, it's really a very kind of ah, strong wedge shape. And again it's best seen from the back or when the arms were raised. Although somebody brothers have developed lattes quite a bit. So speaking of a back view here, we're gonna be looking at that. There are two sort of sharp triangular Oh, are kind of a little bit crescent shaped bones that rest beneath the lattes and give them a lot of their form. Those are called the scalp yellow. The back has sort of an interesting ridge of symmetry on line that runs right down the middle, thanks to the spine again, giving it a lot of form because of the spine at various points, depending on body fat, levels will be much closer to the surface, and you couldn't even see some of the spine bumps on the back. It can look pretty similar to the front, although since it doesn't have pectoral muscles and doesn't have abdominal muscles, a lot of the kind of back musculature is much more. It's much more symmetrical as far as like being divided by a middle line. But I'm also going in and drawing how some of those large muscle bands run up and down all the way from the bottom of the lumbar pelvic region, right up to the trapezius muscles, which are also called the traps the green mussels. In this case, on the back, those are the scapula, or rather, a simplified representation of them and then another green line to show the s shape of a spy. This time we're drawing from a much more side view on way Have that simplified rib cage shape again kind of a coffee being with a little bit removed and the handlebars of the clavicle as well as the line of action. There are some bones that sit like pretty much to reinforce the neck. They're gonna hold the the neck up, and they are covered by the trapezius muscles. It's kind of a useful counter element to the clavicle that are in a bicycle, handles that run all the way across the top portion off our of our core there. So again we have sort of a simplified breakdown of ribs, and that we're actually going to draw the pelvis in the pelvis is a really interesting, interesting shape. I've heard people compare it to butterflies. I've heard it compared to stirrups for me, I really like to think of the pelvis in terms off a kind off interesting clover, or sometimes sort of Ah, a modified moth shape. It's really kind of an interesting being toe beholden to understand, but there's so many ways you could simplify it, and you really only see the pelvis around the obliques, which were part of the abdominals and kind of at the side of the hips, which we will get to. So no worries as far as Joe casing the musculature over the bones. That's basically what I'm aiming to do with this next drawing. You can see that the lats are inserted on the um side of the body there, even though they wrap all the way around with the back again, the pectoral or chest muscles and some of the abdominals that are kind of pushed all the way beneath the beneath the diaphragm there where the ribs open up. When people talk about having a six pack, they talk about a clear division of the abdominal muscles, which are they actually vary in shape due to like genetic differences. You know, Pretty Diamond desk sometimes is a sharp divisor between each one that makes them look almost a little more like Bolan's, which is very interesting. But yeah, I was taking some purple lines to help further divide the form and showcase the shape and geometry. One more thing on note is that the pelvis in this drawing is actually a little too low for the obliques is actually really sit closer to the top 25. Ch: our last module. As you can see, me dio a lot more of a masculine kind of breakdown of the anatomy. So in this module will focus more on how the female arm differs again. Like many of the other female elements, it tends to be a little more lift, a little more elegant and has parts and pieces that are similar. But really don't, um, really don't act completely the same way as far as the shape language is concerned. So I started off with a line, and that line delineates Where we're going to be drawing are drawing our excuse me, drawing our arm in the line of action for it. Lines are just beautiful in that way, and that you could kind of layer detail around them. One thing I'd like to know is also the kind of deltoid, the shoulder muscle and how the tricep locks in under it. It just kind of Cruz is in with the bicep and gives us that little pit that you see. It's give you tricky to draw, but you'll often have characters or figures that have arms raised, so you'll have to note how, though our muscles kind of zoom in underneath the deltoid when things were raised and attached to the torso. In that way, you could also see a simple kind of boxing breakdown. This arm could be male or female, really just a thinner male, less musculature, less exaggeration. I got that nice flat spatula hand with the small, um, time of extrusion for the thumb. The pop out women have thinner fingers typically than men. This is not always the case. I personally have, um, hands that are not very thick it all. And I've seen women with hands that air much thicker than mine. And it's just not always the case. There's always gonna be exceptions. But these air just general rules that think about when you're designing your characters and once you learn them, feel free to just no break up moulded into your own purposes. So that's sort of a raised hand. There you can see this sort of two forms that are helping to articulate the three D nature off that whole arm and the elbow, which has been kind of emphasised again, along with the tendon that connects into it here. We're going to be drawing I just similar drawing until what we did in the previous module. But the female version so darling, the female torso just to help drive the point home. We have a smaller bicep as well as the other vice ahead, the tricep connecting and going downwards, of course, de litigating the forms with more rapping and contour John the elbow as well as some of those bones that kind of interlock and twist back and forth so the risk can perform the rotations that it can. The flat part where the rest sort of becomes squared off and turned into the spatula that we refer to us hand and from the spatula we can kind of extreme fingers outward, so that's a really simple process once you get it down from shoulder to upper arm, too lower arm to risk the hand. It's kind of self explanatory in a lot of ways where we just have the parts that flow into an interlock with one another, as nature has designed us, and it's it's really fun once you start to understand that, because it makes it a lot more intuitive to start drawing figures. So here I'm drawings, flesh oriented and and forearm just showcasing the fitness of the wrist, which again could be male or female. Women tend to have thinner wrists, but again, it's not always the case. The Boeing protrusion off the elbow, coming through and showing through the sore arm as it's bent over and flex like that. And then some of the musculature behind it. Just kind of hanging out and giving some form to the forearm bicep, the other head of the bicep and tricep So yet another example. This time we're starting from a front view. So that's the shoulder, that green part with the latte and the interconnectivity of the, um, bicep and tricep going into the pit there and into the bottom Insertion of the deltoid Little red part for the elbow on the bicep is gonna hump up a little bit more because of the flexion here, so it's gonna have that nice little bump out to it. That's the thing with muscles. Is there always kind of transforming based on their position based on their angle? So once you know their basic geometry and how they behave when they're 10 stop or whether they're