Original subtitles

[music]

hello?

Then, let’s start lecture 3.

Lecture 3 uses perspective and other things that were done in Lecture 2 earlier.

Let’s take a look at how to decorate the classroom space.

First of all, the space that was considered 1 point earlier is

It was a vertical and horizontal space, right?

So, if we decorate the classroom, everyone

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This is how the classroom was first created.

It remains level and perpendicular to the eye level line.

So, if we were to draw the classroom we set up,

chair, table, lectern, lectern

To see the position of the teaching table, first look at the floor in the middle.

So you can move it up. All the way vertically.

But the important thing is to go up vertically. Because of one-point perspective.

Everything is vertical and horizontal.

So it has no choice but to come out hard. image.

Come on, Gyotak. Then the students' desks.

[music]

Here too, it goes straight down.

So the same goes for the invisible floor.

Please check first.

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You need to look at the floors carefully.

[music]

Then, if you align it here, align it with the chair leg, and align it here,

It becomes a desk. Here too.

So point 1 is a story that is repeated every time, but it feels really rigid.

And always vertically horizontal.

[music]

The classroom is decorated in this way.

Point 1 was also said to be a frontal injury. The feeling of looking straight ahead.

At first, Doyoung maintains a large classroom view, especially the large frame of the classroom facing the front.

However, I said that 2 points can be changed even slightly here and there.

They said it would be worth 2 points. Let's play it the opposite way.

But the thing going down still stays vertical.

Here, a Seosil branch is created that connects from afar.

The Seosil branch used in these two is used in the same way, including the three sides.

And here too, I use the same Seosiljeom that I used.

If there is even a slight deviation from point 1, you enter the world of point 2.

Here too, the floor surfaces, the teacher, the lectern, the floor surfaces.

Here too, the desk and floor below.

Create 4 spaces,

These are the bottom surfaces.

Then it will grow from here.

And this line matches the Seosil points that were used for some of the points there.

So, I use that Seosil branch as is.

And this line uses the Seosil point that connects from far away.

And this line uses the Seosil point that connects from far away.

And this line uses the Seosil point that connects from far away.

So there is a slope.

It was vertical before, but going down it stays vertical.

The line above doesn't hold. It has changed. Because it's a little bit wrong.

Now, this is how desks are made.

And here is the front door, and here is the back door.

Even if not much has changed,

Still, visually, the discomfort was slightly reduced compared to one point.

However, it still feels very stiff. These feelings.

So, if a person also enters here,

chest,

So, when the height of the table and teacher's desk was set,

You can roughly guess how much it comes to.

When I saw it, it raised my navel, or raised my solar plexus,

Or raised the belt accordingly

Just like you did when drawing the desk earlier, you can match it to that. That part.

I am a belly button. Then the belly button.

This is how it goes in, and the same goes for students. chest,

When it comes to Nanjingki, which is similar here, the heads are almost the same size.

You can't go wrong. Something like this.

Then at point 3, a slope begins to appear.

One line, one dot, and one vanishing point on this side.

Then there is one point that gathers at the bottom. like this.

There are one, two, three and four dots.

Then, using these vanishing points as is,

Desk bottoms.

Then, the difference between 2 points and 1 point is the slope.

The slopes that occur here.

If you use the lines or vanishing points that you used around the area, you can upload them as is.

Here's the tabletop too.

These are the feelings.

A tilt is created toward the vanishing points where things that came down vertically gather below.

Then, people also have to adjust accordingly. Same here.

Students also follow suit.

It will go in.

So, points 1 and 2 in this part are at least enough.

Then, let’s take a look at the three-point space.

Even though it's at least 3 points right now, it still feels like there's some distance between us.

So let's imagine that the camera goes a little further in.

If you want to take a close photo, try creating a little more distance between the teacher and students.

We make things like storyboards. I make things called storyboards.

Before drawing, I start thinking about which angle would be better.

First, I put the teacher in front of me

Next, students, instead of arranging them like this, I want to place desks that have a more free-spirited feel.

Then put the students in front of you

Or maybe I want to lower my gaze a little bit.

Besides these, there are dozens more that can be broken down.

You can draw many ideas, which one do you like the most?

Otherwise, you can choose from here the ones that best convey the image you think.

Of these, this is me.

Then what is the order of drawing this?

First, consider this image. And the teacher in here,

Next are the four students, the main characters.

Next is space.

And here is the angle shown earlier.

Then what is the next step?

Set your eye level.

What you can find here is

If you keep turning off the extension lines for these lines and their vertical and horizontal lines.

