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Hello.

From today, in Section 2

we are going to learn the basics.

The contents of Section 2 are about the basics.

So we'll go over the basics.

Since this is about the basics,

our goal is not to understand everything at once,

but instead,

repeating what you learn

to make it yours.

So in this lecture,

rather than understanding the theoretical content,

the things that help you to practice

how how you should study

make up the main content.

So I hope you will study hard.

Although my class focuses on the practical parts,

if you want to cover the basics,

take notes while you're going through Section 2.

Because today, we'll start looking at the human body.

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You can't skip the human body section,

which is about studying the basics of a character.

It's the first part we are going to study.

Some may start drawing the face first.

Although that is important,

we will start with body parts first.

They are as important as the facial part.

When we draw the body,

it's connected with the facial part.

So we will put that off to the end

and it's one of the most difficult parts as well.

It's the biggest obstacle

and the first obstacle we have to meet.

I'm going to tell you what I emphasize the most.

When I draw the human body,

I draw a mannequin.

The process

of drawing a mannequin in your head

is important.

So what does it mean?

In the process of drawing from the previous lecture,

the first process was the composition.

In the process of the composition,

we move our characters in our heads.

If the moving character is a blur

and unclear,

you will face glitches

when you draw.

So, if the imaginary mannequin

can be imagined accurately

and quickly

the accuracy and stability

of your drawing

will increase.

Therefore, when you draw the human body,

it is really important to imagine the appropriate mannequin in your head.

So this mannequin...

how could we make it?

If you divide the human body into three elements,

the first one is ratio.

And the second one would be movement.

The third one is line.

So I divide the human body like this.

Movement refers to things

like the poses that we take.

And how natural the poses are.

For ratio,

most of us draw casual characters

so in that process,

you will need to apply deformers.

Deformers

are applied to the lines and the ratio,

but especially to the ratio.

So when moving on to these deformers,

the ratio will change to some extent.

The easiest thing to know is that the head gets bigger.

Starting with the head,

the ratio of some body parts will change.

With proportions, you will learn that.

Then, with a body with the correct proportions,

we can draw more charming outlines

such as the muscles

or the bones

or the outlines of the finger bones,

the line of the collarbone,

or the line of the chest area,

or maybe a line for the waist.

So the line part is

about learning the parts that can make

a character be seen as attractive.

Among these three,

if I divide them into level of importance,

movement is the most important thing.

The first step is more important.

The importance,

if you prioritize them,

would be 1, 2, and then 3.

So it means,

no matter how well-proportioned you are,

and how pretty your lines are,

it would be funny if I walk in a bridge pose.

It'd be scary if a person who is handsome

and has a pretty body walked around like that.

So to make the movement look natural,

that would be the most important part.

And the next one would be the ratio.

Even if they have pretty muscle lines,

it's hard to say a person with these kind of upper and lower bodies

has a pretty body shape.

Therefore, the ratio

is the second most important part.

And the last one would be the line.

You can actually cover the lines with clothes.

Such as a hoodie.

You can easily hide them with clothing.

And that's the reason why

it's the third among the three important elements.

Of course, it may depend on the individual.

There are some people

who want to draw sexy illustrations.

So in that case,

human body lines would be more important.

However,

With the premise that we're going to draw a well-balanced body,

the proportions and the movements

would be more important than the outlines.

Today, among those three elements,

we will study the ratio part first.

We won't apply the movements first because

we at least need

a stick-figure shape

of a human body.

So you can move it freely later on.

Before we move it,

let's take some time to make

a mannequin.

And then we're going to go through the lines

that we often use when we draw.

And we will handle this movement part in detail

in the next class.

Let's do the ratio first.

Before I move on, note that the proportions I show you

are the most common proportions

in casual-style drawings.

So, they won't apply to all illustrations.

Not at all.

So you'll need to fix these proportions later

to suit your needs.

Once you remember this ratio,

you will be able to apply this to other illustrations.

