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Hello.

Let's start Chapter 4, 'Understanding Movements Based on Human Anatomy Simplification'.

Last time, we went over the proportions of the human body.

Now that you've learned proportions,

you can now draw the human body

so that it looks solid to some extent, not flat.

Let me draw an example.

For the detailed outlines,

I recommend you study on your own

the things you need to practice

by looking at photo references and anatomy resources on the Internet.

You can also read books to study.

Like I mentioned before,

even if I don't draw extra lines,

it won't be a big problem

since the character is going to have clothes later on.

For now, I hope that you

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are able to at least

draw the basic form of the body.

That's all that is needed for now.

If you can draw that,

you'll have no problem taking this course.

As long as that isn't too difficult to draw,

it won't be a problem.

And of course, it's okay

even if drawing this is a bit difficult for now.

I'll go over today's lecture

in a way that is easy to follow.

In the previous lecture, I drew a mannequin

just like this.

Today, we're going to learn

how to move this mannequin.

Now, it's important to be able

to draw a character's pose any way you want

after learning how to move this mannequin.

Previously, I went over the three elements of the human body,

which are movements, proportions, and lines.

Today, I'll go over the movements.

Personally, I think this element

is the most important one.

As I mentioned before, your illustration will look good

if the pose is described naturally.

So, let me tell you

what this movement is all about.

You might have heard

things like this:

When a shoulder is raised upwards,

or when it is pushed forwards,

naturally, the pelvis on the opposite side is raised upwards.

Or, the pelvis on the same side goes downwards.

Anatomy theories like this,

they are commonly referred to as contrapposto.

Nevertheless, you don't have to always follow them.

In real life, even if it's a bit awkward, you might sometimes walk

with your left foot and hand stretched forwards together.

So, this contrapposto,

isn't always strictly applied to all poses.

A contrapposto is a guideline when a character does a certain pose

they would look more comfortable

and their anatomy would look more natural.

Thus, even if we don't apply the contrapposto,

we can still draw the poses.

However, if we do so,

the illustration would look very awkward.

So we don't do that often when we actually draw.

Just keep that in mind.

Sometimes, when you're drawing,

you might actually pose the same as the character

and take a picture of yourself.

Or, you might try to capture the posing in all the different angles

and check if the poses

are physically correct or not.

Now, when you're doing that, the standard would be

whether you feel comfortable in the pose or not.

And that would be it

for the theories regarding contrapposto.

When a shoulder is raised upwards,

the pelvis on the same side goes downwards.

And when a shoulder is pushed forwards,

like this,

when we look at it from upwards,

the pelvis on the opposite side moves forwards,

like this.

This is all you need to know

when you draw movements.

And it is the best

to learn while actually drawing.

It is important to move the mannequin in your head

and you need to be used to it.

But even if it is a simple mannequin,

like the one we looked at last time

it is still hard to move it in your head.

This is why

we have to go through one more process,

and that would be the simplification process.

The simplification process would literally be

making the character easier to draw.

Or, the same term is used

when we make the character easier to imagine.

It might seem out of the blue,

but I really like drawings done by animators.

Because of their jobs,

at maximum, they draw over 100 pieces a day.

To draw over 100 pieces, you'll need to draw a lot,

and when something goes wrong while drawing,

the final movement would look awkward.

So when you look at the rough drafts drawn by animators,

in other words, the simplified drawings,

they have very accurate proportions.

You can see a lot of the details are excluded here.

If you see the lines,

you can see they have a very simple form.

Even with clothes, they could be simplified

and be drawn like this.

Some of you might have seen

the original drawings done by animators.

If you've seen those,

you would have felt they were simplified.

A lot of the details are simplified

and a lot of things are left out.

Actually, right here,

the proportions that we learned previously

are all applied to the drawing.

And this information

is applied quite accurately.

Because an animator's rough drafts are

done rapidly and accurately,

you'll get the feeling that their drawing is stabilized.

If these animators pick up a trendier drawing style

or a coloring style,

a lot of them become

really popular in the field.

