All language subtitles for 04. 3-D Expressions of Major Joints such as Hands and Feet

Hello.

At the time of wearing, I will study the two movies that I have studied before the last time, and then together we will study the main joint structures of the human body.

of.

Human anatomy is usually studied first for the skeleton, then muscles are pasted in order.

Anatomy is a very useful tool to reach the human body surface into the facts.

However, if you draw according to anatomical theory, you will certainly describe all these musculature just right, the

There could be a lot of unnaturalness going on.

Bones and muscles can realistically render the three-dimensional structure of the human body, but their natural appearance is not completely guaranteed.

Personally, when I draw, instead of drawing based on perfect anatomy from the beginning

Consider the three-dimensional expression as a point of priority, and add the necessary parts of the anatomy as tools after these emerge naturally.

Subtitled by
online-courses.club
We compress knowledge for you!

Adding skeletal and muscular descriptions more realistic and simplified according to the character concept, when muscles or bones need to be emphasized.

Omit occasional emphasis to convey anatomy, etc., as a tool to highlight depictions that are applying anatomical information.

I most closely observe and describe the joints, the joints according to the character's gestures

The first place to look at, the

I think the subtle differences are a very valuable part of swaying the naturalness of the whole drawing.

So, this time, including the anatomy of the major joints of the human body, which I care most about when I'm working

Let's take a look at the structure and learn what parts need to be taken care of depending on the stereo poo or body type.

But when I draw the joints, I need to pay attention to one thing.

Depending on the character's movements and dynamics, the creator must be able to actively and freely position the joints and angles.

Therefore, it is recommended to learn mainly the starting and ending point landmarks of the muscles than the position and form of the muscles around the dorsal joints.

If you intend to design a design that does not require a true representation of the anatomical content, the tips I have talked about will show you.

Viewer-centered viewing is also great.

I'll start by briefly inquiring about the neck.

The neck is centered on two cervical vertebrae, and there are two muscles that move.

The cervical vertebrae are intervertebral discs, so they can bend and move, but there is a rotational function of the bones

The skull and the joint bones are only the 1st cervical vertebrae.

So rather than thinking that the neck will rotate, you should consider the bend and draw it.

Usually, it tilts to the direction of the character's line of sight.

At this point the neck is not rotated from the center but tilted to the direction of the line of sight, right?

In order to simply stretch the neck muscles, you need to use landmarks to understand the clavicle and shoulder nail bone first.

In which it is necessary to grab the hair of the front arch of the torso a half-length clavicle.

In the two muscles of the thoracic vertebrae of the flow muscle behind the ear, one of the inverted components of the clavicle

the anterior muscle extends all the way to the middle of the clavicle.

Starting from the middle, the rest of the clavicle is swollen in fractions of 1 flat.

The ear that's standing on the other side is covered and invisible, but if you look at the shape a little bit

you can see it falling down like around the neck.

Again, the collarbone needs to be taped out of the pattern.

In the center of the collarbone.

The part of this inside of our brief drawing has the neck, and the science has such a small gap between Shen's coarse.

Later on, when we depict the shadows, this part is what we must spare.

The movement of the muscles that bring bones and skeletons close together by contraction.

Then the murderer's mobile muscle is between the neck and the collarbone, so use it when the neck and the collarbone are close together, right? The medieval flowing muscles can rotate the neck that

It's the muscle that's used when you get out of the car.

Especially when the neck is rotated, the prominence of the thorax in the lateral direction is best emphasized a little on the lateral profile.

For example, I drew the bag, the muscles that flex like this

that expand on one side, harden in shape, and relax in the opposite direction.

You can see it in the form of a curve

But when you lower your neck.

Usually, gravity will help you bend your neck down, so you don't have to forcefully emphasize those muscles.

In the act of raising your head while lying down, it's especially important to just emphasize the notch in the central part of the triceps here.

There are remaining muscles called the muscles of the upper multiplier group, and this upper multiplier ball is used when you're retracting your neck or lifting your shoulders.

From the back of the head to poetic serenity

The starting point is now blocked, so you can't see it, I guess.

We still have one-half of it.

Shoulder tag on the side of the shoulder

To the back.

The landmark of "Shoulder Armor Bone of Shoulder Armor Play" follows and ends.

The remainder of the line is invisible because the starting point and subsequent parts are obscured, but the ending part of the clavicle is visible to our eyes.

It can definitely be confirmed. The direction is at the back of the neck

Take the shape of the clavicle direction and pick it up like this.

I kind of think I draped it.

When you have your neck draped in a cardigan or something like that, the muscles

Around the neck like this.

Feel similar to this direction and you're done.

This upper inking has a large muscle that takes up the front half of the torso and the back half of the side.

So it becomes very important in expressing the difference in body type, I guess.

A simple look at how the neck would change depending on the body type.

When drawing a muscle body type, the volume of each muscle becomes larger, the

will completely obscure the curve of the cervical spine, creating an overall near-cylindrical neck shape.

First, let's confirm the bad side of the chest plug. The muscles behind the ears

It will drop as if it were around the neck, and if the muscle itself has volume

around the shape of the neck, it would descend in a straight line like this, the

forming a silhouette.

The notch below the purpose just shown will be more emphasized.

The space between these three balls is better for the human eye and enough spacing to enter

And the neighbors of these fierce men.

He fell on the upper side of the clavicle, so when emphasizing the landmark, just emphasize the upper part of the clavicle.

And the second time that we just showed

The muscles of the monk covered with ink will now be corrected later

From the back

The clavicle from the bottom to the point of tomorrow

The natural continuation, from the neck to the shoulder of the bearing wood, the line will be so overall in a gentle curve.

At this point, the mastoid muscle of the fierce man ends in the red medieval only, and there is some breathing between the blue multiplication or.

This part is muscular, so emphasize this notch structure in the neck rotation or shoulder lift movements.

Again, since there is no blunting below the clavicle, please emphasize only the upper part of the clavicle.

Don't forget that the stereoscopic direction is turned out this way.

And the crew conspiracy army is seen from behind or from the side than from the front

Because it is the muscle that can be seen more clearly, so from the side view also to fully reflect this sense of thickness.

The monk that can be seen from here

The area from the back of the head to the front of the torso is a large percentage, so the part about the difference in the body shape of the neck

It is better to further emphasize from the side or the back, and it is better to confirm the front to the degree of contour.

Conversely, when you draw thin

The muscles we just drew are like pressed against the cervical vertebrae on the inside of the raft, without landmarks here.

Thus, unlike the muscular muscles, the curve of the cervical vertebrae and the orientation of the neck would form a thin column.

If you draw here.

The cervical spine is in the middle here, right.

The line starting behind the ear is near the cervical spine.

and a thin column is formed.

The end point will not change

Overall, the silhouette will squeeze inward.

Same for Seungmu-kun

Did it get thinner?

Instead of starting at the top of the neck, it would be better to draw a steep curve from the center of the neck to the shoulders.

Subtitled by
online-courses.club
We compress knowledge for you!

Next to the muscular body shape is a line that runs from the back of the neck to the shoulders

Even from the same point, if you have a lean body

Overall

Being pressed to the bone.

Similarly, grooves can appear.

Generally speaking, the shape of the thin neck is simply

No need to draw, the whole body of the neck is generally to emphasize the structure of the collarbone, etc., so please refer to it when coloring.

And unlike muscle muscles, the skeletal form of the clavicle can be directly rendered and painted with shading is also good.

We can draw a shadow on the shape so that we can see the shape of the bone.

From the side, it will look like this.

Like the neck next to it, do the muscles form a cervical extrusion, although the overall shape remains cylindrical?

Overall, if you represent your neck with a curve

you can see these lines displayed. Then I cross over to the shoulder.

The shoulders are also the most important in the joint.

The shape itself is not complicated, but according to the behavior of the character location is really really important, so the system of bones and landmarks as a benchmark.

Although in the film is also muscular, the exception is a firm grip on location.

In addition, the shoulder joint consists of the body's floating bone shoulder armor bone plus the socket tube rope, which is also capable of complex movements in the human body.

So, the result is that with the addition of various factors, it becomes easy to unnaturally depict the place.

So make sure you take care to draw the shoulder in the right place and add the proper anatomical description.

The shoulder is moving towards the arm in the direction of death.

The arm bone is connected to the joint of the shoulder armor bone.

After fixing the shoulder it can rotate freely, but the body wants to compound the connected muscles, so

In order to show natural words, depending on the movement and position of the arm, the shoulder should also move together.

For example, as drawn now

The arm bone of the joint joint is fixed to the shoulder and can be adjusted to move at a certain angle.