relaxed, then you'll really have an easier time creating more belief you haven't easier time creating more believability in your figure drawing work. So that's sort of, um, or exaggerated strong female with a large deltoid, some latte action coming through there on the front, too, just keeping with the demonstration showcase. Just a little more on the hand. It's got a nice little hand pad and some extruding outward. The thumb is kind of interesting, a bit of anatomy. It sprouts out from the beginning of the spatula shaped, and he doesn't really make itself apparent until about halfway through with that first knuckle. And then it goes into its second knuckle, and finally the very end or tip of it. So it was a little small in this case, so I scaled it up. We have a pointer finger going out here with those three segments of the fingers, and I like to draw the lines backward in the hand just to make it more apparent that it's those that air controlling and helping with all that articulation. So that's a pretty good demonstration off another posture for the hand. But as you can see, I sometimes just keep it super simple. If the hand is not like, really important or expressive are detailed in a given drawing. Also, go ahead and connect the bones up to it that this bones and move it over to give myself a little more room. There we have the brachial ready, Alice going out down some of the other for musculature that wraps around the bones, although you can really see the bone protrusion of the wrist oftentimes at the very bottom of it. But that's pretty much it for the female armed demonstration will go into one last hand dental. 26. Ch: Hello. Welcome to Chapter four. We're gonna be drawing and simplifying some arms and hands so the hands are often thought of as pretty, intricate, pretty difficult. But we're gonna take a look at how we can make those a little easier. Arms are usually not as scariest hands, but they can have their own set of challenges. And so we'll be taking a look at those two. So I'm doing right now is just drawing a picture Alice muscle and then going with the upper arm bone, which then goes down and turns into a connective for two bones. Those two bones are the bones that sit inside on the forearm. Basically, those are would give the farm the ability to rotate and kind of manipulated move around in the ways that it does. It takes a little adjustment just to get the proportions right, since there aren't many other things to measure against. One thing. All also note is that the risk is made up of quite a few bones there. It's like a little rock quarry in bones, as I mentioned before, and don't have to worry about all those little pieces. But it does help to know. That's why the wrist has a lot of intricacy, but basically we didn't go down into the full. Angie's the bones of the hand, and there's a lot of complexity has stayed in the hand just because it's so multi purpose. Served a lot of functions as an opposable thumb, but that is a pretty simple look at all the bones in the UM arm there. He's going to go ahead and draw the rest of the tour. So just for comparison as we grow, a lot of front facing torsos helps toe repeat that information. I mean, just a lot of drawing is the repetition element. It's about going in again and again and getting something that feels better each time until you have something that becomes second nature once. It's really good. So it takes quite a few generations to get to that point. But it's totally worth it because then you're a little more free to create. As far as the muscles of the armor concerned, the shoulder is the deltoid. It's got three different heads. The anterior lateral and posterior interior reading front lateral meetings side Mystere e er, meaning back then we go down to the bicep, which is highlighted in purple There, the tricep, which has sort of a horseshoe shape and that is really just a kind of ah interesting complex of muscles, will go more to triceps later as we rotate and bend the arm and see how the muscle bodies are muscle bellies. Excuse me, transform in that process. We also have the brachial radi Alice, which is the little football shaped muscle that sits on the floor on. There's a couple different pieces that sit on the forearm, and we're going more into those as well. There's a really interesting sort of mesh that leaves itself over the hand and gives itself that kind of Web look because we have the knuckles of the hand. Those radiate back into wrist again, a lot of kind of puppet string action where we can get a lot of articulation in the hand as a result of all of those complex tendons and ligaments. So that's basically a pretty simple look at the shoulder. Bicep, tricep and floor muscles was a little bit of a hand, so let's just go ahead and draw more of the musculature. We'll start with the deltoid simplified into pretty much one day peace, and we're just gonna in for some of its muscular detail by drawing lines of a number form helps to show some dimension on, create a little more interest visually, may have tricep, which splits into those two muscles and then has that tendon and meet that you also have the bicep, which, of course, people are very familiar with it. Just because it's been popularised through so many different pieces of media and culture. There's a couple different heads to the bicep as well. But for our purposes, just knowing that it kind of humps up as you flex it and relaxes in terms much more elongated as you kind of let it go is enough to know. For now, the brachial ready Alice is highlighted in blue, as is the elbow, which is something you really want to get used to thinking about because the elbow plays a crucial role in the arm as it kind of protrudes and is one of the bony landmarks that we often have to look for. And we'll be showcasing more of that with more armed drawings. So that's another look a little bit more of a side. Look, maybe a 3/4 look at the arm again, with all the different colors to show the different muscle groups. This time, we're going to show my arm That's a little more active, so I'll just keep it one color and start with shoulder work our way down. You'll see that a lot, starting with, you know, either a guide and then going from head to toe or starting at the shoulder and going from shoulder down the hand. There are two forearm bones you can see kind of the bend there. It's almost like some key frames of an animation. And then, lastly, instead of showing all that muscle fiber tissue, I'm going to draw very simplified, boxy forms because those will help, too, take things and make them even more understandable and easy to break down. So here's a box form arm with just enough detail you can see connecting the the tendons that run from the bottom part of the tricep to the Elmo and some of the forearm bones as we have a much more articulate bend in this kind of demonstration and hand that's just turned in the box forms and I don't want you to worry again at this point because we will go into detail with more of the arm muscles and more the hand muscles as well as the bones. So that's just a box form version, which kind of helps us determine how we can create arms that are appealing and, you know, relatively simple. And we'll just continue the train of breaking stuff down a little bit in this first module in this introductory module by drawing a flat spatula shaped with hand because I think of it like a Pentagon or a spatula, either one where they works. Then you have those four points, those four knuckles that radiate outward into the fingers, which, of course, have three different segments there and can do quite a bit of bending and interlocking between all those bony, um, kind of interdigital eating parts. Interdigital