You can find it. Eye level.

But this is an image in my head. Right?

So, I'm already going to set my eye level here.

Next, first select someone who can serve as a reference point.

Hold the teacher's table as a reference point

Bottom side, right? Below here, the bottom of the teacher's table

There is space behind the blackboard, from here to here.

Because it was decided at eye level

The desk is not in a straight line like I said before.

What is your desk like now?

It's like this. It is laid out in a somewhat free-spirited style.

With a structure that surrounds the teacher like this.

So how do you draw these desks? It's the same. This too.

All you have to do is maintain eye level.

For the desk you see here, you just have to keep drawing by moving one point of the touch.

It goes like this. The desk next to me is

It goes like this. The desk next to me is

I fell too far.

It goes like this. The desk next to me is

If this happens, the desks will turn like this.

After that, the legs of the desks can all be tilted downwards.

It feels like this. Just connect them to the vanishing points that gather at the bottom.

It's like this at the end of the wall on the floor here.

It will be like this. So if we do this now, not many people will come out.

Then pull the desk forward little by little.

If this happens

Then here is the student desk.

This is also a student desk. This is the top side. This is.

Then the bridge going down.

It goes like this. The chair is in a leg position.

Same here. Leg position.

Here's the bridge location too.

Here's the bridge location too.

You can always cut out the parts that are not visible or sketch the parts that are not visible to make them fit.

Just make sure to only hit what goes outside the paper.

This is the blackboard.

So now some space has been created.

Now, it's about directing people's poses and things like that.

Should I just sit like this and not have any fun, or should I pose?

So, I'll try to make things like poses look natural.

Let's draw it big.

like this.

Thickness expressions are always important.

Originally, this tabletop and the teacher's desk were slightly tilted when viewed from the side.

It's a little high at the top and low here, but without that, I'll just draw it cut exactly flat first.

Things like thickness here too.

Always pay attention to things like thickness, as they are very important elements in expressing the details and texture of a picture.

desk legs. In the case of bridges, if you draw the slopes right here and now, there is almost no mistake.

Tilt here too.

Look at the slopes here too.

So, as I said before, when drawing a picture, you should not only think about one thing, but also pay attention to the movement line, comfort, left and right, bottom, and top.

It's okay to think about everything while drawing.

So, you have to keep watching the relationships while drawing them.

And you have to look at this line, you have to look at this line.

If you look at this line, it's on the blackboard side here.

Next, here is the blackboard.

I feel like it's over after seeing this.

This is the front door.

Now, let’s take a look at the teacher’s pose.

Look at the invisible floor underneath.

There is a gap to this extent here.

Then, as I said before, how high is the table compared to the teacher's desk?

Should it go to my belly button, to my solar plexus, or to my waist?

It varies slightly depending on the person's height and the setting, but here, let's say it's the belly button.

Then, when this is lowered vertically, the belly button gets caught right here.

If we look at it in a cylindrical shape, here and then the chest.

And if you look at the eye level earlier, it is the angle where you can see the top.

Now, whether you look straight ahead or turn your head, there can be many settings.

If you look at the front, you should draw it like this, but I turned my head slightly that way.

And if you can't see it, check the position of your neck.

Next pelvis, then thighs.

And hands, poses.

Soles, soles of shoes. This is the teacher pose.

And hands, poses.

I have this pose in my head and I drew it in three dimensions.

And hands, poses.

I was thinking of this pose as three-dimensional.

Then the students.

Now here are the floors too.

The floor area is larger than the top surface.

Then

You can think of the teacher's usual poses as acting in the production.

Usually the easiest way is to make eye contact. Ways to make eye contact.

If the teacher is looking at the fourth student.

Then, you make eye contact with the fourth student and the other people there either look at the teacher or

Look at the fourth student. Whether numbers 1, 2, and 3 are looking at the fourth student, or whether numbers 1, 2, and 3 are looking at the remaining teacher.

In this way, we create an atmosphere for any story throughout the entire story.

So the easiest way is to make eye contact first.

For example, the fourth student is making eye contact with the teacher.

Making eye contact.

Now, the three-dimensional shapes I think of are like this. I will graphicize them later.

This is what it actually looks like.

Then, in the case of this student, he raises his head.

Right?

At the original eye level, if you keep your head still, you should be able to see more of the top of your head, but you need to have the feeling that you are holding your head up.

So the top of the head and the top part don't show that much.

and neck position.

Then I lowered my arm to one side first. Then, instead of being in a straight line with the usual jaw line, it is slightly different.