If your shoulder is a little bit higher than that, or if your shoulder is sticking out forward, that's called the bone of the shoulder pick that

The whole appearance of the landmarks and muscles will change dramatically as you move.

As the arm is extended forward, the shoulder moves forward, moving forward from its original position.

Move the arm backwards, folding it slightly further back than the arm originally there.

As you lower the arm backwards.

Descending

The very simple part of the arm that rises above its original position when lifted.

Instead, the position of the bones should show up well when the position of the shoulder is moved.

Representative landmarks seen from the shoulder are the clavicle just drawn and the shoulder nail drama briefly mentioned.

Where the shoulder bar and the shoulder armor play are part of the shoulder armor bone as part of this bone.

The shoulder armor bone is seen here in the blue section

The part of the landmark needed when drawing the shoulder on the shoulder armor bone.

The overall shape formed by this pink and blue together can be described as the overall shape of the shoulder nail bone.

The shoulder nail bone is generally the core bone of the shoulder and back muscles, and when drawing both shoulders, I would first look at the areas that need attention.

When looking at the torso from the top of the shoulder armor, if you see the markings in blue, the direction is roughly like this

A palm-sized bone attached to the body in a four-line direction.

This bone has no other bones attached to it, so humans can move their shoulders and arms freely.

On this bone, when you look from the side, you come out slightly forward and then there's space.

When you look at it from the back, it also looks like this shelf.

When viewed from the top and the side, there are parts that come out like a shelf, and this part is the canine armor pole.

Specify the color a little bit, when you draw with the mint color

2 2 lines we call shoulder nail drama.

There's also the flat part of the front of the torso if you look here in the shoulder armor play.

This is the flat part of the part that meets the clavicle, and this part is called the drawbar.

This part is purple

This part can be called electrodes.

The shoulder bar is next to the clavicle, so it is connected to the clavicle.

There's a little bit buried underneath.

So the shoulder nail pole behind the shoulder pole on the side of the arch clavicle makes this a total of three directional lines to become the main landmarks of the shoulder

The shoulder armor bone on the shoulder for the sake of the Tuin approach marker

Shoulder armor play that appears like this when sticking together in the direction of four lines like this, like a fairy number

Protruding toward the shoulder.

The flat part that is connected to this part is called the shoulder bar.

Overall, this line is the landmark of the shoulder.

If you look slightly to the side, the clavicle becomes a red arch, leading to the shoulder direction.

The change is attached to the side of the shoulder and the upper side.

The line at the back of the shoulder can be rendered with a shoulder armor play, right?

Just now I said that the movement and the position of the shoulders are really important.

Let's take a look at the different landmarks based on some representative movements in the industry.

When the arm shoulder is extended forward, the clavicle will approach a straight direction with the shoulder pole facing forward and tapering between the shoulder nail poles.

The clavicle, if it was originally drawn in red, is probably drawn with the arch bone in this way, if the shoulders are extended forward

relatively speaking, as the bones of the shoulder continue, a curve that's close to a straight line is drawn, and the adversity stick was originally attached to the side, too

The shoulders move forward and change direction towards the front.

And the position of the shoulder armor bone floating in the air with the bone pull is free to move to a certain extent that

The intervals that were originally stuck together in a diagonal direction become farther apart, so they move closer to the side.

If you pick up the beaten shoulders backwards, the clavicle would have been bowed, without much change, but see the peak fall back, very close between the police corner plays.

Some changes in particular is this shoulder armor bone tribe, this shoulder armor bone between the muscles began to exert

The original diagonal direction of the shoulder nail bone will become a flat direction close to the straight direction.

Therefore, the shoulder bar next to it is also slightly further back than the side can be, and the marionette play will pick up in a slightly better direction.

The shoulder armor bone will go up along the arm as the shoulder extends upward and the clavicle will rise in succession

When the arm is fully raised, the shoulder armor angle at the lower part of the nipple will protrude to draw.

If the station has protrusions, marked in green, the

Sure enough, what protrudes below than the integral is the shoulder nail bone, if than this is an example on the upper side with such a protruding part above.

Usually, this part of the deltoid that is drawn in red from the top to the bottom is the deltoid muscle.

Then fold the arm backwards, called the greater genuin.

There's also this part of the back muscles that make up this side called the light abs.

At this point the protruding part is drawn as a squared-off bone to emphasize the muscle

After confirming the location of the landmarks, I briefly learn about the representative muscles that can be pasted.

First, I will use it together with the stolen model for the sake of simple pasting.

First let me draw the compound group in front of the shoulder.

One half of the clavicle and the bones once in the center of the torso.

Then a straight line across the center of the torso.

Also, we drew number 7 with the rib banister, which is the part of the line down slightly diagonally from Siyi Li.

Like this No. 6 ribbed like this 3 bones made of c-shaped in the central side of the ball of the shoulder.

So, when you draw it in English, it's equivalent to the side of the sphere.

In the case of the arm bone, it corresponds to the side of the central part of the two-thirds of the arm bone.

Please continue the mass group over here.

There are also the representative muscles that make up the rest of the shoulder called the deltoid.

Just now in the compound group did not finish posting, from the top of the one-half part, I think it is this part.

and Jianfeng

and every part of the shoulder armor play

Separate backwards, the border part of the arm bone in 3 parts.

So, when you type in English, start where the column begins, then in the fine bone, one on the shoulder bar.

From the three grooves I

Qingfeng a

Finally, the shoulder armorers plot the muscles called deltoids in three directions.

This is what it becomes at this point for the benefit of the corresponding muscle muscles in the front that will assist the anterior movement of the shoulder

And there are also back muscles in the back that assist in the movement of the shoulder, so the muscles in the front and the back of the deltoid are not as big as you would think that

To emphasize the shoulders, this is when you start with the shoulder bar

This part from the shoulder bar takes up most of the size of the shoulder.

So to emphasize the shoulder it is better to emphasize the side rather than the front or the back

Let me draw the shape of this shoulder as a slightly simpler three-dimensional.

Basically the chest pain is slightly egg-shaped, slightly tilted forward, so frontal chest and shoulder, so this corresponds to the curved part here

The torso is also not oriented in a straight line in English, but tilted slightly forward.

The face that wants to go in the diagonal direction is fine.

Clavicle from 1 minute

This side in the direction of the axilla

Some border appears between the muscles of the chest and the muscles of the shoulder.

The muscle size and muscle boundaries of the shoulder are limited to body structures that differ significantly by body size.

As you can see, if there are a lot of muscles in this part and a lot of muscles in the shoulder, then this notch part should be emphasized a little bit more.

On the contrary, if there is little muscle in this part and little muscle in the shoulder part, then this boundary should appear in the haze phase.

This way the morphological structure changes with different body types and the corresponding descriptions should be different.

Representatively, let me see the difference when drawing the small and large shoulders of the thin shoulders.

Taking the large shoulder as an example, here the landmarks are in a circular curve.

As with the landmarks on the shoulder, the

To be drawn as a circle, coming out of the direction of the offspring is also somewhat curved.

At this point, each muscle boundary is drawn as a little bit of a notch. So, this part

Flexion corresponding to the chest muscles

Catching the shadows, living out the volume of the chest muscles themselves, the shoulders and the shoulder muscles themselves

Living the sense of yang, the

If you draw it, you can confirm that the corresponding part of this part of the boundary is clearly distinguished.

So this part is usually given a little mark when you draw it with a line, so that it helps the natural expression.

On the contrary, the muscles of the thin shoulders look less pronounced, so it's easy to think of the words as if they were wrapped in thin skin on the model between the abundance.

So this part of the British army is a muscle race, and this part doesn't appear as clearly bounded as the model next to it.

Relatively speaking, the muscle scene will emerge slowly.

So here's the amount of chest muscle that

When you draw the volume of the shoulder muscles, you shouldn't distinguish them out so clearly, but instead you add a blend of these two parts that

drawn in the form of a smooth transition.

So in this case, more than the muscle boundaries

living with the shading of the shape of the fine bone itself, reducing the muscular construction of the shoulder

It would be better to emphasize a little more the landmarks caused by the bones.

So here, the muscles that fall from the landmarks will descend in a circular pattern, the

Here, the descending race itself would drop steeply, due to the relatively small amount of muscle

In short, the muscular shoulder is dominated by the round block variation that

It is considered that thin shoulders can be represented like drawing the shape of a straight hexahedron.

So, if you look at the 7-day shading, the muscular shoulders will softly release the shape shading, thus becoming a two-diminished dominant depiction.

The thin shoulders should be separated like the top and sides of a straight hexahedron, like the shaded area of the repair rain direction, to reflect the sense of structure of the angles.