For instance, works done by Japanese animators,

like Mai Yoneyama,

or Hongkkiii -

if you look at works done by illustrators

who were originally animators,

you can really see that they have grasped the basics well.

Previously, I mentioned that

accuracy and speed are important in the rough draft.

Obviously, you'll know why accuracy is important.

If you get the proportions wrong, you'll have to fix them later.

So you need to be accurate.

Then why would you need to draw quickly?

I'll tell you the reason why

you need to draw quickly.

It's related to the reason we use simplification.

So, the reason we need to sketch our rough drafts quickly,

is because when we remember an image,

we aren't given that much time.

Actually, when we imagine something in our head,

I believe 15 seconds is the maximum we can remember it.

When we go past that, the image in our head

starts to become blurry.

So it's a very brief time.

Then, as soon as you go past 15 seconds,

what you imagined and what you draw

will be more and more different as time passes,

so you need to keep adjusting

what you are drawing on the canvas

so that it becomes similar to what you imagined.

To minimize such adjustments,

it is good if you have the skills

to draw what you have imagined

within a 15-30 second timeframe.

Then you can draw what you've imagined at once.

I've talked about simplification so far.

In this process, it is important

to accurately and quickly do your sketches.

The key point of today's class would

focus on quickly and accurately drawing

what you've imagined in your head.

From now on, we'll focus on the actual exercises.

From now on, I'll focus on

mostly explaining

as I actually draw.

But first, before I go into this topic, I'd like to mention

that everyone has their own simplification style.

Some of you might think that the human body I drew

in the previous class is a simplification on its own.

Some of you might simplify even more

and draw a mannequin

like this

because you don't have the time to draw everything.

And some of you might draw a line

for the limbs because of the time limit.

Some of you might want to add the volumes

and think drawing lines is inappropriate for this.

So, you might draw them in cylinders.

So the simplification process has no answer.

It just has to feel right to you.

For those of you already familiar with human anatomy,

I'm sure most of you draw the details beforehand

in the rough draft stage.

But in order to do that,

you need to be experienced in drawing.

And before you have enough experience to do that,

you should simplify as much as you can

and make sure you draw with ease.

In other words, there's no answer to the simplification process.

It is important to find a simplification method

where you are the most comfortable

and where you feel there won't be problems with your further work.

For the pelvis, there are some of you

who describe it as a Frisbee that is folded it half.

And some of you might

describe it as an underwear.

And others might

just draw a trapezoid

and attach the legs to it.

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There are many ways to do it.

However, as you simplify your drawings,

and as it becomes distorted and becomes different

from the actual human anatomy

the accuracy of your drawing will decrease.

But, with these inaccuracies,

you can edit them later

as you draw in the later stages.

Let me demonstrate this with an exercise.

On the left, you'll see a photo reference.

When you are studying movements,

you might commonly use photo references.

In this stage, we'll apply what we've learned in Chapter 2

and analyze the material

step by step.

We're not focusing on the coloring today.

Instead, we're focusing on the drawing.

I'll lower the opacity a bit.

Now, the first thing I recommend you to do

is when you observe the movement while looking at a photo reference

is to analyze it and draw.

Let's start with the head.

As you trace along like this,

you need to know exactly

how the image is composed.

At first, even doing this is very difficult.

Accurately analyzing a photo

requires some skill.

This is why

you shouldn't skip this step.

When copying or drawing croquis while looking at photos,

most students make the mistake of

skipping this part.

However, I truly believe that

this process is really helpful.

Now, if you look here,

the collarbone sticks out like this.

As you can see, the ribs will pass through the center of the chest.

You can also see how the upper body is generally moving.

We won't look at the arms for now.

Now, when I mention the shoulder area,

the area includes the back muscles and the scapula.

In other words,

the ribs would go up to here,

and you can consider one third of the rear

as the back.

Here, the muscles are attached to the back, such as the scapula

and the latissimus dorsi muscle.

That's all.

Check where the belly button is located

and think of the proportions we went over last time.

1:1, remember?