eating is a cool word I've heard from my dentist. It just means when bones kind of interlock like in the case of teeth or fingers. So that's kind of a fun thing to think about what what kind of lock together into vegetate and right before we kind of wrap this one up. I'm just gonna drop some finger some fingers gives me showing the three parts, and that was the bend in the finger. Helps to have sort of, ah, pseudo animation going on off the muscle behaves. And then you have, Ah, just a more straight on view of those knuckles and the lines or tendons that radiate backwards into the wrists, giving us all that good movement. And you see that everything doesn't line up perfectly straight along the knuckles and actually arcs, and we'll go more into that later. But this is the last little hand demo before we start to get more in detail with some of these anatomical concepts concerning the arm, wrist and hand. 27. Ch: So this is a quicker module just because we want to get to the assignment portion. Really, the thing that helps the most withdrawing arms is drawing a lot of arms, and there's only so much you can break down the muscles before it just becomes kind of redundant. However, the hands do you need a little more explanation. So let's go and die than to some more of these hand drawing demonstrations. Basically, you have your knuckles, which run back into the wrist via those tendons, which allow the hand to create a whole series of different expressions and gestures. And at the end of those knuckles, you have the fingers that extrude outward and those can be at any number of angles. One thing to watch out for is to make sure that the lengths of the fingers are appropriate and the knuckles lineup appropriately on each part of the finger. Again, it's really easy just to get them into those three different segments that are just little rounded cubes basically, and that really helps withdrawing the hand. I'm just gonna place a little thumb behind there because it helps to add to the silhouette conceived me starting with the spatula shape on the little pad for the thumb. You can see it starts at the beginning. The pad does within about halfway through, you get your thumb extrusion, and then we're gonna think about the wrist coming downward out of that hand. Then we'll draw out some fingers. Sometimes it helps just to draw the arcs of the fingers first and then just add the lines. And then you have all four fingers just due to the subdivision of those lines. Then it requires some cleanup. So you go in December racing. Think about the forms a little bit more where they actually break up where they bend and that basically is. I go in and draw yet another angle on the hands. You can kind of compress the fingers together after overlapping a little bit, and this is a palm up view off. A just a different kind of angle. Look different take on the hand. Hopefully, by now you're seeing the pattern of just kind of drawing the palm first that big palm shape and then taking on the the thumb or the fingers. After that, it's kind of like drawing the core and then drawing outward into the legs or arms. Usually I start from the top down again with the head neck men core, then limbs. But any order that you choose that gives you the results you want is really absolutely fine . This time I'm drawing a fist, so the shape has changed a little bit. To match that, I start with those knuckles where the bony points for true to the surface, those bony landmarks we'll talk about so much and some kind of wrapping around the fingers as it can thinkers being fully tucked underneath and wrapping themselves into the poem. Sometimes I get little why shapes at the end of where the fingers are. It just helps to create a little more believability in the hand, especially when it's to do a fist up there. We have the more like flat spatula side view, but as you can see, you get really comfortable pretty quickly, drawing hands. If you've drawn enough of them, which after this assignment you will be well on your way. So just mentally prepare yourself for that now. It can be a little taxing at first and kind of work, some to see all the different parts coming on a different lengths or to not understand the ways that the fingers airbending. But eventually that kind of subsides and you'll start to intuitively understand hands. So just just stick with it even if you get a little frustrated. That hand shows a nice little bit of negative space between the middle Stinger and the pointer finger on the pinky is kind of off doing its own thing as per the magic and different expressions up ahead. So this time we'll just start with some that basic thumb joint that kind of wraps around into the poem, and the hands are gonna tuck in that position. So you see why people get kind of intimidated by hands. It's because they're just so many different ways they can express themselves. They're very complex at first glance, but as you see me going through and breaking it down and creating these shapes from almost any part of the hand, you'll really get a feel for it yourself. It'll it'll help to draw your own hands a lot and just to work with a lot of reference. They seem tricky at first, but I promise you that they do let up after a while. And if you really can't get opposed down, you could always just take a picture in these reference. So we just have those ice two forms that pop out of this batch of ah at the appropriate points and are proportioned the way that they should be. As faras the length of the fingers go. It changes from male the female. But it's not a massive distinction between you know, whether the middle finger is longer ring fingers along here. But one thing to keep in mind is theatrical, of the wrist in regards from the hand. So here we showed a palm up, one with green. So we have a poem down, one in sort of ah, number color here, just going out and extruding from that poem. Shape the fingers once again. Those nice tubes that are easy to understand and easy to draw on make for a fun time when you're creating hands. So thanks for watching this last module. Let's get into the assignment portions or you can kind of get Hanzee 28. Ch: Hello and welcome to the assignment module off chapter four, the arms and hands. So, basically, I have a nice laundry list for you here. Of all of the anatomical power you're gonna be drawing and cultivating, there's gonna be 20 skeleton drawings of hands. There's going to be twenties. Government drawings of arms, 15 muscles, breakdowns from reference. So the muscles of the arm as well, um, hands from life. Yours if need be 20 drawings of arm musculature. So, um, closer to the arms. Like I said, this one was actually and muscles broken down. So closer to stuff like that, then you have 10 hands plus arms for imagination just to see that they're getting inside your brain. Also, 20 drawings of arms with skin on them just because it's helpful to know how to do that as well. If you are struggling with that and any interval, feel free to pop over to module six, where I do draw some of that. There wasn't a lot of it in this model just because it's really important to understand these forms more so. But this example is fairly close to a more realistic representation. As far a skin goes, whereas this one's more simplified. But you'll definitely get the hang of it. The more arms you draw. And I wish you happy creating as usual and I'll see you in less than five will be doing the same thing, but with legs. 29. CH: Hello and welcome to Chapter five. I'm Taylor Peyton, and in this chapter we'll be drawing legs and feet. The legs and feet are of the utmost importance simply because they are what ground the figure or allow the figure movement. And it's going Teoh