Of course, depending on the style, you could draw a skinny shoulder.

It's best to mix the differences between the two characters in this way when showing a sense of structure.

Simply dressing up.

Muscular shoulders descend in a circle like wrinkles wrapping around the shoulders from the neck.

There's a lot of body contact, I think.

There are many places where the muscles touch, and wrinkles will appear like circular whole wraps, like wraps around the body.

Thin shoulders are landmarks.

So, since there's not much of the body to accommodate the two-wall portion, the wrinkles pass through the sample

The straight direction of the sag.

Wrinkles that do not depict muscular boundaries, and that can illustrate the sense of structure of the body's going

if it is useful later to express the shoulder part with clothing lines.

It would be nice to play with these two differences.

Finally, I will point out the vantage point when drawing the shoulder from multiple angles.

The shoulders are almost equivalent to the uppermost part of the torso, so the degree of visibility will vary greatly depending on the angle.

Many people will think of the frontal proportions to draw the shoulders, the

The shoulders are circular landmarks and complex movements, so the front is a little less than one might expect.

As an example, in the data that has just been shown, if you see here, the best thing is that when you look at the person's work frontally like this

There are cases where you catch it right in the middle, the crew group sometimes gets smaller, and when you look at this from the front, about half of the three bones are in this position.

So when we see this from the front, it's just like the long difference at first

There are many variations depending on the angle if the shoulders and proportions are different from the front side.

Such a lower level article that

The relatively thin neck between the head and the shoulders, this red part that

will not appear directly in the silhouette, but rather in the silhouette, as from the head to the shoulders as a whole.

So when someone draws in Korean, the

It doesn't help to draw the neck separately with the shoulders like this in three dimensions, right?

Usually in this case, if you add the same age, the neck will look much further back in comparison.

On the contrary, if you draw with a low angle, the top surface of the shoulder cannot be drawn, so most of the shoulder is invisible in the angle.

As in the current example, if you look at it from a half-sided angle, then the shoulder farthest from the eye on this side, in the field of view

It becomes the farthest part of the body, so it is much more blurred than imagined, and you have to draw it before you use creativity to draw with the angle when most of the problems

It appears on this side of the shoulder, the neck is very long when drawing people, the extent to which you can see this side of the shoulder

If the shoulder on this side becomes visible, it will look very flat, don't draw it like this, the neck is also

To be hidden in the silhouette.

This side of the shoulder can't see the top, but because it's half sideways, even though it can draw as many shapes as

The opposite shoulder has a lot of shading, so you can draw it so that you can almost only see the movement of the arm.

A slightly longer enthusiasm for the shoulders.

Kawakawa looked at it while stretching his shoulders like this, and then to illustrate the pelvis, by the way

The video pauses for a moment to allow us to stretch the lats and continue on.

Many of you know that the pelvis is very difficult and important in anatomy.

The muscles of the upper body and the lower body are separate places, and there are clear differences between men and women when drawing the contours of the human body

Because this is the part that must be understood, so if you studied anatomy, you must have studied it carefully at one time or another.

Personally, I like to describe the pelvis in detail, but in this lecture, when I was drawing the various characters

Take a look at what you have to know mainly.

Taking the most important point in the pelvis and simplifying it, the

Let's start by learning what the parts that can be applied directly to the picture are.

The pelvic bone is big and wide and long

Constructed by supporting the sitting flexure below the tooth bone gathered in the middle, by the lumbar vertebrae and the preceding bone, the caudal bone, which constitutes the egg.

Let me look at the display of each array.

When drawing the pelvis most broadly, this first part that comes to mind is called the camphor nine b. This part that gathers to the middle is the dentary

And the part that supports the bottom is the sit bones, and this part of the pelvic bones and the spine is called the thousand bones.

And there's a bone underneath the prehensile bone called the degenerate coccyx, which I'll omit for now.

The bone that must be known when drawing the pelvis from the middle is the long bone.

Because it is the visual part of the human body, it is not known about the other parts, but it is important to know the form and structure here.

First, start by understanding it with the bowl-shaped cylinder of the pelvis.

For men, consider the shape of a cup rather than a bowl.

When you draw it as a cylinder of the pelvis, the side of the pelvis is this.

Towards the front of the side

In the frontal direction looking directly at the pelvis on this side, there is the landmark of the bone play called the apex of the long bones.

In this long bone play, the

drawing a thin edge behind the edge of the cylinder.

Draw that ridge.

Draw the ridge, and then if you continue, this is the long bone energy.

You can draw a landmark called

Also, don't stay to the end, it's good to leave a bit of empty space.

In this long bone-shaking section

The part here is the dental groove

The bone part of the tooth

There is a ligament, called the vanishing ligament.

Carry it all the way through here.

We left a nose in both films.

Because that section is the combined section, it's better to leave three pieces to continue it again.

The overall line drawn in this way is the main part of the pelvis

Because it is a landmark, be sure to mark this part in the direction and angle of the pelvis.

This long bony pole portion is shown as the most obvious notch on the pelvis when the muscle manifests

This line that connects the long bony light to the socialist table serves as a concave divider that distinguishes the upper and lower body.

When drawn on a thin body shape, contrary to what will be explained earlier, this landmark becomes a separator line in the form of a protrusion when drawing a thin body shape.

where the part corresponding to the long bone play is very visible on the opposite or side side.

In addition to the long drums, the

The rest of the parts in the bones, if there is a need to know, to understand the countryside can also rest.

The dental bone is the combined part of the organic frontal part of the frontal part, which is where the pubic hair is located above the reproductive organs of the human body.

The place where the abdominal muscles end and where there is room for expression in confirming the angle of the pelvis, so it is possible to rest even if it is known.

From the position that appears in the actual cognition, the intestinal bone play appears obvious and leads to a ridge map on the posterior side of the pelvis

can be seen as landmarks, so it is straightforward to confirm that

In the countryside, although it is not a part that appears directly in the body, we have representative parts of

If you confirm to this extent, you can confirm the direction of the entire pelvis painted on it.

So, for women, they're backed up a little bit and

Many times it's drawn, and the men orient the pelvis in this vertical form.

The sciatic bone only occurs at a specific angle or position.

If you want to express the pelvis as simply as possible, omitting it will not be much of a problem in drawing.

The thousand bones themselves are not bones, but the upper end of the anterior bone, so it's on this side.

This side is the part where the muscles like the spinal rise end, and if you look at this from the back

The part where the muscles end like this sometimes has this concave groove, this part is called the Venus' groove", and this groove.

And where this flat line bone ends, there's a shallow flat portion underneath the second bone that

Where this part ends, the hip splits, so you can indirectly confirm that this part is the location of the beauty bone, right?

that has nothing to do with the bones of the pelvis.

The leg bone follows. This bone is called the femur.

Between the pelvis and the femur, this four-linear directional bridge

It's this part.

This part is called the neck of the stock.

The head portion of this bone

It's called "The Great Warrior".

The femoral neck of this opponent determines the final size of the pelvis.

Independent of the muscles of the pelvis, the contour of the leg and the space between the legs are the determining parts, so the expression of these two parts becomes very important.

Even if the figure is thin, the body contour can be drawn in a streamlined way if this femoral neck is drawn long.

Conversely, if the femoral neck is reduced, the legs will be straight to draw the straight lower body line worn by the pant leg.

If you look at the abbreviated model of this wall

This part of the opponent is the final width of the line of the pelvis.

And what determines this is the key to determining the size of the 2 major necks that connect the femur between the pelvis and the leg.

In contrast, for men

This is very narrow, so the femoral neck can be seen close to the pelvis, in a straight descending profile.

When plotting the final lateral image of the pelvis as a curve, the dyadic subpart will be the most vertexed part of the curve.

In both of my movies, I used this femoral neck as a sphere to determine the size of the pelvis using the size of this ball as a reference.

For example, when you determine only the orientation of the pelvis

Draw as a cylinder and then orient the leg

done in a simple form, but when you decide on the size of the pelvis

When we decide the shape of this sphere, we can see the sketch in more detail.

You can get further into the muscles of the lower body, but as far as I'm concerned, unless it's a special case, the muscles of the lower body are not very well emphasized, even because of the pants

Because the focus is only on the morphology and structure of the pelvis itself drawing the body, this lecture focuses only on the joints, with some compression of the content.

Therefore, we focused on the shape of the pelvis to represent the joints, as well as the gaps and contour outlines of the pelvic legs.

It is recommended to sketch the focus first, and then use the columns to describe the shape of the legs.

Overall, after drawing the orientation and shape of the lower body, later on the fine structures such as muscle boundaries and knees

If you draw the bridge again in the order described, the lower body is not difficult to draw a little.

