Original subtitles

Let's now take a look at how to draw the chest, the abdomen, and the pelvis or the pelvic forms.

So, when we think about the chest, a good basic starting point, is really just a rectangular kind of block,

just to get the bulk of the mass.

And for the abdomen, what is pretty good to use is a sphere.

And then for the pelvis, a very basic shape,

could be some kind of triangle, upside down pyramid should I say, something like that.

And when you connect them together and you kind of scale them correctly, you get something like this,

which you know, for rudimentary purposes, makes some sense because there's always that point of rotation

in the abdomen here.

So we know that the abdomen can rotate, and so it seems like a nice hinging point.

But when we take these very very basic forms, and we start bending them, we get somewhat different types

of forms.

I'm going to show you the forms that I like to use, just the very basic forms I like to use, the dynamic

forms, for drawing the chest, the abdomen, and the pelvis. And they're forms that really help add on the arms

and the legs and the head and the neck.

So, we take that block, and we kind of, start bending it on all of its sides.

And I've taken some cues from the rib cage, and I add this V-shape to my abdomen, very much like that.

So I've taken that basic block shape,

and really modified it into this shape. I'm just going to draw through here,

so that we can sides. I've modified into this type of shape, and this upside down V shape really, is great

for slotting in the abdomen, which I'd keep a sphere, because it really actually works really well as

a sphere, that doesn't need many changes.

And so, you now have the chest, kind of, plugging in nicely into the abdomen in terms of the basic forms.

Then what about the pelvis? The triangular pyramid shape is a bit harsh.

It's a little bit harsh for a pelvis.

And so what I do again, is really apply that dynamic shape theory.

And bend the form in a way, I'm going to just rotate it a bit forward here, so we can see the top and

I use an ellipse, and instead of it being square, so this the shape would be really something, this form should

I should say, would really be something like that, instead of having a square, have it round, and and make it kind

of like a cup, or a teacup type of thing, or a kind of a very pointy bowl if you wish, and what I like to

do is, draw ellipses on the sides of it, running through.

So that would be seeing through the form there, and over here, this would be the front ellipse. As zones

that we can plug the legs into when we get there.

But really, without getting too technical, we're really just taking this upside down pyramid and using

an ellipse, and still getting that pyramid shape, where the form would really be having these types of

contour lines on it, as if we drew drew through it.

It's really very much like a cup, and I find that works particularly well when you add it to the rest

of these forms.

So in a nutshell, really, these, these are the forms, the typical forms, that I use pretty much all the time

when I'm drawing, which are basically just dynamic versions of those basic static shapes.

Right.

And what's great to do, before we get to the skin.

Adding kind of basic skin layer on top of it.

But what's great to do, is play with the various angles and rotations, so you can see I drew in a three

quarter there previously.

And let's just go back to that.

So this is very much a three quarter view and three quarter is great because we see the front, side, front

side.

Here we can see the top a little bit, front and the side a little bit, and we can add those ellipses and

it gives us even more of a side view of where the leg can plug in.

But to really realize that, the joint here, if you want to call it a joint, this pivot point of the

abdomen is great, because the chest can move sort of forward on the pivot point.

It can move back on the pivot point.

It can move side to side.

And these are things we really want to get used to, get used to this idea that we can actually pivot

these basic forms and even twist them.

So let's look at some form examples of those very things.

So here I'll do the basic chest form, bending those sides, putting the sphere in there and then ensuring

that the shoulder line here, really that's what that is, the shoulder line, and the line of the pelvis

are not parallel to one another.

Right.

And using center lines as well, helps us to understand what we're doing in terms of the direction that these

forms are facing.

So, I have a center line down here, and we can see that this is facing that way, that's facing that way,

and this is also facing that way.

And so here we have a chest that is bending to the left on this pivot point, yet the pelvis still stays

at an upright angle.