The pelvis will stick out right here.

Let me draw like this.

So, you need to take time analyzing the photo material.

The things you should look out for

are the movements,

not the outlines.

That's why you should focus on the overall movement.

Usually, when you draw gestured croquis,

you draw in a 15-second timeframe.

With croquis, although I'll emphasize it

once more before this lecture ends,

but before you get familiar with

a 15-second croquis,

you must analyze the photo first

then go on to the next step.

Once you've analyzed it,

now it's time to draw.

I'll draw according to

the simplification process I thought of.

Now, the important thing here is

instead of drawing an 8 head figure just like the reference,

though it might be a bit difficult,

you should practice according to

the character proportion you're thinking of.

Since I usually draw a 6 or 7 head figure,

I'll simplify according to that proportion.

If it is possible,

if you have a certain order for drawing a human body,

you should draw according to that order.

If you draw the head first, draw the head first.

And if you draw the body first, draw that first.

As for me, when I'm doing the rough draft,

I draw some of the outlines as well.

Doing so reduces

the mistakes I might make later on.

I'll add in the shoulder area, like so.

When you're doing the rough draft,

it is important to analyze the general movements.

Here, you might make slight proportional mistakes.

Right now, I'm intentionally making

proportional mistakes.

I'll show you the process later on.

I'll finish my rough draft here.

When you have the finished rough draft like this,

now you sketch additional details on top of it.

Now, you see,

when you draw,

you don't have to illustrate everything

in a single drawing stage so perfectly.

So when you illustrate,

if you feel like you don't have enough basics,

break the process down into many steps.

That will give you room to focus on each step.

Like mentioned before, when you're doing the rough draft,

you focus on the general movements.

When you sketch the additional details,

you adjust the proportions.

What's next?

You'll adjust the outlines afterwards.

For example, the muscle outlines or the bone outlines.

If there's something you missed,

you would look at photo references

and describe more outlines in detail.

You'll draw the lines after that.

This is actually similar to the outline stage.

As you draw the lines,

you'll check once more

if you drew everything correctly.

Thus, the illustration becomes more perfect

as you complete the different stages.

You might ask, if all this would take a lot of time.

Well, to tell you the truth,

it does.

But, as we draw,

and finish a single piece,

people don't consider how much time it took.

They just look at the results.

So I believe it's really important to

draw as best as you can, even if it takes a lot of time.

So, let's move on

to sketching the additional details.

Like I mentioned before, in this stage,

you'll correct the proportional errors.

I'll fix whatever is difficult to apply

in a casual style drawing in this stage.

For example, right here,

most of the neck is hidden.

Of course, it's because of the angle.

But if a casual style character doesn't have a neck,

it could look a bit ugly,

so I'll lift the head a bit.

When you're adding the additional sketches,

you should describe some details of the head.

I'll just mark where

the ears, eyes, mouth and nose will be located.

The next lecture will thoroughly cover the face.

So, I'll go over drawing the face

in more detail next time.

For now, you don't have to

describe the detailed curves of the body.

We're going to add them

in the next stage.

Now, you need to fix the proportions as you're looking at the reference.

Remember we went over proportions in the last lecture?

If you have your own version of human proportions,

utilize it in your drawing.

I'll use my version.

The part where the ribs are split will be located

at two-thirds of the head's height.

The pelvis will stick out at a 1:1 proportion.

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

So I'll set the height this much.

When you're drawing the legs

and think how thick they are,

keep in mind that they are thicker than the body.

So, when you're drawing them,

make them thick intentionally.

I'll draw the feet, too.

So, now I have a human body

with the proportion I thought of.

Of course, the reference was the photo I had.

At first, it's okay even if it takes some time.

But, you should reduce the timeframe later on.

Now that we're done with this stage,

let's move on to the next stage.

I'll make it slightly transparent.

At this stage, it's okay to create a new layer.

I'll draw the eyes at where I marked.

Let me draw a simplified hair.

When you're drawing the detailed outlines,

use your anatomical knowledge

to draw the chest,

the physique and the muscles.