Most of the muscles are standardized by these long bone energy and long bone extremes that

If you cross the long ball backwards, the hips will be covered by fat, so they are usually drawn with a simple curve.

The muscles on the side and front of the leg are separated, and most of the divide is from the long bone play to the knee

There is a muscle called the organic rod muscle, and with this part as the focus of expression, first start constructing it.

Also, it's more difficult to draw the pelvis in an anatomical way, and I think the pelvis is more accurate than anatomy.

Just understanding the angular cues, it feels like the overall natural is the more prominent area.

First, in the simplest form, I first drew the landmarks and forms that I knew when I saw the pelvis from the front.

but the pelvis basically tilts back a little bit.

When plotted as a subangle, the heights of the long bones and the dentary band electrons will be more similar than when plotted as an anatomical drawing.

Now check the words of the line I marked, there's a bone scene here.

There are electrons on it, there are dental bones.

When it tilts, the long bone play tilts down and

Otaiko will rise upwards, and this height will become relatively narrower.

Therefore, this curve narrows in the same length, so the shape is steeper, so the width is not touched.

In the case of the man, the pelvis is erected, the height difference has become greater, the pelvis is elongated longitudinally

The woman will shorten with the opposite tilt so that the curve is emphasized as the height difference is further reduced.

From the side, this is what it should look like.

So when drawing the pelvis as a torus surface, the first thing to consider is the intestinal skeleton.

Confirm this front and side at the same time, and draw it on the half side.

First, we turned our attention to the opposite side, the

than the pelvic proportions we know

It should be known that the front side gets narrower first.

The pelvic structures far beyond the eye must be emphasized in the drawing.

For thin bodies, this part appears as an edge.

If this part is confirmed with a red-red long bone drama, so that the corner towards the front is shown.

Conversely, in the case of males

You can see these sides

Not the protruding, but the muscles at the top of the torso that

It's the line connecting the lower body that separates the race line that

It's good to draw it clearly.

And then, if you draw a leg line.

Because the leg is now seen there next to it, it should be drawn a little bit more than the leg on this side.

And the side will also come in a lot from the eye, so you need to draw the thickness of this part to a wide size, right?

Simply mark the position of the opponent.

The length will determine, along this line, the

Complete the line so that the most prominent part coincides with the Ota seat.

Rear angle view

This part will jump out, if this space is too flashy, the shape will look a little misaligned, I think.

By the idea of this line, the

Just naturally extend the curve inward.

Along the angle of the pelvis

That part of the leg bone is the dentary, which is the anterior part of the trunk

The natural connecting line.

In this state, if this pelvis is backed up a little bit more, let me draw that as well.

In that case, the part that changes a lot is not only the outline of the side of the body, but also the blue line over there confirms

First of all, as we learned first of all, the

The long bone play is down.

The opponent part of this pelvis goes up and

If a simple line is drawn, as this width decreases, the pelvis has the curve

A steeper line.

When the pelvis is backed up

A blue line to the front

You can't draw such a pointed shape, but a thin line to the back.

Draw it very clearly.

Drawing at an angle backward in this direction must be necessary when drawing.

So structurally, this folded part should be enough to express, later on, when coloring

should be explained by shading.

Unwanted lines are covered.

Therefore, the drawn lines need to be checked.

Not so pointed, but backwards

So this range gets narrower.

Conversely, if it becomes a low angle, the

So, as this interval becomes farther apart, the

When I draw the angle with the off-diagram poetry, the

The general scene stands out a little bit more.

The distance between the bottom of the big field and the pole of the gut bone is getting farther and farther

Overall, the line will become a perfectly fitting shape.

In this state, the line that connects the long bone play and the ground bone side together

When the pelvis is erect, the length is farther than the side, so it is drawn in a pointed shape.

And when the pelvis is lateralized, the outline of the pelvic line is partially occupied by the hip, not the antiwar agent.

From this point on, it is sufficient to draw the entire pelvic contour as a more rounded curve.

Just as depicted above, the

While noting the position of the opponent, and orienting the entire pelvis

Similarly, as the pelvis moves backwards and forwards, the

The line from the long bone play to the side of the sulcus, the spacing narrows to steeply recede posteriorly.

The front of the leg is muscle and the back is fat, so the back is fat.

It is better to emphasize this curve with a curve.

If the pelvis is further retracted, the

We checked this earlier, but as this gap narrows, the

From the front, as the spacing between the long bone play and the anti-tank gets narrower, the

the curve takes on a steeper form.

When you draw the pelvis at the back, the

Conversely, we draw the pelvis with a low angle of

So when you draw it as a graph, you're not seeing the top surface that

The bottom side is the direction that can be seen.

Because when we see this ass from the side, as if we were confirming it to this side, we get rid of it and

The area of the lower side is different from the area of the top side, the

The visible area above and below the hips will be different.

So, the more this pelvis curves backwards, the greater the percentage of the bottom of the hip visible from behind, and the upper side to be shorter.

So, briefly, when the top is blue, this part should be shortened to be short, the

The bottom is the opposite, so this ratio is not 1 to 1.

Therefore, the curve

When you draw it, just think about the line falling from the top.

Think of the angle that won't be emphasized more than you think if it comes out from the side.

From the end of the pelvis.

You can do a check with lines so that the two hips can be separated.

So, the spinal muscles will extend all the way up to the top of the pelvis, the

Some grooves are placed on the upper side of the pelvis and indentations appear, which are also confirmed in the back muscles.

And looking at this from above, these two sides of the hip are facing three that is lateral, so if we look from this side

When the trouser pockets or underwear line passes, do not draw forward like this, each extending.

This side is drawn shortened according to the curve of the pelvis, I think.

Slightly cover the unwanted lines, and then confirm the exact look.

Align the curve with the direction of the pelvis, again

The cross-section must be shown in a circular shape.

And where there are significant differences in the pelvis depending on the body type.

First of all, let's understand the pelvic characteristics of women.

Women perceive the length of the femoral neck at the pelvic angle as a difference in subcutaneous fat, so the outer contour of the pelvis has a greater curve than in men.

The space between the legs is wide, and from a semi-lateral view, you can see the space drawn between the legs that

This is the line from the long bone play to the straight bone, depicted in blue, as I just described

The more you let this line recede, the deeper the space in the triangle between the leg and the leg will be.

So that's why the long bone play section

There should be this section.

This part of the area will be very deep.

This is not directly confirmed in the drawing, but later on when we depict the shadows, when we add shadows according to the structure

Because it can be shown effectively, make sure to draw this part when you draw the shadows.

Unrelated to bones, the curve sometimes changes due to differences in muscle or fat, usually with a larger ratio of muscle to fat on the inside of the outside of the leg.

So than drawing the inner side of the body type with fat

emphasizing this part.

Make the yang sensation appear more maximized where it is, while the opposite is true for thin body types

More linear than medial, internal fat expression

Give the outside and the difference drawing then, you can show more of the difference between bone and fat, right?

So overall, the shape is thinning from top to bottom, but this part only has this interval difference.

It is better to draw with a cylinder, where the widths of the top and bottom do not differ much.

From the side.

Medial part of the pelvis

Draw a straight line to the part where the original curve appears, and re-emphasize it to maximize the sense of volume.

Lean body on the contrary, please slightly emphasize the fat inside, the part that corresponds to the bone

So, the outer line is straight and works better, right?

So morphologically, this shape will appear thick and thin, but here it's just keeping the spacing between the pelvis.

You can draw it as a whole cylinder.

Next, I'll look at the differences in how men draw their pelvis.

The male pelvis, men often draw the landmarks of the pelvis as different grooves than women.

Because the pelvis is upright, the lines falling into the countryside from this long bone size hardly ever recede, the

Down the diagonal line in about the same direction as the leg.

Using the landmarks as a boundary, the upper and lower muscle mass becomes larger, so this part takes the standard of a narrow pelvis

The silhouette of the hourglass shape is often drawn.

Because using a contrast bost etc. does not distort the pelvis into a bandit, a very gentle curve is usually used

After the pelvic line against the pelvic line in a very gentle curve.

Unlike women, there's a gap between the reproductive organs and the gut-bone play, so it's better than drawing pants or getting wrinkles up

wrinkles between the parts that are in contact with the parts that are in contact with the blank area pelvis.

Finally, when I draw the pelvis, I'll look at some good tips.

When drawing into a figure, the difference between the cross-section of the pelvis shape and the cross-section of the thigh shape can continue in a smooth direction.

So here is a straight line like this, and when this section is curved, a slightly stretched curve can be drawn between like this.

This line will later form the location of skin or clothing wrinkles.