The arm turns like this and bends inward here.

Here it is raised upward and looks like this.

And the equivalence is a bit on the thick side.

Then, the rotating surfaces and such should be drawn thickly, rather than just drawing them in three-dimensional shapes.

And the three-dimensional figure is like this.

Now, it's a shape like this.

And this is what if it's a female student.

Then the female student looks at the fourth student.

For things like poses, it will be difficult if you do too difficult poses, so for those who are just starting out, try simple poses.

And for those who have some experience in drawing, the poses that suit the mood have too many shoulder lines and pelvic lines that are too bent.

What this means is that if the shoulder line and pelvic line are sharply bent, it means that the pose is very dynamic.

So, it's better to look at it in simple forms rather than things that are too much like that.

A pose that you can understand from the image.

And here it is like this.

And here it is like this.

Well, that being said, when you look at this as a three-dimensional image, it turns quite a few heads. This way.

Towards this student.

And look at the position of the neck.

Then the shoulders.

It's not level with the face, but it's crooked.

Then the arms.

Inside.

Enter like this. Then pelvic position.

Next, the arm is important. This arm is like this.

A little bit here too. Going back here too.

Then it bends and goes here too.

It bends into the barrel.

And legs. A bridge here too.

Also here is a chair.

like this.

So even though this guy is a little bigger here, based on distance perception, he's a little closer and he's a little further away.

It would be much better if the size ratio was roughly the same.

Unless he is a very big child, it would be better if you drew him to feel a little bigger.

Next, this student.

Let's say this student stands up.

like this.

This student is up.

When I was sitting earlier, it was on my chest, but when I stand up, it's on my waist or something like that.

This is the point of view of the teacher.

So, because the head size is high and it is close to the other kids, it has to look like the head is somewhat bigger than the other kids.

Also, regarding the differences between men and women, it would be better if you expressed the idea that men have slightly larger heads and slightly larger bodies than women.

Even if you are an elementary school student.

Now, because you raise your hand like this, one shoulder goes up slightly. It would be nice to think about that, but let's just keep it simple for now.

Please sketch the parts that are not visible.

pelvis.

Then thighs.

Look at the thigh slopes.

Then you see the upper arm.

Next, here are the back arms.

Now, whether to do it all the way like this or like this is slightly different depending on the pose, but this is a pose where you push forward.

Because the chair was pushed back and I got up.

So, earlier this side was slightly visible, but since it is a turned side, the back side here is now starting to be visible. You have to think about everything, including the back of the chair.

Right? Up until now, the front side has remained the front side, but as the desk rotates like this, the back side begins to appear on the chair as well.

When drawing, you should always think of yourself as being in this space. I have to think of myself as being among these students to understand this space.

It's like this. Then the student in front of here

These students are carrying a lot like this.

These students are carrying this much.

The back of the chair will be more visible, right?

Now this guy's head is looking at his friend next to him. Right?

My head is slightly raised. Plus, he's even wearing a hat. Feeling slightly lifted. It feels like the top of my head is a little more visible.

Of these three, I don't think it would matter if this one's head is the tallest. Here on your line.

Then there's the size of the head, then the second, third, fourth, and so on. One, two, three, four. It's a bit like that because of the distance, but he's a bit of an equalizer.

I don't think it would matter if the difference between the two was glacial.

Now, neck.

Then the chest. Since I'm bending over here, I can see more of my back. The upper back.

And a boat.

Then the pelvis.

Then the hand stretched forward.

Next, you can't see it here because the hand is resting on the desk behind it.

And legs stretched forward.

This is the part you can't see from the street. But please always sketch. Parts you can't see.

Only then can we draw this bottom surface. The floor surface where the shoe line falls.

And a chair.

These kids are made into three-dimensional shapes like this.

So, when I think about it, I always think about this and create a three-dimensional image, but if that doesn't work for you, you should also create a three-dimensional image first and then convert it to the actual shape like this.

But I am the opposite. As I'm doing it now, I create this in my head and then I do it like this, but you have to do the opposite of this.

Those who are skilled will mix it like this. I also have this image in my head and make it three-dimensional.

If you think about it this way in turns, it will be easier to understand the structural aspects and the directing will not be bad.

As I said before, I don't look at it like this these days. I just draw whatever image comes to mind, and I don't think I drew like this even when I was young.

Anyway, think about it this way.

From what I did like this, I want to pull a little more from a certain angle.

For example, let's add a more teacher angle. Put the teacher a little forward.

Then you need to decide the height of your mouth.

Once the eye height has been determined.