At first, for this course, I wanted to

teach you more about anatomy

or how you should draw outlines.

However, I omitted them

because I am going to cover

practical knowledge in the latter part.

So, this course doesn't cover the basics much.

But that doesn't mean they're unimportant.

It just means other things are more important.

I strongly recommend that you go over the basics

as you study on your own.

And you can draw a human body beautifully

when you know the basics

and when you can accurately describe the outlines.

I'll go over how to draw a hand.

A lot of people are afraid to draw it.

I'll break it down into shapes.

If we look at the palm,

the wrist would come up to here.

And, we would draw a cuboid

with the same width as the wrist.

If we divide this cuboid

into three parts,

they would be the index finger, the middle finger, and the ring finger.

If we also look at the bone's length,

the length of the middle finger

and the palm would be the same.

You might ask why I only drew three fingers.

I'm going to draw in the little finger and the thumb now.

Like this.

If you draw in the thumb area like this,

the little finger area would be located diagonally on the opposite side.

Why would I draw them separately?

Well, unlike the previous three fingers,

you should identify the little finger and the thumb

as separate areas.

You should also keep in mind that

the little finger is much smaller than the other fingers.

The tip of the little finger barely reaches

the second knuckle of the ring finger.

Also, the thumb is

very small.

So, there are a few common mistakes when drawing hands.

First, a lot of people draw big index fingers.

It becomes big because

people usually draw things bigger

when they drew them first.

People usually start with the index finger.

So, as they continue drawing,

the index finger becomes longer than the middle finger.

This is a common mistake.

Another common mistake is

drawing the little finger

just a bit shorter than the other fingers.

Even the reference you're looking at could look like this.

So, the final result could look awkward.

When you open out your palm,

you'll get the feeling that

the little finger stretches out a bit more.

This is why you should think of the little finger

as a separate area from the rest of the fingers.

So far, I've covered the hand structure.

I'll go over the foot structure now.

With the foot, the tarsal bone becomes the standard.

When we look at it sideways,

we would first draw a trapezoid.

And, from the upper part of the trapezoid,

I'll draw a diagonal line.

This would be the toe.

In fact, what I drew

is a basic form that looks similar to the foot bone.

There's the trapezoid, then there's the bone in front of it.

And there's a blank space here.

This blank space would be

the foot arch that we commonly draw.

So, you should familiarize yourself with basic forms.

Remember the forms for the hand and the foot.

This curve along the thigh,

in the front, the muscle goes above the knees.

So, I'll draw the curve right up to here.

For this curve, I'll make it bulge just a bit and finish it off.

When you look at the calves from the back,

it sticks to the bone like this.

It sticks right up to here.

That means the thigh muscle is quite short.

So, you should make it curved inwards, like this.

When you bend your knees,

they tend to stick out forwards.

I'll go over this.

Remember when I taught you about kneecaps?

A kneecap looks like this.

And when it's bent, it becomes like this.

See how it looks?

So, when you look at it,

it's slightly rectangular.

Although it's slightly rectangular,

it's not a perfect rectangle.

It will stick out forwards

and downwards

like so.

That's all you need to know.

When you bend your knees,

because of how this bone looks,

it looks as if the bone

is bulging out forwards.

Here, we have the side joint that we covered last time.

This curve describes the side of a leg, and it is curved inwards a bit.

Now, this will look like a curve.

But, when you're drawing a bone,

it will be vertical.

Now, please remember this curve

that is formed even when the leg is straight.

A lot of people make mistakes here

when they're drawing the leg.

If you want to be a concept artist,

you'll draw the legs a lot.

We're now done with the third stage.

In the third stage, we drew

the specific curves

of a character's body.

Actually, if you successfully finished this stage,

you successfully went over most of the important stuff.

So, that was how you apply simplification to a human body.

Let's go over from the beginning.

When you're doing the rough drafts, you should draw the general posing.

And when you do so,

simplify as much as you can.

If you simplify it too much,

it will be less accurate.

But, you can draw much quickly.