In this case, the pelvis is structurally extended, the

The leg is shortened, so you can show that this part is structurally folded, to show the wrinkles.

In this case, instead of drawing the crease in an arbitrary position, it is because here is a straight line and also a curve.

Inside a crease with a slightly curved upward line will be drawn.

On the contrary, this side is relatively expanded, so the sense of structure is weaker and the wrinkles need to be drawn slightly weaker.

Even so, it can be quickly tabulated to reach the science and the wrinkles that span between them.

There's also a section of the muscles of the pelvis called the tensor muscle that runs from the front of the long drum to the part of the Otaiko.

Because it's not a large muscle, there will be people who hear it for the first time, right?

These muscles are usually used to lift the leg, for example, when the abdomen and the leg are close together

Or, when you lift the leg up, on the pelvis at a semi-lateral angle

line appears, this part will form a straight outline.

Although it is a subtle difference, the leg looks very realistic if this part is shown.

Especially when you add the anatomy of the

If you emphasize only the large muscles, the

In a way, it becomes unnatural in some places now, and with the addition of these subtle structures, a more realistic expression becomes possible, I guess.

The pelvis is not so anatomical, but it seems to have a lot of problems, so it's a little bit longer than expected to explain.

Let's take some time to stretch occasionally, and then look at the technique of drawing hands and feet.

Next we'll look at the hands and feet first.

The hand is the part of the body with the most complex joint structure and a wide variety of movements.

Therefore, when drawing the whole body with a stolen model, don't omit it together with the face, but the most important part that you should pay attention to when completing the sketch.

Usually the line of sight ends at a small and complex density, so the hand plays the role of the end of the detail in the illustration. Screen

Placing the hand where you want to draw the eye to focus is a very important highlight in the illustration.

And as much as the face can show the character's feelings and personality, so it's better to pay attention to hand gesture drawing.

So, let's get to know the typical proportions of the hand and keep it simple by looking at the reference points in the movie in turn.

I started to apply the anatomy of the hand and

Is there a way to use slightly more complex structures than drawing more three-dimensional fingers

I've learned these.

Therefore, I did some learning centered on the overall scale and the angular features that appear when observing

So, in the hand part, I will illustrate mainly with the part that I pay more attention to when studying.

Except for the thumb, the ratio of the palm area to the finger area when viewed head-on is about 1 to 1.

When open between the fingers

The fingers can be spaced wider compared to the back part of the hand, so there is a wider finger area in the hand depending on the movement.

Also the joints such as the fingers and hand are often bent and observed from the front than one would expect

Because there is not much work to do, the two areas are one-to-one when drawing with a three-dimensional perspective, which is nothing more than imagined.

So the back of the hand and the fingers are oriented differently in the hand or in a simple drawing.

Show me the difference between the shortening and the expansion of the back of the hand and the fingers so that if you draw a sketch so that the rain appears different.

The ability to depict shapes in a more three-dimensional way.

Thumbs open freely in the palm area like a drawer, starting with an injured sentence.

Compared to other fingers, there is no middle bone, so the fingers are two-thirds shorter than other fingers.

Unlike the back of the hand, if you look at the hand from the bottom side of the hand, it is divided into red, orange and yellow here, and is divided into 3 main pads.

From the palm side of the hand, the hand is divided into small pads for the large to thumb kid side, respectively.

If you can see the palm side of the hand later when you use it in the lateral tilt of the hand, it is very important to stack this pad in the order of near.

For example, you should not draw to this scale, but rather shade the distant parts according to each boundary line.

It should be important to draw well, in the order in which Abish is placed in our eyes.

And, let me say one more important point.

This is the part that I usually care about, and it's best to know the characteristics to put first when drawing a natural hand.

The fingers are not particularly hard, and the back of the hand consists of 5 bones in a slightly arched curved curved shape.

So when we look from the side, the

This is the closest, this is the first.

In the sequence away from the eye, the overlay increases, so the beginning of the distant finger will be more obscured than expected.

Look at some more examples of hands that are usually more direct in the surface when viewed from the side.

At this point, if the fingers are drawn from the front, there is a superposition.

By the morning, the further back you go, the more faces are shaded

As a whole, the fully visible fingers generally end at about two or three.

And that's also true when you see it by the little finger, no matter how short the little finger is.

because it's so close to the eye, so it starts to cover the finger at the back.

The root of this case is gradually obscured, and as a result only the structure of the fingertip can be seen in the index finger section.

Then the force of the hand is released and the difference in the tendons that continue on the back of the hand makes the little finger bend more than the index finger.

Therefore, when drawing the natural hand, it is rare to see all five fingers completely.

The information of the five fingers is very symbolic information, so be sure to check if it is drawn this way when drawing in three dimensions.

Let me look at the example.

Although saving the arch, I drew it again so that the tail is gradually obscured.

Even so, if it appears that the hand is a little unnatural, the fingers shrink in the case of the index finger

Does it present a form? But the amount of tendon at the tip of the little finger is a little bit worse than that, so it's generally a little bit of a pearson shape.

So, due to the difference in arch plus gesture, the fingers are obscured by the overlay and the result will look compressed to about two or three.

Something underhanded like this.

In a place like the subway, if you see people's hands, you can observe that, in fact, what we see in the fingers is completely visible

Very few.

I listened to the instructions mainly by looking from the side and the opposite side, and later on the back of our hand

and when this becomes a high angle or a low angle, the finger is slightly more complete than expected hardly appears.

Check in advance before going over.

Plus treat the white rope hand on the back of the hand as a glamorous highlight, so everyone will draw it.

Once you open up your hands, you know that

Tendons of the thumb and juvenile body

You can see that the tendons of the thumb and juvenile are not performing well.

So, when we draw the diagram, the areas that need to be saved are these three parts, and the complex structure

So if we play this out, then overall, we'll have more density than we need, the

When sketching, it's usually important to use a slightly stronger hand to represent the structure on the outer side, shouldn't it?

If you take a closer look at the finger section, the

The fingers can be divided into the bones protruding isotactically and the pads protruding medially.

If you draw it as a movie again, it looks like a half column.

When drawing a finger, especially a curved finger, the contour line is often drawn unnaturally.

For example, the shape of the bent hand, especially when it is far, far away from my eyes

It must be very natural to draw it here, this red line seen here

I've seen a lot of unnatural examples.

In this case, we can look at the oriental drawing model we are learning now.

At this point, the back of the finger

So, we draw a red surface first, and then use the blue surface

It's best to use the overlay to draw the folded part inside.

Let me give you an example.

Fingers like this

Don't draw according to the bend, draw the back of the hand first on the side close to the eye, and just draw the continuous face here.

At this time, the instruction of Lee Sun and Lee Sun is good, and the same is the world, and from here down then, like this

In the direction of the three-dimensional, we will draw a back like origami.

Li Xin on the film model, we're going to focus on making sure that it's not with pink to save all these lines when painting

This is the part where please focus on this line seen here, which will help later on when drawing the hand in a natural gesture.

In other cases, the same is true for moving away from the eyes.

When drawing the back of the hand like this, the fingers have 3 joints when the hand is turned over in this form.

If you start from the back of the hand when you draw it once in three dimensions because you want to save your life, there will be such a side.

You can bend your fingers in the direction of the second line and the shortening of the direction of escape.

If more hands take over here.

One more continuation in my direction.

Draw the back of the hand first, then use each overlay to draw the blue part below.

This way the folded area appears.

So the part that we need to save is these two lines, right?

If we also confirm here, we can see that the folded part appears to be superimposed if we start drawing from close to the blue.

Therefore, the old age outline will appear like this.

Let me draw with two or more fingers.

For example, let's draw with one finger stretched out to this side and one side bent like this.

Start drawing from the near side of the eye.

The fingers here are the fingers

You can draw it before you unfold it, in this case the sale battle continues in a straight line if not in a special way.

If it is drawn in this way, do not do so, and first draw the sentence closest to the eye with the face

The next county is the end of the line between this and the state.

Because in this example, overlap and collapse.

When this line is located here, you would draw it like this.

You can draw this first, then continue down from a little closer to the eye, and then let the overlay come to life.

After you finish the sketch, the middle part can be shaded.

Unwanted lines will be removed and the shape of the finger will be finished while finishing the outer frame.

I first learned how to draw finger knots like this.

This drawing method is very useful when drawing from the finger to the angle where the perspective appears, so it is best to refer to it.

The final fingertip is like a strawberry with a point and a half, and it's nice to finish it slightly with a surface.

If this is quiet shortened

So when we tilt in that direction, our fingers get shorter, too

It's equivalent to the back of a straight line compared to a curved surface.