Then let's have a look.

So, the female character first.

People often draw female characters

so that the proportion of the head

is referred to as 1:2.

But actually, casual characters

tend to have wider faces from side to side.

So it's not exactly 1:2.

But more like 1:1.8

applies.

But sometimes it looks like it's applied as a 2.

So what it means is,

the head itself is 1.8.

But the casual characters have thicker hair.

Because of the hair, it often looks like 2.

Because of the hair,

it often looks like 2.

So if you set the ratio of the head,

I'm going to measure the entire body from the head.

So you have to measure the neck first.

There's a thing you have to remember when you measure a neck.

The neck looks

totally different in the frontal view

compared to the profile view.

Because our neck is closer to the back of the head,

when I measure the neck length,

I measure the length

from right here, right under the ears.

So if you measure up to this part,

how long would it be?

So, usually the length,

when you measure it like this,

the length would be about two-thirds

of the height of the head.

Think of it like that.

So, the length of

about two-thirds of the face

will stick out here

from just under the ears.

We will learn about the exact length of the ears

when we handle the facial parts.

Then let's say we set the length of the neck.

And then we have to do the upper body as well.

Here's an important tip.

The first thing

that decides the body ratio

is the width of the shoulders.

Depending on how the shoulder width is captured,

the human body ratio varies.

So you have to remember this part.

They say it's 1.5 times bigger than an adult woman

with an 8 head count figure.

Usually, one and a half times the length of the head

would be the shoulder width.

Since this is based on the proportion of 8-head figures,

the shoulders may be too wide to apply it

to a casual character.

Because of this, at first,

I looked at anatomy books to help me study drawing.

So, my female characters at that time had broad shoulders.

As I drew, I kept thinking about it.

Because it's a bit awkward to use this on its own.

We draw the proportions of the 6-7-head figure and that's our casual look.

How much do you have to do

to change the body proportions to 6-7?

Not that much.

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So you need

about 1.2 to 1.3 times

the length of the head.

So when you put it down like this,

make sure that the shoulder width

is a little longer

than the height of the head.

Then, you'll have a natural shoulder width.

Of course, this width includes the shoulders and the arms, too.

So, I should draw in the arms, too.

Now, let's measure the length of the upper body.

The part where the upper body starts to split,

in other words, the part where the ribs begin to split,

begins at the point

with the same length as half of the face's length.

Then, you'll see that this point

is the point where the chest muscles on the ribs start to split.

And the two-thirds of the face's length

is the same length as the neck's length.

Let's say this is a two-thirds length of the upper body.

Then, this point would be where the ribs start to split.

The chest comes up to half of the upper body.

And the ribs start to split at two-thirds of it.

That's how you would split the ribs.

When you draw a bust,

the upper body of a female character is close to a cuboid shape.

And the lower body is more like a trapezoid.

Because they have wider pelvises,

when you draw their body,

make sure you draw their lower body

in a trapezoid shape.

On the other hand, for male characters,

since their upper body is a bit wider,

the upper body has an inverted trapezoid shape.

On the other hand, if you lower the lower body in a vertical line,

it becomes more like a male character's body shape.

So you need to remember it.

Since we finished the upper body,

let's move on to the lower body.

Before that, we need to find the center of the body,

the belly button.

The belly button is the second most important part

of the body proportion.

The first one

was the width of the shoulders.

So the second one would be the belly button.

Let's now see how the belly button would go.

When we're drawing abs, the first row of rectangles

would go over where the ribs are split, like this.

I'll draw in the pectoral muscles like this.

And I'll draw the abs like this.

So, from here,

there would be the first, second, and third row of rectangles

of the abs, and the belly button would come right after that.

But, if you count like this, it's difficult.

If you just want a general position,

just think that the belly button is below the ribs.

If we draw the belly button

after the third rectangle of the abs,

the area right above the belly button is the thinnest part of the waist.