So, you should decide whether you prefer speed or accuracy

and decide how much you simplify.

You should keep practicing

drawing a human body you want

in 15 to 30 seconds.

Like I mentioned before,

this lecture will be about

acknowledging your weaknesses

and finding the areas you need more practice

instead of learning something new.

Once you're done

with the rough draft,

you would fix the proportions as you sketch the additional details.

Before you become familiar with the process,

in this stage,

your drawings could be a little stiff.

So, when that happens,

I always tell my students

this.

I tell them, the posture was a bit awkward

when doing the rough draft.

So, as they fix it,

the proportions won't be correct.

That is why

the movement

becomes awkward.

So, you might ask yourself

whether you should put an emphasis on the proportions or the movements.

My advice is to

put an emphasis on the movements.

It's okay if the proportions are a bit wrong.

Remember the last lecture when we learned about Deformers?

As I mentioned

when learning Deformers,

the anatomy of our characters are already incorrect

when we are drawing a casual style character.

So, you don't have to focus too much on keeping it accurate.

What's more important is the nuance.

The movement has the biggest impact on nuance.

So, if you can find

a more natural movement,

it's okay even if you have

incorrect proportions.

That doesn't mean you can ignore them.

If you have trouble describing the pose correctly,

like I mentioned before,

look at photo references.

Keep training your muscle memory as you look at them.

It's important to memorize them.

When you're sketching the additional details, you fix the proportions.

For instance, whether the leg was a bit long,

or whether the arm was a bit short.

Keep fixing them at this stage.

You don't have to put in the detailed curves of the body.

I put some of them in because of my habit.

But, at this stage, you can draw the arms as a cylinder.

If a cylinder is too difficult,

this is fine too.

It's okay even if

you just draw a single line.

Keep in mind that

what you're doing now is drawing the human body easily.

You're not drawing it accurately.

So, if all this is too difficult,

just draw in lumps like this.

But, of course,

you should draw with lines later on.

I'll just draw the location of the head

in this stage.

If some of the proportions are incorrect,

you should correct them at this stage,

and make it into the proportion you want.

Now, let's move on to the next stage.

Now, we're draw the outlines and the curves.

I'll teach you how to draw the head

in the next lecture.

So, once you learn that, draw the head at this stage.

I'll just simplify it today.

The next lecture goes thoroughly

on how to draw the head.

When you're drawing the curves,

you'll notice your weaknesses quickly.

If you want to draw them well,

you need to understand how the muscles work.

You also need to understand the physiques.

So, the more you study,

the more you will be able to depict various things.

So, I'd like to give

some advice to those of you

who just draw female characters.

You should draw male characters

sometime later on.

I'm suggesting this because there's a limit

when you practice drawing muscles with female characters.

When you're drawing a female character,

you usually won't depict six-pack abs in detail.

So, when you're studying muscles,

practicing with male characters

will help you much more.

The point here is not drawing male characters itself.

As you study male characters, you'll study muscles,

and you'll later apply them to female characters.

So, instead of just drawing female characters,

if you can draw muscular male characters as well,

it helps you a lot with female characters.

It won't apply to all people, but usually

if you can draw both

a muscular character

and a female character well,

that means your drawing skills are very settled.

I've mentioned before that the upper part

and the lower part of the leg are the same length.

You can easily check this

through the heel.

When you're kneeling,

the hips and the heel interlock perfectly.

We sit down like this.

When a character sits down,

and when its feet are located in the back,

or when its feet are located forwards

so the hips are floating in the air,

it will look a bit awkward.

Drawing a grid

helps a lot

when you're studying anatomy.

It helps with perspective.

When you're drawing a grid,

and when you've studied muscles,

apply that knowledge as much as possible.

So, in other words,

for example, the abs would go here.

So, you would draw a curve like this.

And you would add another curve where external oblique abdominal muscle is.

You would divide it as much as you can.

If it is too difficult for you,

and if you don't understand

how muscles work,

you can just draw a cylinder.

Even this is difficult.