The nail here should also be drawn shorter.

Usually, the fingertips are closer together than the palm of the hand.

And when the fingers are at the same potential of the hotel section, you may want to draw this fingertip shape first.

For example, the hand

In the composition of the plane, the

If he uses only the degree of overlap in the direction of each finger, he can sketch effortlessly.

For example, when the hand is extended to this side, each finger needs to be shortened and drawn.

In this case, instead of simply drawing each finger as a sentence, draw the end stanza first, the

From there to the back of the hand

Superimpose each phrase and draw it

Draw it more naturally on your fingers at the end and online, I guess.

In the thumb, only one middle square is usually drawn, so usually

Drawing the end of the thumb first, the

Just pick up the middle of the sentence with the thumb pad.

But in this case, the thumb pad is thick enough and the fingertips have a certain shape of thickness that

thin shape between the head and the torso, just like we practice share

In this case, the middle madi can enter the interior, just as it is angled differently and it does not appear as a selling hand.

especially in the thumb.

It is often shortened to draw because of the feature that it can be moved separately compared to the fingers.

If your thumb looks a bit thin or unnatural looking.

I would recommend that you take another look at the middle section as the angle that should appear.

This hand is morphological, but it's really important to draw gestures naturally.

Let me use a simple tip to get an idea of some of the gestures that I value most when drawing my hands.

If you look at the wrist and the hand, kind of like a flare, selling the line symmetrically, the

If it's drawn very wide, then actually, as the wrist moves

This line emphasizes only the angle on one side, and the other side is drawn as if it were a straight line, which is natural.

The wrist, although we cannot usually observe the bones, where the eight bones, the ligaments, and the gathered tendons

The propagating tendons need to live with very complex anatomy, so if this part is not drawn naturally, it will be very conspicuous.

The movement of the hand rotating the fist inward, or pulling something, the side of the hand blade

So, a straight line on the back of the hand on the little finger, a movement of the hand rotating outward

The line from the thumb to the wrist is straight in the movement of the moving or shifting arm.

the hand in a gesture emphasizing the point at which each finger can be moved separately.

Often, the lines produced when connecting fingertips are most like straight curves with directionality.

For example, reaching side-by-side with the hands towards the straight line shape itself, as depicted here, is a gesture that rarely occurs in everyday life.

So when you say each finger moves separately, there's this curved gesture that

drawing the fingertips along the direction of

overlay appears, which is not only more natural, but would be a little bit more unnatural to portray the action, right?

This part also applies to the wrist, the wrist is also drawn like this with the large joints like the fingers.

The credit of the stock becomes more unnatural than expected, the

The same goes for the wrist, the curve where the hand and the hand, etc. are all connected appears and it's best to grab the body.

Basically, because the hand is arched, there are not many gestures that actually share the force equally on the five fingers, right?

With a little practice, it's better to use the joints to give the fingers a sense of rhythm than to stretch each knuckle.

For example, when playing a pose with something touching the ground, draw the hand in this tangential direction.

On the whole, this is worse than we thought.

so that each knuckle can move separately, so that this direction is not extended in a straight line.

Let the movement of the fingertips, hands, etc. continue rhythmically.

It is better to draw them with different settings and in three dimensions.

For example, if the hand is drawn here, in three dimensions, first the back of the hand is closest to the eye and has the palm side.

From here on.

drawn in three dimensions, if that's how it was drawn at the time

just like we just practiced.

The side of the back of the hand, the

Stick it further down, and it's nice to feel the shape this way.

The direction second sentence looks different.

This will carry over to the direction with Thornton, in which state you can add the lower side to indicate the overlap of sections.

It is important that you can see how these contours appear.

Because the hands are the end of the illustration, they work very well when added to the details.

Finally, let me get a hint of the character's last name given to the hand.

The thumb with a lot of movement is special, sometimes there is a small bone called a real real bear next to the joint.

This variant is a little bit vague anatomically.

Because what each person has and doesn't have, also bones that appear with age, so exceptionally hit that

This bone will generally appear where the joint is hyperactive.

So, usually, more than a nice hand

Easy to observe on rough hands, but differences appear in the contour of the thumb joint part due to the presence or absence of this bone.

So when you draw the hand, the

Such beautiful hands and rough

When a hand discrepancy occurs, it is best to first give the discrepancy relative to the part of the thumb joint that has this miscellaneous bone.

And if you are attracted by the thick recruitment of bones, it is better to take the finger shape itself and draw it thicker.

The most intuitive place for this one is the knuckles and fingertips.

When I see the knuckles from the side, the

When I look at it from the side like this, the

This part of the joint is in place

Even if the back of the finger is bent in this direction so that the joint will be more prominent.

If the contour is drawn with the side curve, the

the joint is relatively more prominent than the interior of the joint, so the joint will be very prominent.

And the fingertips are not round.

Like a hexahedron

It's better if it ends with an angular silhouette.

This fingertip would be better emphasized on the thumb

The middle of the sentence should be drawn a little thinner than a simple hip thumb-tip drawing would feel.

The thumb doesn't get unnaturally big and can be emphasized naturally.

If you want to draw with a beautiful hand, you can draw what you are drawing now over and over again.

The thumb joint is curved.

The joint portion is gently curved, not curved, and the fingertips are softly contoured.

The ability to give differences in the representation of a beautiful hand.

Surprisingly, the shadows of the hands are often very thick, so it is effective to give accurate differences during the drawing process.

Because the hand is the part that is not missed every time the drawing is done, it is the part of the character that is second only to the face.

I think this is the part that is worth the trouble to draw.

Personally, when I search for rulers online, I pay attention to the gesture of the photo, if there is a very attractive gesture

Be sure to save it for future reference when creating, I have a lot of information I want to remember in my head.

Try to draw hands like this on the door and in the pinto.

than those hands that hold the pattern beautifully.

more frequently drawn in the daily part of the action taken, etc.

It is best to observe these frequently in daily life.

As with observation, you can conceive freely, so if you want to draw various hands, you can look for various grandsons in many places.

I recommend you to be able to do that.

Finally, let me draw the foot.

The foot as the part of the center of gravity that

The part of the foot that is in direct contact with the ground, the

A lot of times you have to follow the correct plunge perspective, so there are really a lot of parts that need to be drawn from multiple angles.

So, we need to draw the shape with angles and then attach the structure

Even when it's cooked, it's important to rest.

There are a lot of people who have a hard time drawing bars, but don't be too burdened and very conceited, so it is recommended to draw in order.

First, let me see the shape of the moon.

Draw a rectangular area that takes up about two-thirds of the long area of the positive calf.

If you look at it from the side, you'll see lines like this.

If you look at this from the half side.

Draw it as a longer rectangle than you might expect.

Lee Mi-yeon from the heel of the calf

No need to fall in a straight line like this, with the heel of the foot slightly backwards, drawing with the calf apart.

When the heel ends from the wall and the ankle

consisting of bone that protrudes back again when we sprain the ankle.

There may be a little bit of a difference in position.

Here, mark one-fifth of the foot, using one-fifth as the dividing line from here to the ankle.

Please draw the face of the lane line.

If you are looking from above, just draw the face up to the ankle side.

Especially in the silhouette

This angle is important, like in this part, it needs to live out of the shadow, so it's okay not to draw too precisely.

Finally, if the heel is also picked up as a file, then to some extent the form of the foot as we know it will appear abbreviated.

Before drawing more complex structures, the

In order to be able to draw this foot shape from multiple angles, it would be more helpful to practice first in

Let me briefly draw the bar at different angles.

As with the foot path hand, the joints can move quite naturally.

Especially in my hands, I can rotate a little bit, but the ankle is very flat, especially the instep

There will be differences like steep emergence, so you can depict those joints a little bit easier.

The narrower the drawing from the foot's point of view, the

the wider the dorsal area of the foot will be, even with the same angle, the more the foot is seen from the front.

The ones seen from the back also have to be drawn again

Don't draw the feet side by side at this point, this side of the feet

Try to draw a little bit in the direction away from my eyes, the

If the opposite foot is drawn far away in the direction of the diagonal line

there will be a giraffe difference.

Or when drawing with a low angle, the

Because the foot is closer to the ankle

This interval decreases a little bit, if it's closer to the side

This margin will be a bit narrower.

I usually move on the subway when

watching the troops of the crowd.

The part where the feet are observed more often than imagined in daily life, but not drawn as often as imagined when drawing.

Therefore, the foot that I observed in my daily life

I did a little bit of practice, I moved it to a quiet place, and then I drew a picture.

The arms are a little bit more comfortable and adjusted in order.