So, this would be the waist area.

If you drew the belly button

and the waist,

make sure to pinpoint a new area

at the same length to this line.

If you pinpoint this area,

this would be the area where the pelvis starts.

Let's go through it once again.

So the pectoral muscles come first,

with the three layers of the abs below,

and the belly button comes after that.

This line above the belly button is the center of the waist.

So I set it to 1:1

and it makes the pelvis more eye-catching.

A female character's pelvis is a little bigger than the upper body.

So shape it like this.

We are going to measure the length of my pelvis here, too.

We don't set the proportion of the pelvis.

Because it varies

depending on the character's body shape.

For example, a character with a wide pelvis,

or one with long legs,

or a narrow pelvis with thin legs, or maybe

a character with a wide pelvis and long legs.

The lower body changes

in many different ways every time we draw.

We don't specify these parts into numbers.

But, there's still some basics that could help you.

Just remember that

a female character's pelvis is wide, not tall.

On the other hand, male characters will have

a tall pelvis instead of a wide one.

This will help you when you're drawing.

But generally, a pelvis

has a longer width than its height.

When drawing the pelvis,

some people say it looks like a heart.

There are some others

who think it looks like a folded Frisbee, like this.

All you have to do in the end

is to simplify it to suit your needs.

But, I would recommend you to

draw the pelvis as a heart shape

if possible.

Otherwise, it would be extremely hard

when you're drawing the side view.

It will look really weird like this.

Then why do we have to do such a difficult thing?

We're doing this because it's difficult.

The pelvis part is not as accurate.

If you have to choose the part

where people make the most mistakes,

the first one would be the shoulders,

and the pelvis would be the second.

People often make mistakes here.

When you draw the basic shape,

it would be helpful to reduce other errors

if you draw it in detail.

So far,

we went over the pelvis part.

I'll shrink this for now.

Now let's attach the legs.

So far, I have the upper and lower body.

The area I just circled,

in other words, the area right under the face and above the legs,

is called the torso.

The torso is one of the areas

that you have to practice the most when drawing the human body.

If the length of the arms and legs is incorrect

you can just fix them,

but, if there are errors with the torso,

you have to fix literally everything.

Therefore, when we learn how to draw the mannequin,

this torso part will be emphasized a lot.

So it'd be good if you remember this.

So now you can draw up to the upper body part.

Now we need to put the arms and legs together.

Let's go for the legs first.

So I said the length of the legs

is from the belly button to the end of the neck, right below the ears.

Suppose this length is 1.

If you put it twice, it would be the length of the legs.

Pull it down like this.

And that was the point.

This would be the knee.

So, up to here,

that would be the thighbone.

But, it excludes the kneecap.

This would include the tibia and the fibula.

This ratio is different for each person.

Especially on the legs,

and the lower body,

some people draw the thighs a bit longer.

Some people prefer it because

they think the lines of the legs look prettier.

You can take the illustrator PiKA

as an example.

But, remember that

the upper part and lower part of a leg

has the same length.

This applies to the arms as well.

That's why I drew them like this.

If you draw the legs,

they will be around this long.

Then we need to measure the length of the arms.

The length of the arm starts from the belly button as well.

So now you can understand why the belly button is important.

It's in anatomy theory that the length of the elbow

goes up to the belly button.

Frankly speaking,

starting from the center of a face,

if you draw a circle around the belly button,

it means that your elbows fit into that circle.

When you move your arm around,

it will meet the belly button at some points.

To put it simply, there is an arm around the belly button.

You can think that

there's an elbow slightly above the belly button.

If we keep in mind that the upper and lower part have the same length,

the length of these two arms

would be about this much.

So, the wrist will come up to the hips.

When we attach the hands

like this,

it would usually come up to the middle of the thighs.

Now, with this proportion,

you can apply this to most casual-style characters.

Now we are done with the female character.

You should draw a male character as well.

There are not many differences.