be really interesting to kind of break down the bones, muscles and various shapes that these appendages are composed off. So, first and foremost, just a simple leg. This is a female leg, so I've sort of drawn in the side where you can see the pelvis, and I'm now drawing in some of the muscles of the Kwan. So the upper leg muscles the me bump out there. The knee is like the elbow of the leg in that you can see the bony protrusion and you don't have your calf muscle in the back, which is called the gastric anemia, As underneath that, which will see in a minute is the salacious and what school where these terrible a couple times to help you kind of memorize and get through some of these ideas. But in essence, the leg, like anything else, can be drawn with a simple line. I usually like to leave a little shield shape for the mean much like for the elbow. Then I'm just gonna go in and draw some of the bones, the femur. So that's the upper leg bone. And then you have much like the forearm off the arm bones. At the very bottom. There are two bones that make up the calf. The the ankle does have a fair amount of rotation and pivot, and these two bones help to deal with all the kinesiology involved as far as movement and different types of activity of concern. So again, just those nice form contours we see sort of a side by side breakdown here. We haven't drawn any feet yet, but we'll get to that in a second. It's really interesting the different elements in areas of the leg. You wouldn't need to do as much of a bump out for that side muscle near the outer part of the leg. In the in the blue example, it's just sort of there to help emphasize the point that there is sort of a hit bone connecting importuning out. It's a very, um, drawing that pelvis, and I'm going to showcase how the femur connects to the pelvis. You have a nice little stirrup shaped in your cock ICS, which is the part that has the holes in it. It's a very interesting bone in that way, so basically the femur kind of attach is right around here. They call it the tro cantor, where it pushes out in your hips, which is what I was trying to emphasize in the blue drawing. You also can see as we moved down to separate bones of the ankle, and those are helpful to remember. It's easy just to compare it with the lower part of the arms of the forearm, and this is sort of a back view, I forgot to mention. The pelvis is actually turned the wrong way. In this example. It would be oriented so that you wouldn't see the holes in it. You'd be able to see the tailbone as well. But as far as the Legos, this is the back wheels for legs. So you have all these hamstring muscles cutting in the back. You have the quad muscles wrapping around you of the good or the buttocks, as well as the gastric medias, which is the calf muscle, and that goes down into the Saulius, which can be either thin or very wide, depending on the termination point of the gastric medias. So that is a pretty colorful example of some of the leg musculature in a more fibrous way just emphasized the angle of the foot, drawing the rest of that having a little more of the glute muscle there you can actually feel if you don't have a ton of body fat little stirrup shapes of your pelvis as you sit down those little points, it's It's actually kind of interesting to note that the glutes are some of the strongest muscles in the body. So here we have a side view of the leg again, with a little meat plate is showing another way of the muscles wrapping around the form of the bone, the calf coming down, making it very parent in terms of that front facing bone that you can see through the calf . Been working that little ankle shaping mayor as well as the sort of elongated spatula that is the foot and again worry not because we will break down the foot as we go. There's a super simplified version. It's harder to get more simple than that. That's one of my favorite ways to draw feet. Just those three little pieces. One for the arch, one for the hell, one for the ball of the foot and toes. It's really easy on. It's easy to learn, and it's easy to rotate, so it's just another break down the leg showing different quad muscles and where they connected me. And then we have the calf going downwards from this angle, always working our way down the ankle connection. Finally, that simplified foot shape having a couple toes this time. So I hope by seeing this your little less intimidated to draw the leg as it's really the hardest thing I would say about it is getting the proper curvature of it. Ast faras the contours concerned. So those outer portions that kind of flow just a little bit. A lot of artists in their anatomy make the mistake of drawing legs very straight when, like everything else, they're organic and they have a lot of movement as far as their curvilinear your lines are concerned, so pay close attention to the way that the line kind of waves and ebbs and flows as overall shape and don't get too lost in the minutia of these little shape breakup that we're doing here. Always remember that the lake still has its own flow, so that there is just a side view showing the protection of the ankle bone aside you that isn't bent, that simple side foot pattern. And this is just honestly, I struggled with legs for so long that looking back at this footage, I'm really grateful that I spend all the time I did drawing them because I would have the whole upper portion figured out like my characters would look good from the top. And then as I got down to the bottom, the legs were just look so offer so terrible and I could never figure out why. And a lot of times because they were way too straight. The pose had no balance, which we'll talk about in Chapter six, and it just was appealing. The legs just didn't work. I didn't understand the way that they curved and that they're basically like stronger, longer arms with a lot more meat wrapped around them. The hamstring is like the bicep of the legs and the hamstrings running the biceps, something Legs. I guess you could say the quads air closer to like that interesting tracks that break up and then you have the elbow, legs, air, just sort of in versed in that money and the elbow, you know, they go different directions. The arms bend forward predominantly in the legs, bend backward. So this is just another example of using a simplified kind of drawing to create those leg shapes. Very basic, very cylindrical. And then we have a bonus, but I hope you appreciate it. Next, we're going to draw just this little example in a rectangular prism, kind of the hip break down the hip mesh. So we have simplified pelvis, the trio cantor femur combination down to the meat plate or patella, two separations off the bones of the foreleg, and then the same thing on the other side. And before we wrap up our first example of legs here, we're just going to draw the pair of legs. Little more realistic. Going to be a female figure. He was starting with the upper leg, the hip. So what was the kneecap and then down to the calf? And from there we just draw some counters on the form to showcase the dimensionality. The dimensions, the other like, as you can see, is at a different angle, more bent than the weight bearing leg, but very similar shapes, very similar curvature, and that I will conclude the first module in week five. We're gonna be drawing some other legs and feet in the later modules, so stay tuned. 