So you also believe that

If Li Gang has to go out after hearing something, look at the direction of everyone's feet and

This is how it would be drawn if you use Zhao Yonghao as the first step.

It is also helpful to be able to simply view the three-dimensional form.

Just like we just learned, people check one-fifth of the area as the boundary line that

Just continue this length to the direction of the back of the foot.

Then, when viewed from the side, the side will look good, and when viewed from the front, the front will be shortened and held to appear.

When you look at it from the back of the foot like this, draw this length all the way down to the edge of the ankle

In reality, you can see a lot less of the instep area than you think.

In particular, the direction of the instep of the foot is almost the same as the direction of my line of sight.

No need to draw the instep long or exposed in a hard way.

In this state, this part delineated by the boundary line is the largest part of the jointed portion of the foot and toes.

So if you put your foot on a magpie foot, you better change this surface first.

Same as the finger, a little bit smaller, the

The foot can be extended, and it's okay to draw this width a little wider if needed.

Draw it in an abbreviated form up to here, and draw the remaining 4 minutes of the afternoon area as well.

Here, when the remaining 5 areas are 3 equal parts, the front of the toes are slightly outward.

The middle section, slightly to the outer line, is followed by the original seal mark, and then this line is continued to the outer line

and the terrain on the inside of the foot that

And the part of this bounce, as we explained on the thumb, the

Because it is the part where small miscellaneous bones can appear, it is the first part that needs attention when differences are given according to the body type.

When I see the foot from the top, the

And also confirm when you look from the inside.

One fifth of the area

When we divide the line inside into three equal parts, the

Slightly to the outside, slightly to one side, slightly longer

The toe part is a quarter point.

So, please use the quarter point close to the thumb to contour the curve of the peak.

As long as this line is naturally connected to the peripherality of the back of the foot.

Divide the rest of the line into four equal parts.

The thumb and the rest of the toe can be proportional.

Here, the outline is done as is, in the case of the heel, just like a wrapped ball, with a natural surface.

If you look from the bottom side of the foot, the part that protrudes is the part that goes in, which is the part that steps in.

Then we shape the shape with the outer hand drawing, and then we draw the curve with a quarter of the

It should be naturally connected to the peripheral line, and here this part of the thumb is located on the remaining toe if the rest of the thumb is quartered.

Like the hand, the foot has a bit of a pad, where the part corresponding to the thumb

The pad corresponding to the toe

and the long pad 2 pad that extends all the way to the heel.

When you say later that you draw the bottom of the foot, please position the overlays in order to be very close to the eye.

So there are places where you can't draw the pad.

It's the station part.

This part is now red underneath, so it can't be confirmed, but it's actually a slightly backward arch between the pad and the pad.

Like this foot really has a lot of regret now, if you look slightly forward at your foot

The back of this foot is not a straight plane, either

It can be confirmed that the surface with the quarter pivot point as the peak of the mountain.

You can fix it with a section of the surface.

Let me see some details.

When I see the toe from the back of the foot, the thumb is straight.

The rest of the toe world should be folded using this joint that folds down from the middle to hold the peripheral hand.

The little toe is almost always in protruding form, so you don't have to force the joint to be emphasized, it's okay to draw it smaller.

Let's paste a little bit more where we just drew.

Leave it at the third equivalence, go in, leave it as it is, and at the fourth equivalence, the surface continues and continues naturally with the outer frame, which is good.

The heel should be separated by wrapping the foot like a curved surface.

Do the wisteria powder here too, and the rest of the instep part out

Go backwards and then the outer lines are covered by the footbacks and will reappear on the value.

It wraps the end of the toe with a curve, and the foot or part of it partially crosses the surface that

It will be more three-dimensional if you draw a slight outer line on the back part of the foot towards the inside, right?

It's the same when you draw with the heel. In the present case, since this is part of the eight I

Internal area

It is not necessary to draw the arch, but this development part also descends in a circle

Need to draw the part of the heel in a diagonal direction instead of a straight line.

Then divide the remaining part into four equal parts, one, two, three

Here too, there is a small quadratic curve that

Fix the angle of a lane into a peripheral island that wraps around like this.

In this case, the direction of the foot shortens to our eye, making the curve look even steeper.

In this case, the area of the back of the foot is shortened considerably, which is strict but probably only slightly looks like it.

As well as this case, the arch is observable here.

From the small toe to be drawn, draw the morning, the small toe with the protrusion form can be drawn, the rest of the toe in three equal parts

position like this.

Go in, wrap the surface with

will draw these shapes wrapped in surfaces with four equal branch points.

Again, the back of the foot is not straight, just make it fall slightly to the diagonal, that would be better.

You can see the sole of the foot in this case, so this side is opposite

The yellow part should have more priority.

After

The toe pad portion and the thumb side pad portion overlap in sequence.

I heard there is such a line.

Same here, later when drawing the section or doing it, the toe of the thumb stays straight

The little toe and the heel part can be drawn first and then the outline.

The toes overlap in order close to the eyes.

Just pick up where you left off.

And you won't see the arch directly, either

Need to add some points to the negative to wrap the surface so that the outer frame continues and the heel ends in a circle.

Dividing the rest of the piece into four equal parts.

After that, when the toe side goes in

The big toe is straight and

We have to break the toe here.

Adding the surface, this toe doesn't start so straight, but the second toe is at the top

So, as they stack backwards, the

the little toes will be very blurry and small.

PyeongChang practice is really good if you draw in order very close to the snow.

Then put the feet from the bottom

If you want to draw the toes when you see it, the difference in the curvilinear line between the back and the inside of the toes compared to the fingers.

Should be drawn using a large structural difference.

First draw the nodal shape at the end of the toe, and just draw a line connecting the forehead and the bottom of the foot.

Let me give you an example.

Zooming in a little bit, the

The point of the fifth becomes the point where the toe begins, the

Being drawn on the outer medial side of the outer family hand

Depending on the surface, the inconvenient side will end.

Because the instep area will only appear on the contour when viewed from below.

When drawing the toes in this state, the

4 After tapping the split point, draw this part as a surface, and draw it to scale first after the outline

The little toe can be drawn smaller in the form of a protrusion, the

In this case, the remaining toe also has this joint cause, in order to give the difference in curvature between the top and the bottom

Cut the ending sentence like a finger into half of a strawberry and draw the shape first.

By the way, the second toe is slightly less pointed than the other toes.

It would be more effective to extend this part to the part that is in contact with the bottom of the foot, in a straight line, I think.

At this point, the gap in the toe is usually shown as an occluding shadow, so the starting part becomes slightly darker when the line is opened.

Draw for me either.

The size of the big toe is also relatively large, so please draw the shape accurately.

It feels natural for the middle section to become thinner.

Don't think of this as flat when you draw it again in the future.

This part and this part

and this part that leads to the heel is three-dimensional.

If you were to draw it with a grid, you would draw it like this, an arch that goes inward

In this picture, we should show it structurally.

Thus, the foot

After drawing, it is not difficult to draw from multiple angles if you draw carefully in the order you just did.

Let me briefly draw a few major angles of the bar.

At the angle most often drawn, the front front side often draws the floor on the front half of the side seen from the upper inner and outer diagonal.

I recommend you to draw in order while understanding the three-dimensional shape than to draw the shape behind the back at this point and the feeling of hand.

and the symbolic look. So there's this look. This look that we will remember as soon as we kick

Let this look like

After thinking about it, if the ball of the foot forms a wide shape, the shape will start to distort a little.

Also, as with the hand, angles where all five toes are completely visible are relatively rare, and this part should definitely be referenced as well.

It is necessary to start drawing from the front side first, which will not directly expose the regret like Masaaki

Instead, it is okay to keep the instep of the foot as it is, as long as you know that the outer frame corresponding to the arm ball is slightly wider.

And at this point the section of the instep will appear as a curved surface instead of a straight line.

This standard is a quarter point.

The thumb goes forward at this point.

But the back of the toe is straight and the bottom is curved.

And the foot will be slightly blurred inwardly.

It is also good to show the overlapping part in order to increase the three-dimensionality of this part if you have time.

The claw of the thumb is directly in front of the

will be indicated very briefly.

The middle part is the joint, so the middle part is straight and

From here, the claw is on top of 45 degrees

Draw it a little shorter, the

Draw each toe in front of the

You can draw naturally to the third toe.

The last drawing of the little toe.

Rather than drawing, it would be better to draw with a pointed protruding form, and being able to mark the claws would be enough to show it.

Then the foot is the ankle bone on the side of the thumb coming down and the ankle bone on top slightly above.

Because there is this difference in diagonal direction, it would be more helpful for ankle performance if saved.

Wear this all the time.