There are a lot of identical theories you can apply.

So if you match them up,

of course the ratio of the faces are identical.

You could draw the top and bottom a little longer.

Because we applied deformers to the female character

to make the face's height smaller,

we won't have to do that to a male character.

First, there's a difference in the thickness of the neck.

With female characters, we'll go over this part in detail

when we draw the eyes in Chapter 5.

When we're drawing the eyes,

the pupil of the eye would be here.

And this would be the part within the pupils.

A male character's neck would be the width

of these canthi on the outside.

It's really thick, right?

Because male characters usually have more neck muscles,

their neck would usually be

this thick.

Of course, if they're young

or if they don't have a lot of muscles, it could change a bit.

The length of the neck stays the same.

But, male and female characters would have different shoulder lengths.

For female characters, the shoulder length is 1.2-1.3 times the face's length.

For male characters, it would be 2 times the face's length if it's an 8-head figure.

But, we need to draw less broad shoulders

because we're designing a character.

So, the shoulders with deformers applied

are 1.7-1.8 times the length of the face.

If it's a mature character, make the length about 1.8 times longer.

And if it's younger, make it 1.7 times longer.

Keep that in mind.

So, when you place the head horizontally,

you can see that the shoulders

are a bit shorter than two heads combined.

That would be the proportions of the shoulders.

Like we did with the female character, the ribs would start to split

at the two-thirds length of the face.

Like I mentioned before,

male characters tend to have broader upper bodies.

So, make sure you have

a flipped trapezoid shape.

Now, let's split the ribs.

The overall appearance would be similar.

Pinpoint the belly button

and divide it by 1:1.

Then you need to catch the pelvis part.

As I said,

make it taller instead of wider.

And raise it a little bit.

Then the length of the legs.

Measure the length from the belly button to the end of the neck

by 1:1.

If you hold it like this,

shorten the length of the legs a little bit.

So you will get the proportion that can be used in a casual fashion.

Based on this, I think it's safe to say that

you just change it slightly

depending on the character's body type you draw.

So we went through the ratio

of both male and female characters.

Now let's take a look at some of the detail lines

that apply to this ratio.

We are especially going to focus on the lines

where we make the most mistakes.

But the theory we are learning today would be less than

10 percent of the anatomy theory that you can find online.

While I teach students online,

we are limited in time.

It's extremely short.

Since I can't teach a ton of information

in a short term,

I focus on the actual content

that I can deliver effectively.

Therefore, I've reduced the basics.

So, if you want to study more about this subject,

make sure to read books.

That will help you a lot.

So if you want to learn about anatomy in detail,

I recommend you to read related books.

Today, we're going to study the human body,

and let's check the parts where we often make mistakes.

What do you think those are?

As I said,

the first part where there a lot of errors happen is the shoulders.

And the pelvis is after that.

They look really weird in the drawing process.

So let's handle the shoulders first.

The shoulders are made up of three bones.

The first part is the collarbone.

The second part is the scapula.

The scapula is triangular, and it's attached to your back.

The scapula looks like this.

It kind of looks like what I drew.

And under here, there would be the shoulder joints.

These three bones make up the shoulder.

Because the ribs are separate from the shoulder bones,

we can raise our shoulders up and down.

Basically, with ribs, just because we breathe in air,

they won't move along with our upper body.

Because our ribs are supposed to protect the intestines,

if the ribs move too easily,

it will be very unstable.

So, the ribs won't move or budge.

However, the collarbone, the scapula, and the shoulder joints

can move or be moved.

What would that mean for us?

So if we move our shoulders upward,

the collarbone comes along with it,

and the scapula as well.

So, it's especially good to study

the three bones that make up the shoulder

that can move together.

And the second thing is the pelvis.

As I said,

the pelvis looks like a heart.

But if it's too difficult,

just think of a Frisbee folded in half.

The more you simplify it,

the less accurate it becomes.

That's why I don't simplify too much.