30. CH: all right, So in this module, we're gonna focus much more on the feet side of things, basically. So I'm just gonna start much like I do with hands with a nice little wedge and kind of just creating the different tar Sal's or toes from that wedge. You have your tar SOLs in your metatarsals. Those are the bones there in which you'll see during this demonstration. But it's basically, as I stated, a long gait of hand with shorter fingers. And as creepy as that sounds, it's useful remembering it. I mean, some people really love feet, but they really love seat. But other people find them disgusting. Personally, I'm kind of agnostic. I find that they simply exist and that we should draw them because they're a part of us. And if we're going to be creating something believable than cedar involved, so you can't get away from it in this other drawing, I've got a side view of the foot showcasing more the arched element, how it's getting kind of bent and compressed, and you could see the ball of the foot, the arch of the foot on the heel of a foot. I don't know why people call it the ball. That's what that always sort of confused me because they're referring to the part beneath the toes. It's more like, um, like a pad of the foot, if you will. The hell to me is more of a ball, but that's the heel of the foot. So go figure. Either way, here is a no more simple breakdown off the foot anatomy, then the green one. It's just a lot more basic how a lot less resolution on it still works for most purposes, and this one, we're going to be just starting with some of the toes. I'm kind of getting those across because oftentimes the toes or some of the most intimidating parts. But if you think about the joints off each toe and how they're just like it's some creepy little fingers, then you get an idea of how they sit in how they rest. You realize that Lord toe wiggle, Um, then you have to have those tendons that connect backwards from the knuckles of the split, and that's helpful. Note. As far as our next demo, it's just another foot angle at a different sort of direction, So I have the hell on the ball are pad of the foot, and then I'm going and filling in the other resolution and details in sort of a more robotic way. Again, you'll find your own ways to simplify these things. What I really like to do is just use a basic geometry to represent certain elements of it and then to build off of that geometry as I go. Sometimes I'm not really pleased with how it goes, so I'll flip the thing, whatever I'm drawing and just draw it. So those tells you're looking a little bit better and he'll, in this case, the geometry worked up a little bit flat. But at the very least, it's just a good kind of practice run, because it's a really interesting and unique angle on the foot. So we've also got this next drawing, wherein I'm just gonna draw another really simplified format. This is the one that you'll see most often representing sort of a pseudo shoe. The ankle kind of thrust back upwards and into the calf and salacious and the Achilles tendon, which is connected very intimately to the hell. This is a really good almost Orta graphic deal with the foot where you can see the different toes and how they arc, so it's not a very accurate representation, but it is a good sort of demonstration breakdown image, so you can kind of get an idea. I just work with a little bit to make it a little more accurate, and then we're gonna go ahead and we draw some of the elements. Oftentimes, the first drawing is flawed in some way or their parts of it better flawed. And so there's just this dance and racing and redrawing. If that goes on for too long, it means you probably need to stop and study like you've been doing so far with these assignments, and that will give you more understanding and less frustration when you're trying to express yourself. All of this basically comes down to the information to express your inspiration. And since you're studying anatomy, you likely want to draw some people and all these different ways of breaking it down and parsing it and creating a very simple shapes to represent very complex, very natural, very organic things is just It's honestly, I think, the best way to go about it. You could sit there for 100 hours and render a perfectly hyper realistic foot. But after that, you could have not a great deal of understanding of what it's made up off. You know, what are the bones? What are the angles? You understand the skin texture. You'd understand that part of the general shape, but you wouldn't be able to manipulate it so easily. And I think that's the rial power that this course offers is that you're able to manipulate the anatomy at various angles by finding the simplification. Hence the name. So there's another simplified foot from profile with a sort of a bump out for the ankle. Here we have a more coiled foot, but the toes coming downward. They're not planted on the ground plane. You're getting the foot bending similar to how we have the torso bending in Week three, challenging as they Maybe it's good to practice the toes. I started with the four little separate shapes and sort of carved them out from this really basic geometry. I decided in the end I was going to put the toe on the other side, so I just race. We draw on, do some contouring that seems more natural to me. It's always a danger when you're drawing from the most kind of smaller, detailed parts out to the bigger parts. Typically, you want to go big shape to medium shape to small, detailed shape. So that's basically their game that you could play. This will be the second to last demonstration showing more of the bones of the foot. It's not super unlike the wrist, in that there are a lot of interesting sort of stone shaped bones before you get to the toes and the two different bones that make up the ankle. So there's a quick demonstration of what it looks like from the side. The bones are really long, but it's fused together. You need a flash. So so this view, we're gonna be drawing a top down version. So what you're seeing is the ankle from above, and then we're gonna have that sort of quarry of little stone shaped bones is a really interesting aspect of the foot where the tar soul of the smallest toe or pinky toe has a little ridge on the phone, and I think it's probably for balance. But then again, I heard that if we lost our pinky toe weaken still balance pretty well. So I'm not sure what purpose that kind of bumper protrusions serves in the bone structure, but nonetheless, it is there. So I opted to draw it. At this point, I ran out of room on my foot to get all five of those bones in, so I actually have to go back and kind of rework it. But it's a fairly simple process after understanding feet. So all right, so that's enough for now. This has been a pretty sustained demo, but I think that you're ready based on how well you've been doing what the other assignments to hop into the fifth assignment, where will be rocking some leg an enemy, So let's check that out. 31. CH: All right. So for the moment you have been waiting for, we're now going to talk about the assignment. So in Week Five, I would love for you to draw 10 like bone drawings from the front, back inside our cardinal or the graphic used. That's 10 total, not 30. So you could be to front and then have you know, three back three side and just another two or whatever. However you want a parson, really, it's just getting 10 total 10 leg drawings of musculature. 