So, you need to go over this a lot when practicing.

That's how you'll study anatomy.

If you become familiar, you should draw many different poses.

You should draw a male character as well.

You will also set a specific angle for this character.

Now, a lot of students

have difficulty

understanding and applying perspective.

It is really hard to understand.

So, I'll go over this topic

really quickly.

You might wonder if perspective can be applied simply.

It's actually a very important question.

You might think

you have to study as much as possible.

Well, that is true.

Of course, perspective is very important.

But if you study it in detail,

you'll see terms like

one-point, two-point, and three-point perspective

which you might have seen in books.

I'm sure most of you are familiar with this concept.

They also teach you this in junior high.

If you're unfamiliar with it,

go ahead and search the terms.

Just Google up the word 'perspective'.

In this class, I'll go over things

that are more practical.

I'll stop drawing this male character for now,

and teach you a bit about perspective.

When you focus on what's important,

you'll usually hear terms like

one-point, two-point,

and three-point perspective.

But, it's hard to limit perspectives in to a few points.

Let me share an example.

Let's say you're

standing up Ike this.

You're here,

and there are objects.

I'll draw them in.

There are long objects

placed like this

surrounding you.

When they are placed like this,

how will you see

these objects?

This panel shows

how you will see them.

Since four pillars are directed towards you, they will look like this.

The point here is to

find the vanishing point of these pillars.

What is a vanishing point?

A vanishing point is when you can no longer see an object

after it gets further away.

So,

if the pillar is stretched out like this,

you won't be able to see it from here.

You also won't see this pillar

somewhere starting from here.

That goes the same

for these two pillars as well.

So, we already have four vanishing points.

So, although we commonly mention

one-point, two-point, and three-point perspectives,

the number of vanishing points can be infinite

depending on the shape of an object

and it's hard to identify all of them.

But that doesn't mean we don't have to study it.

Here, I'll just go over perspectives for character drawing.

I'll just emphasize what's important.

First of all,

even a single object has perspective,

though it could vary according to distance.

For example,

when you see a giant in comics,

you might have seen it being presented like this.

It will have a fist like this,

and will often have glaring eyes.

If you analyze it,

you'll see that perspective is already applied to this giant.

Let me paraphrase it.

When you're applying perspective,

some of you may apply it

like this.

And you may argue that it's a low-angle shot,

and start to work on it.

But, if you do this,

the character would look stiff

and it will look a bit awkward.

Why does that happen?

As you approach this giant,

these perspective lines will go further away from each other.

When we have a can,

and if it is far away,

it would look like this.

Under the premise that it is on the same eye-level as ours,

it will look like this if it's far from us.

But, what if it is up close?

It will look like this.

If it's right in front of our eyes,

the label would be written like this.

As an object comes closer,

the perspective widens.

Keep that in mind.

So, when you're drawing a character,

you should be aware of

the perspective widening.

Even if it is a high-angle shot,

The upper side will look like this

and the underside will look like this.

The perspective will be applied like that.

So, with this cuboid,

the upper and the underside

won't look exactly the same.

Different perspectives would be applied to them.

We would have a vanishing point like this.

I've labeled them A and B, and I'll apply it to A.

That was the most important thing.

Ironically, the second most important thing

could go against what I said so far.

Don't focus on this cuboid so much.

What am I talking about?

I'll put in a character in here.

Think of it similarly to

sculpting something.

What would a sculptor do?

There would be a chunk of marble,

and they would sculpt a human as they chisel it down.

But, us humans,

we're not like robots.

No one stands up perfectly vertically.

It will be easy for us to draw

if a character stands vertically

and holds out its arm like this.

Drawing it would be easy

and it would be easy to apply perspective as well.

But, in reality, no one stands up like this.

Our waists could be bent

and also

our legs could be limping sideways.

We can cross them as well.

Humans have many different poses.

So, it's never easy to

utilize these lines within the cuboid

and calculate how a human body would look.

But, there is still a way to calculate it.

Let's say this cuboid contains a character's upper body.