So you have to remember that.

And one of the important parts at this point is,

that the leg bone goes out and then goes down.

Like this.

So there's a lot of space between the legs.

Thus, there are people who express it

by attaching the area under their hips.

To prevent this,

there must certainly be a space between them.

In other words, you need some spacing between the legs.

So please remember,

there must be some space between them.

Besides these two parts,

there's one more important thing.

That is the neck.

We'll look into it in detail when we do the facial part.

While drawing casual characters,

there were a lot of errors in the neck part

when I was teaching students.

So, how would you analyze the neck area?

First, you need to know what the skull looks like.

When we draw the head simply, the skull

looks like this.

The back of the skull would be thick

and quite long

so much so that it looks like an alien's head.

That's how a casual-style character's skull looks.

So, if we look at the part where the neck is,

where would our neck bone be attached to?

That goes at the back.

But, a lot of people can't get this right.

Because a casual-style character has a thin neck,

when people draw that,

some people draw it like this.

Then it becomes weird.

So, sticking the neck to the back of the head

will always be very important.

And the second most important thing is,

the sternocleidomastoid muscle.

After that,

here's the trapezius muscle.

This is the part we massage when we're massaging our shoulders.

So with these parts,

and especially with the sternocleidomastoid muscle,

is that it nearly goes to the back of the neck if we see the profile.

In other words,

when we're drawing a face that looks diagonally,

the ear would be here, and the sternocleidomastoid muscle

would come up to the collarbone from right behind the ears.

If we have this part,

this would be the back of the neck.

But, a common mistake would be this.

Let's say the upper body looks like this.

Now, we have to connect the neck here,

but, there are sometimes people who connect the neck here.

This mistake sometimes occurs.

But, if you do this,

there will be no space for the sternocleidomastoid muscle.

Also, in this case, the neck won't be connected to the back of the head.

So, it will look quite unnatural.

So, when you're attaching the neck

make sure it is connected to the back of the head

and make sure there's enough room for the sternocleidomastoid muscle.

If you work with that in mind,

you will be able to draw it in detail.

If these three things are difficult parts of the human body

in terms of the line,

let's take this opportunity to add additional details.

And the additional parts are about the muscles.

If we pinpoint the parts where the muscle lines are evident in a human body,

where would those parts be?

Of course, it becomes different

when it's a male character.

But it's not that late to study the muscle lines

of the body parts later.

Like I said before,

you can cover these parts with clothes.

So, guess the important part here.

I think it's the limbs.

You can't cover the limbs

with clothes.

Therefore, let's go over this part now.

There are many kinds of muscles in the arm.

So if we divide it in detail,

starting from the biceps that stick to the front of the arm,

the triceps on the back of the arm,

and on the bottom of the elbow, there's a muscle too.

Let's talk about this in a simpler way.

Let's say this arm is stretched like this,

The overall flow of the arm line is

the inner line.

It's the inner line of the arm.

Let's say there's a palm here.

If you look at the inner line,

I think it's a line that sticks out gently.

This triceps area behind the other arm comes out

with a line that pops out quickly and then pokes in.

The triceps are shorter than the biceps,

so the line breaks like this.

And then the elbow pops out.

On the other hand, if you look at the bottom of the arm,

the inside has a line that sticks out and goes in.

The outer part has a line that sticks out.

Some people draw it backwards sometimes.

You have to be careful not to do that.

So do you remember the patterns?

The inner part is gentle, then it sticks out and goes in

and the outer part came out, went in, and became more gentle.

Let's remember this line and apply it when you draw the arm.

Of course, it changes slightly depending on the posture of the arm.

For example, if you fold the arms inwards,

the biceps contract.

They might stick out more than the muscles in the back.

Just remember that generally,

it looks like this.

Leg muscles are the opposite of this.

What does that mean?

Inside the thigh, there's the adductor muscle

and that muscle

goes up to two-thirds length of the thigh.