In my case, once the eye height is decided, I have already decided in my head what to draw and from what angle when drawing.

So, you can set your eye level accordingly within the topic.

I will draw what I see above. I will draw what I see below. Otherwise, I'll focus on this person and draw it.

Otherwise, I will draw the eye height at this level based on that person's perspective. Because it is set in your head, you just have to break away from the height of your eyes set in your head.

As long as you know the image you want to draw, you can set your eye height accordingly.

How and why is it decided this way? If you ask me this, I have no choice but to answer that way.

Then, you can look at the basics first.

I put a lot of dirt in it. For example, a table. Teacher's table. The teacher's table went in. Then, if it's like this, you said earlier that this is where the teacher's belly button is, right?

For example, this would be the belly button, this would be the back plate, and then this would be the waist belt line, right? belt line.

And since it is still below eye level, this is the shoulder line. There is a scapula and a shoulder line.

There's the shoulder blade, and then there's the part that goes above eye level, right?

These parts are very ambiguous. Things that span across.

Since it's below eye level here, you can't see the bottom of the chin, right? Right? Same here, you can't see the bottom of the nose. Even if you keep your head down.

hips.

Now, let's sketch the parts that aren't visible.

I say this a lot, but you should always look at the invisible sides.

If you pay more attention to the invisible side than the visible side, you can draw a more solid picture.

Now table 5 is like this.

Here too, look at the invisible sides of the underside of the table. Then, the bottom of the desk between the tables comes out, right?

Then, their space. Then a desk. My desk nearby. Adjust the tilt of the desk to match this tilt. Then my desk next to it.

Then my desk over there. You can't see the kid over here because he's covered, right? Right? It's hidden here.

If this is the case, maybe it came out the way I thought it would?

It was cut so much, and he was cut, and he was cut a lot. So what happens in times like this?

Can we just pull the camera back a little bit? It's a bit stuck now, so just pull it back a bit.

(Sound of lid closing)

(Sound of lid closing)

(Sound of lid closing)

I think I pulled the camera back a bit.

(Sound of lid closing)

Then, a child appears here, a child standing here appears, and next to him, this student looks at child number 4.

This one is also waving his hand and is a chubby kid. And the scenery behind you appears.

So it will be like this, right? If you fall a little further back than before.

So, I adjust it like this. I drew it and it was bigger than I thought.

Still, even if I always have an image in my head, I can't come out as is.

Because I would like it if it came out as is. But I also make mistakes and that's why

Oh, then, whether you pull it in a little further, pull it back, or move the person to the side, do it like this.

You can make it about your favorite angles, favorite poses, and stories you want to include. By adjusting it like this.

Standing pose. There are accessories and pictures hanging in the back, and there are lockers to the side.

There is a kettle, a drinking fountain, and a trash can next to it, creating a realistic school atmosphere.

What was my school atmosphere like when I was in elementary school?

So, there's a gunny sack and the Taegeukgi hanging in the back, right?

Things like showing off your talent, drawings, homework, etc. are all hanging there.

Since it's near the window these days, the principal may be secretly watching the class outside the window.

In the old days, there might have been a fan, but these days, since everything is air conditioned, there might also be a fan.

Next to it, you can also hang things like bags, purses, or outerwear, right?

This is how classroom scenes are created.

Let's try changing the angle a little more than we finished here.

The picture has changed a bit compared to before, right?

I drew this with a little more metallurgy.

The examples of works above are above eye level.

It's held at the top like this, but now let's lower it a little.

The standard has been lowered like this.

Well, it's still the same.

Previously, the teacher was the main focus, but now we will go the opposite way and exclude the students.

As an example, let's look at this student who is raising his hand like this.

Let's take this student as the main character.

This student is standing and raising his hand.

Then, let's put the student who could be the main character in a large shape.

Same goes for this.

It's all hanging on the eye level line.

This is how Seosil branch is made.

These two Seosil branches and comfort are also created

That's 3 points. One two three three.

What does this feeling already mean?

As I said before, the gap between Seosil Branch and Seosil Branch is very narrow.

This means that we are filming closely. Closely forward.

If you first think of it as a large shape, a person can fit inside it.

First, let's start by drawing the most tangible, general, practical form.

It's above eye level.

So all the rotating aspects work like this. The three-dimensional lines rotate like this.

But it went below eye level.

In that case, if you think about the clothes being taken away because you lifted one hand,

It feels much better to do it a little like this, and if it's the same as before, you can just go back like this.

Because it is below eye level, but considering that the hand is raised,

I think it would be a good idea to draw it with the feeling that it is slightly raised.