A male character's upper body is located here, for example.

Here, you would calculate like this.

You need to make sure

that these two lines are parallel,

and that these two lines are parallel.

Like this.

That's all I'll tell you.

But, even if the waist is just a bit tilted,

this can't be applied.

So, don't be too stressed that this is a cuboid.

With perspectives, it is better that it looks correct

than it is actually correct.

Let's say there is a background with a perspective like this

when we're looking at an object.

The desk is here,

and the chair is there.

We have a background like this.

You could say it's a standard background.

But if this background has this kind of perspective,

and if the floor tile looks like this,

it will look awkward.

We had a certain way of perceiving this background's perspective.

But, now we have lines that go diagonally against it.

So it looks awkward now.

But, you might disagree and say that

a tile like that exists in real life.

However, because it looks awkward,

we won't apply that to our drawing.

So, in this case,

we would try to draw the tiles

along this line, like this.

Then it will look much less awkward.

Thus, it's not as important that it is correct.

It's more important

that it doesn't look awkward.

So, when you're drawing

and applying perspective to a character,

it is really important to

just make look fine

while you have an overall grasp of perspective

and know that you should apply perspective

instead of drawing it 100% accurately.

So, now I've covered all of

what I wanted to say about perspective.

A lot of you find it difficult

when applying perspective to a character.

But, before you consider that,

you should know

whether what you want to do is

to draw very accurately

or to draw a good looking character

with some perspective applied.

Let me draw a low-angle shot character.

Basically, this character

would look bigger if it's closer to us.

I've mentioned before that with male characters,

they have broad shoulders and narrow hips.

Well, in this case, it becomes the opposite.

He would have narrow shoulders

and broad hips.

I'll also apply the basics I've mentioned before.

Draw the legs

so that it gets thicker

at the bottom.

If he's bending his arms,

this part would look like this.

And if we apply a low-angle shot here,

it would look as if he's stretching his arms.

Now that I'm done with the rough draft,

I'll move on to the next stage.

Like I mentioned before, in this stage,

we have to fix the proportions.

I'll just draw a few outlines.

This would be where the upper body will be split.

And that would be the belly button.

Let's check

if I have the 1:1 ratio.

I'll describe the pelvis.

Sketch in the additional details

while making sure that this information are applied.

I'll also draw the basic form of the hand.

I'll draw three fingers

and a separate little finger area

like I taught you.

I'll also add in

a separate thumb area.

Now that I'm done with stage,

I'll move on to the third stage.

Now, I'm going to draw more detailed outlines

and show the character's muscles.

There's the sternocleidomastoid muscle

and the trapezius muscle.

Remember I said the trapezius muscle is part of the shoulder?

Along with the collarbone

and the deltoid muscle,

they are all part of the shoulders.

This would be the part we massage.

The actual shoulder area is here.

To be precise, the trapezius muscle

is the back, not the shoulder.

So, when we're massaging our 'shoulders',

we're massaging our back.

But I'll just call them shoulders so that you'll understand.

These would be the chest muscles.

I'll add in the ribs.

Remember I said

there's the belly button

on the third rectangle of the abs?

This second rectangle

will stick with the ribs.

Like I mentioned, with the shoulders,

there's also the latissimus dorsi muscle and the scapula.

So I'll add them in.

We refer to this as the external oblique muscle.

I'll add in the abs.

Now, it's good to

give some space between the muscles.

Basically, muscles stick to the bones.

So, instead of understanding as muscles sticking to each other,

understand it as muscles sticking to the bones.

When you're moving your joints,

these would be the bones

and the muscle would stick between them.

As it contracts, this bone would go upwards.

And as it expands, this bone would go downwards.

Just remember that it sticks to the bones.

Remember when we learned arm muscles?

This line bulges out slightly.

And that line bulges out a lot and goes back in.

This one bulges out a lot,

and that one is just slightly curved.

I'll draw the hands simply

while applying what we've learned.

When we're learning how to draw faces,

and if we have time,

let's draw the hand too.

There's nothing too much to do.