10 legs from the front. Take 10 legs from the side, 10 legs from the back, so those are legs with the skin over them. Lastly, we have 10 leg drawings from none or the graphic angles. So more like this and more like this as well as this. And lastly, 10 lakes or imagination just test. You want to make sure that your understanding all this muscular chair as you are working your way down this list, you can go in any order. I recommend top to bottom, typically just because you get the best basis. But it's up to you anyway. That's your assignment. I wish you happy drawing, and I will see you in the final chapter 32. CH: Hello and welcome to the final chapter of the Simple An Enemy for Artists Course we're gonna be doing full body be going all the way in all the limbs, the head, the face, the neck, all of it. So in this one, I'm basically just constructing a figure from imagination adjusting my proportions as I go . We're in time lapse mode here because I figured you wouldn't want to see me draw one figure for nine minutes. You would probably rather be drawing your own figures. So basically, I'm just going to show you the same process I've shown you before because repetition is the key to being able to do something with less conscious effort. So I start on a whole new layer and just start working in some of the rough shapes of the face, the rough shape of the skull, keeping in mind the various musculature that kind of underlies the expression and the body . Since I've already drawn lines to indicate where the forms are going to go, I just follow those because I know the general shapes of the muscles starting to define the core now and going down into the arm, we're gonna do a little bit of the erase redraw dance because there's no shame in it, especially if you just want to make something better and better and you get to a certain point. It's perfectly natural in the process. Something I often do is flip my canvas just to double check what I'm seeing. Make sure my eyes are getting lazy and overlooking mistakes. I'll spend a lot of decent time on the face as you've taken my other courses. You hear me say that a lot. The face is what people are gonna come back to, and if there is an error on the face, then you're really doing yourself a disservice by not fixing it after that, basically is going in and defining some of the detail now that some of the masses are in place now, this is a seated position which we haven't yet done, so it's a little more difficult than a standing one just because the various for shortenings and angles of the limbs. But we do what we can to make it work. In this case, it was a bit of an awkward pose with him looking up, so I redraw the head and have been looking downward. I also have in holding his ankles or a bit of more expressive story narrative kind of element. Just because simple pose sometimes isn't the most fun thing to draw. There's nothing kind of behind it as far as a story is concerned. So I should head movie eyebrows down. One thing I'll mention about the, um, male skull is that eyebrows and the brow ridge tend to be lower. Cover the eyes more looking a little more prime, a little more cave man. It's just something that tends to be closer on male anatomy. The articular sockets on the brow ridge, then female Adami, where the eyebrows were higher up than the eyes in terms of higher, higher then on a male's, rather because all eyebrows were higher in the eyes, if you will. So after I've roughed in the spatula shaped for the hands and I've gotten a decent kind of idea off what I want the rest of the post to be, I start to kind of we re worked the face, rethink some of these elements, thinking bones, think in muscle. That's that's one of the most powerful things about studying and enemies. You can think in different layers, and it helps to motivate some of the choices you're making and make them more believable. That's why once I looked at the skull beneath what I was drawing for the face, I wasn't really into it. And so it was time to kind of re evaluate redraw. Another thing often be was all zoom out or take a broader look at what I'm working on because you haven't easier time with the proportions. That way you can see the overall a lot better just how things are measuring up on now. We have a sad man, which is just a little more interesting to look at that guy just staring off. You start toe kind of wonder what's going on in his head. Why is he holding his ankle kind of draw some story based conclusions from that, And now that I have those rough ankle shapes kind of laid in, I keep on refining them until I find one that I like an angle that I like. So I decided to bend the foot a little bit more like it's uncomfortable. It's just straight on, then that doesn't really add the narrative as well. So these are the kind of choices that you could make in the ideas that you can explore once you've gotten more comfortable with anatomy and study of it. Excuse me. It's just really helpful to have a lot of practice and mileage behind East each piece because we'll be ableto kind of throw them out and test them. So hands look a little big. Scale it down. I started drawing in some of the detail around the other hand, and this is the process of refining a longer drawing. This is the second drawing. It's on top of the guy drawing, and we're just trying to get things to look as good as we can in a certain time period. Really. Try to figure out what will look best what'll make sense of visually and the number of levels scaled up the foot a little bit. So we have better overlap of a form, and then we just go in and the next few minutes, or just me tweaking the face. So that's the first figure, the sort of upset or contemplated seated male grabbing the ankle. So let's just go ahead and roll into the next module, where we will be drawing a standing female figure and this one I had some reference for. 33. CH: All right, Welcome back in this module, we will be drawing a female figure on athletic one specifically, and she'll be standing so much like our other figures. We start with the head and work out the line of action, work out how the limbs air, going to flow with mere lines. All this is occurring very lightly, even though I could drop the opacity. It's just nice to sometimes work really lightly, as though we're kind of a paper or traditional medium. Since I've already got the basic shape of the core down in the basic shape of the head, I start to figure out how the arms are going to be positioned. Now. This is a great example of what I talked about where, and you can see the connection between the pits, the lattes and the deltoids and the various arm muscles. So going in and adding some form of the breasts, working off the belly button as a good place to figure out the rest of the proportions. And we basically already got her legs planned for. However, I do end up altering the stance a little bit, just for better balance. So the first leg sort of that nice, curved, elongated shape, the Cavs facing slightly different directions. You can pretty easily tell which way the legs are facing, based on the plates of the knees. So one more forward, a little bit out, growing the foot using that nice wedge shape, inferring the toes. Sometimes it takes a little reconstruction, in which case, sometimes if I don't get it right, the first time will stop and I'll evaluate and I work on another piece, then come back to it after I'm ready to try tackling it again, after which it's just the dance of getting the contours. Now, the contours being the exterior lines off the figure. You can pay pretty close attention to the contours and also use them to think about negative space, such as the space between the legs or the sort of curve triangle shapes that air in between the arms in the head. Here's where I adjust. The legs were better balance, giving a more centered feel toe the figure, which we just continue to kind of tweak and redraw certain parts until we're happy with him . Strengthening the latte, adding a little more definition of the torso on getting rid off some of the initial construction lines just like the pectoral muscles. When the female stretches her arms overhead, it's going to affect the way that the breasts are aligned. Of course, it all depends on the angle of the stretch. And what sorts of mass is there to begin with and what