If you draw the desk at eye level, then.

If you draw it as is, it will just look like this.

Side intact. Then the hand.

Then the side here when the desk thickness and then the desk legs.

Now then

After that, you have to look towards the teacher.

The ear shapes seen from this angle are really difficult to draw.

It's an angle that I don't normally see, but I'll have a chance to explain these things one more time later.

For now, let's just understand that there is a simple drawing shape like this.

Always sketch the parts that are not visible. In my heart.

The desk and chair backrests are a bit high.

Isn't this part too high above the desk?

So, if you think about the height of the backrest, that's right. It's high and this is the part where it bends. The part that goes down. The part that bends because it is above eye level.

This place, on the other hand, is below eye level, so go in like this.

So, you always have to think about eye level when drawing. That way you won't make a mistake.

It's a repetition of the same sound. You should always check the security of the movement lines left, right, and up.

And the part under the desk legs. You can't see it, but this part is the height of the chair. Chair height.

And the friend next to me. The friend next to me is this friend. A friend next to you who encourages you to be more rebellious.

In the case of this friend, when I feel it, when the person next to me lowers his head and says, ‘Hey, try harder.’

It should be higher than your waist, of course, higher than the height of the desk, lower than that of a standing child, and you need to think about those feelings carefully.

So the height of the face is higher than eye level.

Was he wearing a hat? Is it okay to wear a hat during class? He seems like a kid having fun.

So the line of sight. And because it's above eye level, you can just see the bottom of the nose, the bottom of the chin.

And look at the face too. Since he is standing here, he is said to be the one closest to me in front of my line of sight, but he is still standing and because he is next to me.

It would be better if there was a slight difference in the head and a slightly larger feel here.

So distance and size explanations will be better. If you arrange the sizes like that. Think about drawing a little bigger.

And I'll explain the hands one more time. People always ask me how to draw hands with good tone.

This is nothing else. What about your hands? I have no choice but to continue drawing, either by looking at my own hands or looking at other people's hands.

And the hand thing is a bit empty talk, but I'm leaving it here, but the hand is the second facial expression. Second facial expression.

So, you can express all your emotions with just your hands. So, if you study hand gestures and hand shapes, you will be able to use your hands to express emotions even if your face does not appear.

And if it's the same desk height, that's it. Look at the parts you can't see on the side.

In this case, please draw the parts that are not visible.

Here too, the height of the desk and the height of the girl pair are the same. When we think about seeing things similarly.

Now, since it goes above eye level, it goes like this, and since it goes below, it goes like this.

So always take a close look at things like thickness.

And the legs and thighs are pulled out like this. And you can see the thickness of the top of the desk.

Now, the slopes. everyone. We have to come together for work. That's right. So the slopes look like this.

So, she is the woman next to me. In the case of female students.

The female student's desk also begins to tilt like this. Leg tilt.

And think about the height of your head when sitting.

So, compared to the female student next to me, my height when sitting.

And because I pulled my arm back.

You must always keep the hand line in your mind. That way, even when the situation changes and the angle changes, you can keep it that way.

Now, and the kid in the distance. My hands are visible and soft.

Now, the teacher's position was almost in the middle among these four people. That's right.

It's located about in the middle, so take a close look at the location.

Okay, the floors. We need to check the floors. So.

Now, the bottom surfaces.

Now, the bottom surfaces. Always at eye level. That's right. Just do it.

From a different angle. This one is crooked and comes from a different angle.

This much. Tilted. like this. Because the color is like this now.

So this one is shown here and this one is shown here. These are coming from several places.

Okay, so it's located here on the floor. Looking at it now

A female student and a man standing over here.

A female student and a man standing over here.

About between the female student and the male student standing over here.

Because the teacher was there.

Always check the floor surfaces.

Check the floors here too. Meanwhile.

Then from here.

teacher. The teaching table came up.

I think the lectern at this height is too high. That's right.

A little shorter.

Now, the position of the lectern is like this.

And underneath and behind it

The location of the wall over there appears.

You have to think about a lot of things rather than just drawing them.

Teacher location.

Where to look. The teacher's gaze goes towards the child at the fourth desk.

Then, focus your attention on the writing.

Here, of course, since it is above eye level, you can see a lot of the underside of the chin and the underside of the nose.

Now, and breasts.

neck.

ship.

Even the pelvis is still above eye level.

Now, if you look inside the navel on this side of the waist, it goes to the navel location.

If you draw while looking at the top, it will go to the belly button.

You can find the location of the navel by looking at the top side and drawing it.