So you could say that the vertical tilt of the pelvis looks like that, and the vertical tilt of the abdomen,

I mean of the chest, looks like that. We will get more into detail on tilts later on, but something to think

about for now. We can also do twisting. So we can have the chest over here,

(Excuse me) facing to the left, just bending those lines, chest faces to the left, and we can indicate that

with the center line- it's curve points to the left. All of its curves really pointing left. Put in our

sphere

then when we add the pelvis, change its center line and have it curving to the right.

We see the back here won't curve.

But for the most part it's center line curves to the right.

And so now we have a twist happening

in the form, which is totally possible.

Your chest can face one way, your pelvis can face another, and this adds some nice dynamism, especially to your

poses.

Using these basic forms, and really using the stomach or the abdomen area as a pivot point, it's a sphere

that can pivot. So we can bend it, and we can twist it, and we can also just draw it front on, not front

on, just basically or facing the same direction. We want to always drawn 3D

using these basic forms. Centerline on the sphere, centerline of the chest, centerline on the pelvis, and

we can see multiple sides which is great.

And now they're all kind of uniform, so a bit dull in terms of posing, because there is a parallel between the

shoulder line and the pelvic line here.

Right, we don't want that generally speaking, but nevertheless, it still looks 3D and you can still feel the

weightiness of it.

Let's take a look at adding some skin onto these forms.

So I'll draw it again.

It's good practice.

Keep redrawing, it's very simple, and you can see I'm very loose.

I'll always encourage you to be loose when you're drawing, especially drawing, you're just planning forms.

Don't worry too much about proportions for now

just get, just be loose and free and just feel out the forms.

And so here we have that basic model again of these forms, dynamic forms once again, we have directionality

in all of the forms.

Obviously barring the sphere, which you could add directionality to it if you wished, to make it more

of a ovular shape it's up to you.

And when you want to add surface detail to this,

basic surface detail is really that, that's the top there.

If we come down to the side, kind of follow the forms,

just in a basic way.

And witout too many lines we can get some good surface detail. You could kind of even imagine from this,

because of how we draw that upside down V, that perhaps the chest is somewhere around here, just above

the ribcage.

This is a male form.

You can very easily get that form with, you know and if you really just look at these lines, they're not crazy

detailed lines, they're just you know, line there and it goes straight down.

Why? Well we kind of sticking to the general idea of the skin going over these forms.

Right.

And we can get a fairly convincing skin view based on the form.

So if the form is strong, drawing the skin is not that hard, obviously sure, we want to have that anatomical

knowledge which we have to learn by observing and copying anatomy from anatomy references right.

So that will really add to our understanding of the form. And really give us a little micro details

when we're adding little bumps onto the skin surface like here.

This is the iliac crest from the actual pelvic bone that adds that realism. I mean here I can add the acromian

which pokes out just before we hit the deltoids, the shoulder. And anatomy gives you these things, and it

helps you to know where to place things.

You know, when you're studying complex anatomy more detailed anatomy.

But the bottom line really is that, it's all defined and all based on the strong foundations of strong

forms. Alright.

Let's do one more example. Let's just go through it one more time.

Just so it's super clear. We're bending that basic box, we're bending its sides, we're adding directionality to everything.

Drawing through, I'll draw through more on this one, just so we have a much clearer picture.

Adding that sphere for the abdominal area,

and then we're really changing the shape of that upside down pyramid, and imagining

kind of, goes down like that.

That's changed the middle line to that, and we have this 3D structure happening

on that form.

And then once again, we just draw some simple lines, conveying how the skin is falling over these forms,

almost like cloth falling over these forms, in a sense kind of tight cloth.

And we know the arms will plug in somewhere around here, just to align the line the skin falls down down,

and we can stop there because the legs are going to come in.

The crotch is here, a line there, a line there, add in the shoulders

But we know that the head is going to plug in somewhere here probably.

So draw these ellipses just to show these points, we generally don't need them, you generally just stack the forms

on top of each other.

And also this upside down V does imply the ribcage area and we have a fairly convincing form.

Great.

That is the end of the chest the abdomen and the pelvis.

Basic forms video.