shape is? Well, now it's finally time to start working in the face. Had a rough idea. Avoid was going with it. But you eventually have to refine the shapes. So you see me doing that here, getting a more appropriate face shape. Women's jaws are typically much more subdued than a man's. They have, ah, much greater degree of femininity begin keeping the eyebrows a little higher above the eyes . And now we're working with a strong female figure. I got some of the inference of hair and just have the hands kind of wrapped around the head . We're going in just tweaking some of the little portions, but this is essentially it for the female figure. Next, we're gonna move on to some rougher figures, albeit still full body 34. CH: All right, So in this module, we're gonna have a more exaggerated breakdown off the male body. So just something simplified, something that's more angular and a little more stylized. So I would start with the head. You can work downward lying for the chest or sternum, some quick cleanup just for readability, putting off the trapezius muscles and figuring the width of the shoulder girdle. Next we move down, start to create the shape design for the rib cage and the pectoral muscles. Again, this is a more constructive figure. It's not meant to be as representational as it is just for kind of roughing in general anatomy. General shape design. Moving down to the abdominals since they're symmetrical helps to work side to side, adding a little definition to the oblique. We're drawing the deltoid and then bringing the arms down. The reason why I didn't have ah initial guide for this one was because I again was looking at reference. I have a bunch of excellent references that I have curated for you in a private interest board only for the people who have enrolled in this course. So it's my way of saying thank you and here are the resource is that I like to use and the things that I find inspiring and helpful. Our photos. There are amazing drawings by master artists, and it's just a little extra bonus gift to you. Um, just to show my appreciation anyway. So flipping the canvas, double checking some of the forms of the figure, deciding I want the legs tow line out. Since the torso always pretty balanced, as are the hips. It's a fair bet that the legs are going to stay pretty centered. A rule of thumb is the midline of the body. You're always going to want to have a leg supporting underneath that or wherever. The head is that it's the farthest from the legs. You want to always think about the weight distribution. I was really pleased with the kind of interesting breakdown of shapes, especially in the legs on this one. I just had a nice, strong figure in reference to work with, so it was easy to just figure out how the anatomy was going to be broken down and simplified, like the nice Pentagon for the knee wedge for the foot, simple wedges for the hands. We pretty much got our figure after course, a little more tweaking. But that is, in essence, the quick, more blocky breakdown. Almost almost abridgement inspired Bridgeman being a great teacher who was one of the authors of some of the Dover art books, which are worth looking into. But this is our more exaggerated but still kind of realistic male figure with broken up oh , interesting muscle rooms. 35. CH: all right, so in this module, we're going to talk more about some of the useful tips and considerations when doing the full thing gear or even parts of the figure. We want to think about the line of action, which is usually incompetent with spine. The flow of the limbs use lines to define where the weights its in the pose, which basically is. How is the pelvis and leg and off holding things up. Unless sometimes we have arms on the ground as well, or bent against some object leaned up. You know, some of the basic shapes. We want to think of areas of complexity that we can simplify. So that's pretty much all I want you to take away from this lesson as well as this entire course. Really, these are really some of the most helpful things when it comes to simplifying and drawing anatomy, and I'm gonna give you an example in this module. So first and foremost, I'll start with the line of action. There's not much readability mystery alliance with curved to represent, the spine energy flowing up, energy flowing down. Then we can think about the shoulder girdle as juxtaposed against the hips. You are figure a little bit more of an interesting dynamic when we use our simplified rib cage shape on a sketch in a sort of egg shaped head start to define the floor of the limbs . Even though this changes a little bit later in the module, it's really easy simply because you have just lines to see if you like the pose or like the flow. Another thing to consider chiefly is the geometry or the measurements of the figure. The proportions, really. So we talked a little bit of all importance in the beginning. Now is a great time to kind of bring it full circle and revisit it. The proportions are really just how some of these limbs and some of these pieces measure up against one another. For example, the upper arm pretty much goes to the bottom of the rib cage, and then you start with the forearm, and bellybutton is pretty much halfway down. The figure stuff like that, the more proportions you can memorize. More abortions you could figure out for yourself are really helpful in getting things look accurate or realistic. Another one that I was taught was that if you take your forearm on, stick your elbow in the crook of the back of your knee, which I don't recommend. Trying standing, obviously. But you'll see that your forearm is is long no as the pretty close to as long as your calf . So it's just little things like these little measurement that help us get much more quick at laying things in and memorizing some of the things that we would otherwise have look up reference for. So grab these always acting on us all the time. There's a mid line that runs down everything Keir figure that you can imagine and that midline is useful for helping to correct any imbalances. You want to keep the head in the hell this pretty centered. Otherwise you haven't balanced meaning to compensate by throwing the limbs out or throwing the feet out. It's really easy to see and more dynamic poses in standing ones. You'll notice that people they're gonna fall over, they don't adhere to that rule. So here's just a different flow of the limbs and sort of Ah, actually, it ended up being a very similar pose to what we're going to do for the next couple of modules where we're going, be doing a much more detailed study from a photo that I found. And it is a not safe for work photo. Just so you're aware if they're watching us at work, I'm guessing you work with artists, and it's probably fine. But I just want you to know that going into this next module, you probably wanna watch it at home. Otherwise, you could have some explaining to do your way. Thanks for watching this module. I will see you in the next one. 36. CH: All right, Welcome to the very last demonstration that we will have in the course. This is the last module before we go into our final assignment. So I just want to take a quick second to say thank you and congratulations for making it this far. I know a lot of people may have dropped out until now, but you have reached this module. If you skipped ahead, that's fine, too. We should go back and watch the other ones when you're ready to refine your arms and your legs or your hands and your feet or your torso etcetera. Anyway, so what I'm doing here is I'm referencing this nude female figure. It's basically just a matter of looking at the shapes and transposing them over to my own drawing in a way that I find enjoyable. One of