If you match it there, you can gauge the height of your stomach and chest.

Now, when things like this happen, the Taegeukgi is usually hung here. That's right.

I think there was a time when photos of the president were caught, but not anymore.

Okay, so it goes like this, and this is the ceiling.

on the ceiling

If there is an air conditioner, if there is an air conditioner on the ceiling, there are air conditioners, fluorescent lights, etc.

That's right. In this way, the gaze is drawn as if looking from above.

I think about the parts that are obscured, but these feelings make me change.

These days, there would be a TV over here.

There is a TV that can be used for audio-visual materials, and there is usually a separate desk for teachers here.

It feels like this.

So, depending on the perspective and eye level, it changes and directing, which will create the angle I want or the situation I want.

He creates a storyboard for various things, checks out the good ones, and draws them.

In that case, you need to be able to control it from within rather than just drawing it.

I need to make more minor adjustments, such as pulling this part a little more and pulling it back a little more.

All you have to do is create the best conditions and extract it.

Since I've already drawn more space, I'll go back and draw the human body by body type and how it changes with age.

Now, when we were just born, there are some people who haven't given birth to a child like this yet, right? Maybe there is?

I have given birth to two children. I'm not saying I gave birth to it, but I raised it.

Anyway, when babies are first born, their faces are big. Surprisingly, it's more real than I thought.

And like I said before, the eyes and nose are smaller than I thought.

So I think the ratio above is a bit higher than the ratio below, so it's almost half and half?

So, I think it's almost half and half up and down.

Or, when you think that the top is a little bigger, the ratio of about 6:4 is a little bigger at the top and a little shorter at the bottom.

And the neck is hard to see at first, to be honest.

There is always meat and beef between the necks, so I can't smell it.

Now, the body types are short so far.

Also, my hands are chubby and I have all the joints, but my stomach area is a bit stronger than my upper body.

The shoulders are also very narrow, so you can think of them as being roughly similar to the face line and shoulder line. When I was young.

And you know when you're young, right? Even though it's Michelin, it has a lot of wrinkles.

The cheeks are plump like the characters from Michelin Character Tires.

and

Now, the inside of my thighs is also wrinkled.

I don't know why I'm caught here. I guess it's because I have a lot of weight, right?

My ankles, knees, and other places seem to have almost no bones. They're so soft.

Right? This is my body type. When you first see it.

Then, once they reach kindergarten, they start using their ears a bit.

Still, my cheeks and forehead still stick out a bit.

By the time children enter kindergarten, they already have some neck strength. At this time, my neck has already grown.

If you look at her while taking a bath, her belly is still plump and has quite a bit of flesh. At this time.

And in the future, you will probably know when you have a child and raise it, but you can touch it. The feeling is different from that of adults touching it.

It's really full of something. Full of energy. I think that feeling is right.

There's really nothing bouncy and it feels like a bouncy ball. And the elasticity is also very good. The skin.

So when I draw something like this, I draw while thinking about the feelings, smells, and textures that I touched at the time.

My knees still don't stick out as much as adults do. Not yet because I have a lot of weight.

The life size is about 4 heads tall and 5 heads tall. At this time, it was almost 3 heads tall and 2 heads tall, but by the time it reached elementary school students,

The eyebrows and other images also become a little darker.

I feel like I still have some breast fat left.

My shoulders are still not that wide.

From my experience, I think my shoulders widened a little more masculinely when I was in high school.

Wrinkles and other things will be explained separately later, so don't look at those things, just take a look at the body shape and life size.

Take a look at the substance inside. Even up until elementary school, I still had a somewhat androgynous image rather than a masculine feel.

I don't think there is much difference between men and women. There are only slight differences in genitalia, but there is no significant difference in body shape or skeletal aspect.

Kids these days are said to be growing a bit faster and becoming more mature, but their basic body types still have a strong androgynous image.

Then, things change little by little when you reach middle school. The forehead and upper part seem to be getting shorter little by little.

So, the nose gets a little longer and the eyes look a little different, depending on the person, but it just feels like they're a little smaller than when they were younger?

And you might get acne, right? I had a lot of acne when I was in middle school.

And from this point on, some of the breast fat starts to fall out. At the same time, the jaw line and skeletal structure begin to appear to some extent.

And in the case of men, the collarbones and such appear to be slightly more protruding. The shoulders also begin to open slightly more.

However, in the general body type that does not exercise that much, masculine beauty is still the most...

When I look at my son, it seems like things are starting to get a little worse.

And I think I had abs up to this point. But at some point it disappeared.