It goes up to two-thirds of the thigh.

Because of that,

the inner curves of the legs curve out, then in.

The outside curve isn't as curved.

From the knee,

the inner curve bulges out

and goes in again.

Likewise, the outer curve only bulges out slightly.

So, unlike the arm curves,

the leg curves tend to have a recurring pattern.

Let's study some more about the legs.

If we look at the kneecap,

there would be the thighbone at the upper part of the leg.

Right here.

And if we say there's a fibula here,

we can say

that there's a circle in between here.

This part would be the joint.

Within the joint, there would be the leg muscle,

and the ligaments.

These things would cover the bones.

Now, the inner muscles would start

from the fibula here.

On the other hand, with this outer part,

if we say the center

starts from below here,

the outer part starts from the center.

But, it doesn't mean this is exact.

I'm dividing this because

the outer muscle begins to curve earlier

compared to the inner muscle.

The part that curves out the most for each side

would be these two areas.

See how they have different curve rates?

If you're aware of this,

you can draw natural legs.

And one more thing.

The reason

we need to learn more things for the legs compared to the arms

is just because they're more difficult to draw.

Overall, the leg kind of looks like

a bolt of lightning.

It goes inwards, then outwards

then inwards again.

It looks weird if you think about it.

But actually,

it may not be so weird.

So what do I mean?

When it's drawn like this,

let's look for the bones of the legs.

The leg bone before

was sticking out and going back in.

The bone that comes out from the kneecap

would be the thighbone.

Here, you would draw the tibia and fibula.

Let's think about the protruding part of our tibia.

When you touch it, you may be able to find the hard bones

and you can call it the fibula.

If you draw along the fibula, it looks like this.

I previously taught you that the leg looks like lightning.

But if you see the line of this bone,

it looks more like a straight line.

When your legs look like lightning,

the legs will stand straight.

This is one of the parts where people make the most mistakes.

Some people don't draw the lightning properly.

Errors occur more often

when you draw the side leg line.

The side legs tend to be tilted backward.

If it's straightened out,

the line comes out like this.

If we apply what we've learned,

the tibia would stick out forwards.

The tibia and the fibula go forwards.

If we touch the front of our shin, it's stiff

because the bones are right underneath it.

So it'll look like this.

If you look at it, the leg bones are almost straight like this.

But when we need to make the legs straight,

some people draw like this.

Just like this.

So they're not straight legs

but folded ones.

So, to not make this mistake,

overall, with this leg,

I call it the side curve.

You should take note of

this curve that goes a bit backward.

People make a lot of mistakes here,

with how they would draw the outlines.

So, we briefly went over

the proportions.

We also learned about the curves and outlines

where a lot of students make mistakes.

By utilizing these things,

now you need to make a mannequin.

So the ratios on the left,

try to remember them

and find the ratio

that you like.

When you work on the illustration,

how could you make it your own?

Now we will learn about the deformers.

Also,

you may call it deform.

Deform,

or deformers

refer to

when we distort, emphasize, or omit certain elements

of an object.

For example, you can make a character's head bigger to emphasize it.

Or, you might decide to not draw certain curves of a character.

These parts with distortions

and changes

are called deformers.

There's no right answer to deformers.

From the moment we decided to draw a casual-style character,

we've already decided to draw a body with incorrect proportions.

How many people in real life would have a head that big?

Deformers could be applied differently depending on the artist

and the situation.

Today, I want to tell you this.

Depending on the circumstance...

Why do things change

depending on the circumstance?

Why does it happen?

When we choose our illustration...

we will get to see a variety of illustrations.

The full body shot,

or the waist shot

or the illustration with an eye-catching face,

or the illustration with an eye-catching mood,

and so on.

Depending on that,

the thing that changes a lot is the deformers.

When you're comparing

a waist shot with the head emphasized

to a full body shot,

which image

would have a proportionally larger head?