the things that I want to do in this study is find out what is the most important feature, and clearly this image is about the dairy air. It's about sort of the the negative space between the legs, as well as kind of parting the hair aside. So those are some of the things that I'm working too just sort of emphasize in this image and to create a sense of believability. I'm not trying to get too bogged down in the details at this point. It's really mostly about just getting all of the different areas kind of proportionate, constantly checking against the reference, flipping the canvas, working very lightly, and later you'll see that I just double down once I'm happy with what I have. You also see me fidget a little bit with the face because it's covered by the hair. And, of course, like I said, this which is not about the face, but I, in my own kind of way, add Mawr emphasis on the face just because if it's all about something that's very, very just libido inducing, then it becomes a little more just straight artistic nude, which isn't really not really something that I find that interesting because there's so much of it out there, so it's helpful to have a little bit more off. It is always a little more narrative, you know. So if you catch her looking over her shoulder, you couldn't think of a couple more story beats toe that moment versus just check this out you know, So one of essentially done is I've marked off the areas that were hit by Shadow, and I've begun to add more emphasis to my lines. You know that this drawing is more detailed and more fastidious than my other drawings. And that's because I'm working directly from reference and really trying to emphasize more accuracy because I have that reference there. I'm not style izing as much. I'm still doing it to some degree. But we're also focusing on getting things to be accurate, doing visual measurements, taking each piece and looking at what is next to it and seeing if those line up properly, constantly flipping the canvas, being pretty fussy about all these various elements and then only now my starting to add some shaving at some tone, a little bit more finish to the drawing. So as we kind of montage fade over to this particular image, we have more progress. Now I'm starting to actually go in and separate the value groups. If you want understand more about value groups, you can always check up my beginning. Drawing course eight week edition has a hole lesson on values and simple value structures that you can use to get an appealing look to your stuff without again having a lot of complexity added. Because there's so much complexity, the parts in the figure anyway, we want to make it a simple as we can. So here's where I spend a good amount of time noodling on the face, and we're finding my exterior lines just going over them and over them to add emphasis, sometimes erasing them entirely like I keep doing to the face. I'm just trying to find the hair set up that really works something that feels like a little more interesting because it's just it's sort of a mass of hair. It's just not really anything to look at a top. And again, that's something I wanted to stray away from the reference in. So and lastly we're just sort off refining that, um, you know, all these little pieces. We're finding all these elements that keep coming into play, using slightly darker values and shading over some of those areas that were previously marked. I I actually go in and add emphasis to the Terminator, which is the darkest point of the shadow, not something that we cover too heavily in the anatomy course. But again, we talk more about that in the beginning, drawing course to be in her painting course. Um, it's just useful to help add a little more form and depth when you go in and add the other tones that I'm going to add later. And now that I have a reasonably good sort of silhouette for the face on an interesting shape. Then I had a little eyelash, and I start to darken things up even more because I enjoy where it's heading. So I'm doubling down on my work. It's just a good kind of a good faith thing. Is an artist to just keep on making things more pronounced more emboldened as you get more used to them? I would kind of compare it to if you were singing or playing a part on an instrument where first it's kind of kind of sloppy. It's a little choppy. You're roughing it in, and then eventually you do it over and over and over and over, and then you feel confident in it because it sounds good and you've worked out the kinks as it were. So just like those vocations or those kind of ideas, like learning anything or working at anything. You start to refine stuff as you go. So that's why there's lots of racing and read e tailing. Lots of zooming in, zooming out, seeing things from different angles. It's all part of the game when it comes to slip, creating a figure that's kind of coming full circle after we've learned all of these shapes and ideas. So here I am, adding the last few tones before we wrap up this demonstration. As you can see, it's not as dark as the Terminator line, which gives it a really interesting, luminous look. And then I go in and I started tapering the shadows a little bit, trying to figure out how I could make things look even more dimensional or get a little more pop, a little more emphasis to kind of pull off of the white because we're working on pure white , which is the highest value you could go. And so there's tons of contrast. Just tryingto play the balance out a little bit here. So as far as the anatomy is concerned, I went for a much more naturalistic look because I had a reference, however, you'll note that mine is just more pronounced more voluptuous. It's just a figure that I typically gravitate towards and its a personal artistic choice. We can choose to draw very thin figures or even thicker figures. It's your call, really. But in the end, I just add this little shadow here to give her some space on the ground plane, and we'll call it. 37. CH: all right, So here's a bittersweet moment where we talk about your very last assignment for this course. This is week six. So of course, it's gonna be a full body based assignment, and let's just go right into it. Basically, I want you to draw 50 gestures of the full body five plus minutes. Anything faster, and you'll probably not get as much out of it as faras anatomy is concerned. Then I want you to do 20 drawings of a full body standing much like I did in the final demo . 28 drawings of the full body seated like in the very first module of week six and one full body drawing in a standing or sitting pose of your choice from ref. You get a bonus one. If you want a highly rendered full body drawing standing or sitting from imagination, just a test out. All of the knowledge you sort of accrued along this course, and the hyper bonus is two figures interacting in standing or seated poses from reference. So not only do you have to dig up reference for that and see which poses would work together from two separate photos, but have them interacting, which is no small feat. So basically, yeah, I just want to say a huge thank you to you for rolling in this course. I want to say how much of a joy it's been to show you all the breakdowns and all of the anatomical tricks and tips that I've learned over the years. And I really sincerely hope that they serve you well on your artistic journey and help you create better figures than ever. This is Taylor Peyton. If you'd like, you can go to the beginner drawing course dot com, check out some of my other courses. I also have links to other websites from there, where there's even more high advantage. It'll painting content. There's tons of stuff either way, thanks again and happy creating.