When I draw hands or things like that, if you take a look at me drawing joints and things like that, it will help me a lot when I teach hand classes or things like that later.

You'll probably get the feeling, "Oh, that person focuses on those things."

Now, the pelvis, like the Atlas line, there are lines that go all the way from the pelvic line.

It is not very visible in elementary school, but it is slightly visible in adults, those who exercise, and those who are not overweight.

Especially those who do not have much fat in the lower part of their body.

Even in middle school, their knees start to look somewhat like adults, but their bones start to look more like adults.

Knee bones.

As I said before, feet are always tricky to draw, left and right.

This is what happens to middle school students too.

There is a strong feeling of falling upwards.

It feels like it's getting longer and longer upwards.

My limbs.

Then, once they reach high school, they are almost adults.

If you look at American high school students, there is almost no distinction between them.

Is it an adult, a college student, or a high school student?

These days, I see that our country's students have improved their eating habits and the environment in which they eat has improved.

Since I was young, I ate a lot of meat, dairy products, etc., so I am very tall and have a great body shape.

It seems like one time and another.

(voice)

In high school, guys do some exercise and do push-ups.

Still, I like to exercise and my shoulders start to open up a bit.

Even though the breasts are like this, they are somewhat firm in shape.

The feel of my biceps also improved slightly.

(voice)

So, if you don't exercise that much, this part won't develop much.

Just regular students, students who just study.

(voice)

(voice)

By the time you graduate from high school, you are almost an adult.

Not nearly an adult, but an adult.

So these body types seem to be almost exactly the same as when they are fully grown.

(voice)

(voice)

Right? It feels like this.

Then, you reach a peak and get married, and as you go on, you gain weight a little bit.

Unless you exercise regularly, you will have a body type like the teacher mentioned earlier.

If we look here, the body types of such students are as much as this,

Right? This is probably the body type of the students who appear here.

Then, the body shape I draw now will probably be the body shape of the teachers.

Basic body types in the 20s, 30s, and 40s.

These days, hair loss is a problem for everyone starting from the young, but we still have a long way to go.

Right?

Now that I'm studying hard and my eyesight is getting worse, I'm wearing glasses too.

My nose is now long enough that it is now in the right place.

If you get married or start drinking more and eating more regularly, you may gain some weight.

If you say it's just a normal body type that hasn't exercised, it seems that men have this type of body type.

My stomach is also sticking out a little.

So, when you have a boat, these atlas lines are less noticeable.

It's a little visible, right?

The areas under the eyes and other areas also gain weight and become thicker.

Something like this.

Now, your body shape will look like this.

So, if you exercise a lot, you have a basic hero-type body, right?

In the case of a hero-type body type, if you have a face and exercise hard, your neck will also become thicker.

Look at our NFL players.

Next, the trapezius muscle becomes thicker. Then the chest, then the deltoids, shoulders, forearms, then the platysma posteriorly.

Thighs, almost like chicken thighs.

That doesn't mean you can't gain weight in your calves or ankles with muscle.

Wrists and ankles.

This is because the basic skeleton that each person is born with does not change.

Right? It's almost like this.

Even so, even if you enlarge your body like this, the basic things inside are the same.

Right? like that.

It's the same, but here it's further separated by muscles.

If you become like this, you can think of everything shrinking as you get older.

You can think of it as going back to the old days.

So, my eyes get very blurry, my ears can't hear well, and my muscles have no strength, so they droop down due to the force of gravity.

Also, a lot of hair is lost, and fat accumulates on the side of the nose, nasolabial folds, and under the eyes.

And everything always falls apart. By gravity.

It may be slightly different depending on whether there is fat or not, but the feeling of sagging will probably be similar.

Neck wrinkles are very difficult to hide. I think it's a wrinkle that shows up easily.

And as muscle mass decreases, a lot of trapezius muscles and things like that are lost.

The deltoid muscles, which used to be as big as a coconut when I was young, have shrunk. It's very small and my forearms are definitely falling out.

Also, the skin on the elbows and other places becomes saggy and wrinkles appear naturally. The elbow area and the hands and joints are very bulging.

And the chest muscles are also sagging.

And even though I have belly fat, of course I have a lot of wrinkles starting from the bottom.

I lost a lot of fat on my buttocks, so the areas below my buttocks are prone to folding.

And if you don't exercise a lot, your legs get really thin. I think so.

In the case of knee joints, if you look at old books, photos, movies, etc., you can see things like Auswitz Prisoner Swimmer, etc.