Of course, it might differ depending on the image,

but, usually, a full body shot

would have a larger head.

But why?

With the waist shot image, where the head is emphasized,

if the head is too big,

you might feel that something's not right.

This feeling is usually called

the uncanny valley.

So, what is this uncanny valley?

As your drawing style becomes more realistic,

people tend to like your characters more.

But, before the intimacy level hits max,

there is an area where the intimacy level dips down.

This area would be the uncanny valley.

Of course, most people would like realistic characters

because they would look pretty and nice.

But, if you draw too realistically,

for example, if you draw veins

or pimples,

your audience might not find the characters too appealing.

This would be the uncanny valley.

And, this would also be a type of an uncanny valley.

The character already has a big head.

It looks even bigger

on the waist shot.

So the face is already eye-catching.

It stands out

because of the large face.

Although we applied the same ratio,

like as usual,

the head of the character stands out too much.

So when I draw a waist shot,

I often make the face smaller than usual.

On the other hand, in the case of a full body shot,

what's the most important part when we draw characters?

It's the facial part.

But you can't see the face.

Because you have to see the full body shot,

the face doesn't stand out.

Then, in this case,

change the method,

by drawing the face larger to help people to see it.

This was the first circumstance.

Then what else do we have?

When you draw a mature character,

you can make the face smaller.

Or reduce the size of the eyes.

So it can change like that.

If you're drawing a cute character, make the face bigger

or make the proportions shorter.

You can change it like that.

Deformers can also be different depending on the shape of the clothes

For instance,

clothes with a thick neck part like this

are often put on casual-style characters.

With this clothing, if you draw the neck with the correct proportion,

like how I'm doing here,

because the shoulders would then be around here,

there's not much. Just empty space.

So, if I erase this part,

the neck would look very short.

So, when you're drawing clothing that looks like this,

we make the neck longer.

The neck would be this long.

Then, even if the neck is really long like this,

on the outside, it will look natural.

Let me share another example.

This is a common sleeve

when we're designing a character's sleeve these days.

Like this.

If you draw a wide line like this,

just like with the neck we drew,

the arms may be a bit short.

So, if we make sure the arm's proportions are correct

and put in the arms up to this part,

the arm itself would look

very short.

So, when this happens, we intentionally

make the arm a bit longer.

Let me show you another example

with a cloth that covers the upper body, right here.

Let's say we have a cloth like this.

If we go along with this outline,

our eyes would look at the belly,

then they would look outwards, then inwards again.

So, if we're not careful,

this area could look very fat.

So, when you're drawing this kind of clothing,

try to make these outlines go more inwards.

The waist should be thin

so that our eyesight would move naturally

and the body would look more beautiful.

So, in conclusion, deformers change a lot

depending on the shape of the clothes.

What I want to tell you

is that

deformers don't follow a set rule.

So you might say we had a proportion class earlier but

what does this mean?

The main reason I set the proportion is

to make sure it's easier to

create a mannequin

that's easily movable in my head.

The ratio is different every single time you draw,

depending on the character's setting,

the age, the use of the illustration,

and the composition of the illustration.

It keeps changing.

So keep the proportions organized like this,

but don't be tied down.

So that would be the biggest takeaway

of this lecture today.

I'm sure a lot of people are studying with a fixed proportion.

Or some may set the proportion

after this lecture.

But when you have the proportion fixed,

you have to be flexible with it,

depending on the use of the illustration,

and to use deformers effectively.

And you can call it an effective ratio.

So please remember this part.

To summarize the theoretical content up to here,

we went through the proportions of the human body.

And what's important in the ratio of the human body.

Making a mannequin that can move in your head.

The more accurately, freely, and quickly you can move this mannequin,

the more your drawing skills will improve.

Therefore, if you divide the human body into three elements,

those would be the movement, ratio,

and line.

But among those,

we went through the ratio and the line parts.