In order to draw the shape of the back of the foot naturally upwards, and later the shape of the ankle a little bit thinner than the foot

It's good to modify it to look like a natural human body.

And now it's seen from the front, so it can't account for the side where the foot was folded.

When entering the body color later, this part has a different direction due to the difference in contrast, so be sure to set it in the tuning stage.

The angle seen from inside also gives me three equal points

Out and in don't appear directly, but in the case of surfaces like

can be drawn.

And the heel is also caught with a diagonal hand, and this goes up like this, and then the width of the instep is determined.

In this case, we need the live

This toe is arched and should be saved with a stack.

The thumb closest to the eye is the first to be drawn

Make this part of the paddle a little bit more rounded and

Going in towards the inside is weak, but expression would be somewhat possible.

And with the claws looking upwards, the second claw is the most prominent, so it can be slightly hidden at this angle as well.

But because it goes back away from the eyes of other cases, it is absolutely not necessary to draw it in black and to draw it as an overlap.

Connecting this state naturally, the

effortlessly draws the shape of the foot, the

Because there are also ligaments in the neck of the rock, instead of folding it at exactly one angle, it's better to put a blunt chin around once and pick it up.

Therefore, if drawing shadows, it is better to divide the boundary line according to here, because there are corresponding parts here.

Plus the back of the foot is shortened close to the outer line

The tendons on the dorsum of the foot can also be more accurately represented

The outline will be less difficult to draw if you look at it from the outside.

Like the instep of the foot, the thumb sticks out a little bit so that the line will be drawn and the instep will continue all the way through.

At this point, the toes will gradually be covered up and

In this case, the index finger is the most prominent, so approaching from the eye, in order

can be drawn as an overlap.

The little toe is drawn as small as a protrusion, and the three remaining straight lines come out and fold down

By drawing, the toes can express the joints naturally. The lower part is curved.

Thumb

It can't grow out like this, but turns backwards, so only the last

It's okay to draw it slightly more obvious.

Then attach the rest of the joints, and again, the instep is naturally folded once.

connected to the lower leg.

The same side will be here.

The angle most often drawn is a bit high, the

Don't draw it back out at this point, but calmly check a fifth of the area first

Then leave the back of the foot as it is.

Is this the part that jumps out when you triple equate here?

After going in, this part will be drawn as if it continues all the way through

and a quadratic curve that

Naturally, the line will continue all the way through, and after the thumb is covered by the back of the foot, and then slightly forward, it will draw the curve next to it, right?

Unwanted lines can wake up the cleaning power

The same happens, just draw a good curve naturally on the side of the force.

This is the first frame, after that here is not a straight line that

Just draw it as a slightly upward curve with the second toe as the base.

Again, the ankle bone is low on the inside and high on the top, from where the joint picks up naturally

The most basic sketch will be completed when the drawing is made.

In this state, the thumb

Make top visible

The claws I drew are shortened

In this case, slightly catching from above, as seen above, so opposite the corresponding toe joint here head-on.

That is, to draw here as an extended normal.

It's good to draw it slightly inward, the further away from the second toe the more pointed it is.

It's nice to be able to think of that.

Finally, draw little paws, please.

The start of this joint descends gradually along the arch, naturally pulling the unnecessary lines tighter to narrow

Also drawing a lot of this angle

Also doing 5 pattern check here, in 3 equal parts

Draw the outline and use the second toe reference to draw the curve, which can shape the whole.

Because of the contradiction, it would be better if it continues like this.

If you draw that shoe, you can refer to the information to reflect the structure of the shoe in this state.

For example, the part that ties the shoe laces is based on the toe joint and sags at the seam of the part.

When the ankle is tangled

Instead of wrapping with a cylindrical shape, the ankle bone part drops slightly.

And it's not the same as the foot here, so you can confirm where it goes along the straight direction.

We can confirm that the bottom part of the wall is also slightly rounded.

In this way, the foot and the shoe can be sketched on the undifferentiated

The natural drawing of simple shapes is an exercise in drawing the basis for contacting the ground, right?

Here, I keep this line

Catch it, and thin it out when drawing in the line inside here.

This width is used for the iPhone.

Then I stand up again and

Here it's getting thin again.

Since it's the back side, let's draw this width a little thinner too.

This is too made of tent vision

In this state

Now every pair of shoes has different details, usually when drawing sneakers

Next to it is separated that

Record here, wrapping the earth part, or like canvas, with a cover over the rock.

The material will vary slightly from footwear to footwear, and we can touch it freely when creating.

I'll be painting with sneakers.

Wrap the heel with a curve to wrap it, naturally.

Painting 6 lace holes at the station plus is usually the last process for shoes.

Like the later led ones, the

After the overall form are finished, you can add small brushes better.

If you add the logo, it will be effortless to paint the shoes, right?

To distinguish the ankle from the back part of the shoe, it would be better to give the difference on the silhouette.

The end of the year also drew Zhao Ronghe with a profile like this, so don't draw it like this.

and socks and ankles.

Because they are structurally different parts, it's better to give the difference in silhouette, right?

It is the same as seen from outside.

Stretching too far back.

This part is a little less than the internal value of

You can take it off the surface

If the boot is in this state, this line will go up and

The part here is fine as far as it applies here.

Overall

Falling down in the jointed form of an egg.

It's funny, if you stretch the whole part a little bit and drop it outward

Closer to the shape of the boot.

If you draw the heel on the flag.

It's not hard to catch the workwear form.

In this state, there is something like this.

The third part, this part, the

put it in.

Goode isn't hard to draw either.

Wrap it up if you see two parts.

Now you see it at the bottom, it's also in five equal parts.

This time the drawing here is not the long back of the foot, but the outline of the back of the foot, to remember in advance.

is the inside of this case, so draw the morning with this as the base

It is best to keep this curve on the silhouette coming out of the small square flat.

This part is not close to the outer corner hand to our eye, so it is a bit difficult to distinguish by hand at this stage.

So when you draw shadows later, draw this part as a border to separate the darkness from the fine, which is also helpful for the structural sense illustration.

In near-immediate order

Toes connected to knots.

Please continue all the way to 2, 3, 4, and draw the last sentence as good as a small turn.

After that, I use this handle

Make this part appear

You can draw it, to draw it in again, but it's really hard to explain the shading when it becomes this shape.

This part is also the part where I raise my hand a lot when it comes to body color, and indicate more borders on the sketch if possible.

Pre-marking the line sections also helps in the shading phase.

Conversely, in the case where

works relatively well in the drawing, because this bend at the thumb appears in the side image.

Again, I checked for 5 minutes that

The contour of the instep, along the direction of the binding

Draw this partially wrapped line as a rounded line, then draw 3 equal parts of

The top is protruding, the inside is going in, and this part is following

The curve that takes this part as the vertex when shaping the shape and dividing it into four equal parts.

After such a trusting shape, the little toe becomes smaller from very close to the eye

One, two, three first draw on the last sentence, and in the middle at this point the toe touches the back of the foot

Please just check slightly thicker at the point where the toe touches the sole of the foot.

Finally, draw the end at the part of the thumb farthest from Nur, and then draw the inside slightly thinner so as to modify it.

Because this part will form a large structure later, so give it a distinction when coloring first, and then this internal surface

is the most direct of this arch

Marking ahead in the sketch stage, here below is the gentle

No need to continue showing either.

In this state, each toe can change some direction, the

Especially when grabbing the center of gravity, each toe is facing in a different direction.

It can be omitted during the present, and it is better to give a little bit of joint later for close-ups of the foot or when needed.

Finally, when I see the feet from behind, I'll try to draw them.

In this case, when you see the bar from behind, you can save the terrain, too

When splitting into three equal parts like this, outward and inward once thanks to the time here

This part is actually like wrapping the surface like this, but when you draw more close-ups, this surface will be a little more.

If you draw very steeply, the heel can be drawn a little more rounded, right?

Because this part is the thumb, the ankle bone will come down.

This part should go up a little bit.

Unnecessary parts are masked out for now.

In this state, the peripheral lines are in the order of being very close to the snow

Such a shape develops, and for the toes, the part we can draw may be very small.

Please show the end of the thumb part slightly, and be careful not to force the invisible part of the drawing

Very good. When you make another color, please mark this part with the Achilles tendon, and later on, when you pass the border of the shadow

The appearance of the shade may change relative to this part.

Here, we take a look at the main joints of the human body.

In my lecture, I did some anatomical exploration of the

After that, depending on everyone's style plus additional anatomical structures then my lecture and more exciting sketches will be completed.

In the next session, we will learn more about post-deconstruction eagles, skeletons and impression representation, which are essential to give the character concept.

A long and hard lecture.