Even people who have completely lost weight have big joints. Elbows and especially knee joints are the largest joints a person has.

However, rather than gaining weight that much, the area where it falls off to the side is very noticeable.

So, even among older people, if you look at a bathroom, you will often see the knee joints standing out.

Of course, my calves also get really skinny.

And even in places like this, below the shin bone, wrinkles accumulate little by little.

That means your weight is sagging.

This is how changes in body shape occur. You know what happens after here. Even if you don’t explain it.

Let’s take a look at changes in body shape and again with men and women.

In my opinion, it's not that the basics are necessarily like this, but they change in this way, and in the case of women,

These days, as early as the 4th grade of elementary school, you start to feel feminine, but it becomes more evident as you go to middle and high school.

There is a clear divide between men and women. So the characteristic features are all similar.

Looking at it physically.

It is generally correct to draw the neck a little thinner than that of men.

That's right. By the way, if you look at them all, their necks are a bit weaker than those of men.

The thickness of the neck or something like that. Things like this. And because the collarbone is less proportional to the fat than that of men, it tends to be a bit more prominent.

Now, moving on to secondary sexual characteristics, basically, women develop breasts. chest.

In the case of women, since they do not exercise much, you can think of it as going straight down along the rib cage line of the torso.

But now there is a clear difference in the pelvis.

It's a bit like this for women too, but from this point on where the elbow mark goes down, men tend to just fall all the way down.

In the case of women, when the elbow area is hit, it goes all the way to the side, like the pelvic line, which is clearly starting to widen from here.

Now, it happens like this.

So, I don't know if you would have seen the most protruding bone at the beginning of the pelvis if you went to a place like our swimming pool.

Now, there is a rib cage line like this. If you lie down, it goes away. Because the organs are tilted downward, in terms of space.

Now, this part is the most protruding part where the pelvis begins.

So, for those of you who don't have a lot of skin, it's almost like an arch, and it sticks out as if each leg was used block by block.

The same goes for men. However, in the case of women, it seems to stick out a little more.

And here is the lower abdomen area, then here is the genital area, starting right from the buttocks.

This is the part. So this part is the part that sticks out the most.

So, when drawing a woman from the side, you can artificially draw the pelvis back and the buttocks a little.

So, in the case of men

Now, the rib cage, then the sides, abs, and buttocks. Right? In the case of men.

But what about women?

Now, along with the rib cage line, there is the chest. Then the side line.

Also, unlike men, I have a slight lower abdomen line. Think of men dropping their buttocks like this, but women pulling them back further.

Pull it back a bit. Artificially. Then, I think femininity is emphasized even more.

With this feeling. You can think of men as falling straight out like this, and women as doing this, so that their pelvis is just slightly straight and slightly inward.

In the case of women, you can think of going a little further in here.

If you draw it like this, it seems like you can distinguish between men and women from a side view.

It seems like there is a lot more emphasis on femininity.

So, the lower abdomen sticks out and there are two slightly smaller eyes where the genitals are. Convex Convex.

Where is the widest part of the pelvis? Not this way.

Pelvic bones.

If there is a pelvic bone, this is the last part. The protruding part. And the widest part of the pelvis.

This is the part covered by the thigh bone. This part. So, if you look at the feeling of the waist, then

When we men see this part, we can touch it right away.

This is what older people break when they fall down stairs or something like that. It's just thin.

So, if you hit it with a bang, it breaks right away.

So it goes on like this. So this is the area. The wide part of the pelvis.

When we say that the pelvis is wide, it means that these bones are connected and the width of the pelvis is considerable. It means wide.

I'm not talking about here, but the part below here.

That's the difference between women and men. So, it is prettier for men to have a slightly inverted triangle body with shoulders.

Women have a slightly gourd body shape rather than an inverted triangle. If the shoulders are more exaggerated, the pelvis is often drawn wider than the shoulders.

Especially when looking at game characters or something like that, the pelvis is wider than the shoulder and the shoulder is narrower than the pelvis.

That's why I put a lot of emphasis on women. There are body types like that, but basically, the shoulders, waist line, and other areas where the organs are are not as protruding as men's, and they stick out.

Instead, both sides of the pelvis, especially the part where the leg bones begin, become noticeably wider, so the waist naturally and visually appears shorter and the part starting from the thighs appears larger.

So it looks a bit like a gourd Coca-Cola bottle.

These changes in body shape and things that are different for each person, the differences between women and men, I'm thinking about those things while drawing.

So, for the third lesson, we will end with something slightly different from the arrangement of the human body in space.

-thank you.