I recommend you to look at the proportions that I mentioned before,

and with these fixed ratios,

focus on the curves that you can't depict properly,

for example, the shoulders, the neck, the pelvis, and the legs.

Focus on these parts, and then study more.

Once you're done with the proportions,

apply some deformers that go well with your situation.

That was a summary of what we learned today.

So, now I'll tell you

how you should practice from now on.

Now, with the

actual drawing part,

like I mentioned before,

this lecture is more about

practicing on your own.

So, I'll tell you how to do this briefly.

Whenever you're drawing a human body, it takes a long time

to draw every part of it.

If it takes a long time,

it's hard to find time to practice,

and you won't be able to draw a lot.

You'll spend a lot of time fixing one thing.

So, remember when I told you

that the torso is important?

Well, now let's get into it.

We're going to practice the human body part by part.

The first practice method

is to practice part by part.

So what it means is,

just focus on a single part at one time.

We will go over movement in the next lecture.

When you learn about movement,

you'll have to practice that a lot.

Because we need to draw while applying poses.

But, even when you don't have a set pose,

you can just draw the same torso

in different angles

repetitively, like this.

Second, you turn it around.

If you practiced with the torso,

practice the arms

and raise them up and down.

Raise them diagonally, too.

When you're focusing on a certain subject,

focus on your weaknesses and analyze that.

You could draw the leg like this.

Otherwise, you could

focus on the pelvis.

Focus first on your weaknesses,

then, draw a full human body.

We're practicing them separately because

if you practice it part by part,

the amount you can draw increases

so it's more efficient.

But you need to put them back together later.

The ratios can get a bit awkward while doing that

so make sure the things you learned in the ratio part

are all applied properly.

And you could count that as a kind of practice.

Identify your weaknesses

and practice those parts intensively.

Keep practicing.

Then, when you're done with those, turn them around,

and make sure you can perceive them three-dimensionally.

And, when you combine all of them,

you'd be able to draw a mannequin.

If you can draw a mannequin,

you can say the training was a success.

It's like playing a rhythm game.

If you play rhythm games,

you'll see there are a lot of similarities to this training exercise.

If you play rhythm games,

there's always an area where you make a lot of mistakes.

But, if you keep playing the game from start to finish,

you'll always make the same mistakes.

If you continue like that,

it will take you a lot of time to strengthen your weaknesses.

So, the best way to practice is

just by focusing on your weaknesses.

If you study only those parts,

you'll be able to get a perfect score in the game

a bit more quickly.

Of course, you would have to focus on other parts later on, too.

Drawing is a lot similar to that.

Focus on your weaknesses

and intensively study to improve them.

So when I practice something,

what I think is most important is to set a goal.

Therefore,

when you decide to focus on a certain subject,

you would focus by practicing that subject.

For instance, you might decide to focus on practicing shoulders one day

and focus on the pelvis the next day.

You might think of yourself as a gym trainee.

Because you focus on certain parts,

I'm sure your training

will be much more effective.

Use this to practice drawing the human body.

Let me show you an example.

Some of you may have seen it before,

but we focus on certain areas like this.

See how I practiced the torsos?

This is how you focus on a certain subject.

When you're done with that,

turn a body

around in different angles like this.

The most important thing is to maintain the same proportions.

There's some detailed information on the outline here,

but, this isn't that necessary.

You can draw it like a mannequin.

But instead,

it is important to maintain the same proportion.

So keep the same proportion.

And you can try to put the limbs at a different angle.

When I see this, I call it art training.

So practice it,

by applying the limbs at a different angle.

It may look a bit difficult.

But as I said before,

you can ignore the line part for now.

So for the simple body shape,

if you are a newbie,

stick to the basics we went through today.

We are going to study it in the next class.

With a simplified human body,

work on it

like this.

Spin it at different angles.

And through this process,

the goal of this class was

to compose the movement

of a human body in our head.

In the next class,

we will learn how to move the mannequin.

So that's the end of this class.

Thank you for your attention.