Like other body areas, the details of the hands

become different depending on

how much you describe the muscles or the physique.

So, now we have

a human body with a slight low-angle shot.

Don't baffle yourself too much with perspectives.

You can see it everywhere.

It is always applied in real life.

Even when we're looking at a still object,

there's some perspective applied.

Take this photo reference, for example.

We can't properly see her feet.

The photo is already set in a high-angle shot.

You might not think so

and think that we're looking at her

from our eye-level.

But, even if we were looking at her from eye-level,

if you look closely, you'll notice that as we look down,

there's a high-angle shot applied.

So, in our daily lives, we always see perspective.

It always exists.

So don't stress yourselves too much with it.

Just focus on creating the illusion of

making it look natural.

Today, I've covered capturing the movement

and how to approach perspective.

We should summarize it.

But first, let's go over

what we learned in the last lecture.

In the previous lecture,

we learned how to draw a simple mannequin.

If you didn't understand just yet,

give it some time.

Today's exercise was based on the premise that

we made a simple mannequin

with your own proportions.

The first step of today's exercise was

to simplify this mannequin even more.

The reason behind this is to

work more quickly

while being as accurate as possible

and describe what you're thinking as accurately as possible.

That was the key point

of simplification.

So, practicing with what you've simplified

is a very important process.

I advise you to use photo references.

Of course, illustration references and figure references are okay too.

They should work fine.

But, I still think photo references are the best.

Because, when a character is illustrated based on a photo,

a lot of information is omitted.

For example, we might not be able to see

the muscles and bones, unlike a photo reference.

Or, you might not be able to see the perspective well.

The illustrator could have distorted

something on purpose, too.

After all, it's done by a human.

Because of this,

I think photo references are the best.

But, if you're still unfamiliar with proportions,

I'll go over this quickly

in addition to what we've done last time.

But, I'll divide it into a few steps.

In the last lecture, we practiced how to apply

proportions and outlines.

To practice proportions,

it is best to do it with figures.

This is because they're already 'complete'.

Because they are already deformed,

we can apply that to our drawings.

With just a small personal touch,

you'll find the right answer for your drawing style.

So, when you're practicing proportions,

it is the best

to imitate figures.

When you're practicing outlines,

look at photos and illustrations together.

I'll repeat,

you should study outlines

with photos and illustrations.

But why so?

As I mentioned before,

photographs describe details that illustrations don't.

The same is true

vice versa.

So, it is the best to

practice as you compare them.

I won't recommend looking at figures for this.

Because the outlines of figures

are always much simplified

compared to those of illustrations.

It's hard to distinguish them well, too.

So, instead of using them,

use photos and illustrations

to practice drawing outlines.

But the most important thing is

to set the correct proportions

to acquire proper knowledge.

And now, with movements, as I mentioned before,

I recommend looking at photos.

Of course, you can also

look at figures.

But, if your goal is to capture the pose,

I strongly recommend photo materials.

So, you would use this photo reference to make a character

with the proportions you thought of.

That would be the rough draft stage.

You should practice

utilizing a certain pose to apply

your own proportions to your character.

Once that's done,

first of all,

you should just focus on the movements.

Then you would fix the proportions

and then you would draw detailed outlines.

Outlines and curves.

And if you actually want to finalize it,

draw the lines as well.

I highly recommend you to

practice with this method.

If you practice while looking at photos,

you can also practice

how to analyze perspectives.

So, I'll emphasize once more

that today's lecture focused on

drawing a lot so that

you would be able to

look at different angles and poses

and draw the same pose from different angles

and imagine a human body

from different angles and poses.

Today, we studied a bit on anatomy.

Next time, we'll study faces.

We drew a mannequin today

and learned how to move it.

We move it after simplifying it.

Now that we've learned how to do it,

we are going to draw in the face.

Just simply think of it as

a character with a face

is moving around.

When you finish the next lecture,

you'd be able to draw a character.

So, that would be it for today.

I'll see you in the next lecture.

Keep up the good work,

and that would be the end for today's class.