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Hello.

For this video, I dubbed in my voice

after recording it.

There were errors while I was filming,

so I re-filmed everything.

This is the first bonus chapter.

And in today's lecture, I'll go into more detail

regarding the human anatomy.

I'll show you how I practice

drawing the human anatomy.

And as I do that, I'll emphasize things

you might not have thought of.

The previous lectures didn't go over the basics in detail.

So, this lecture would be perfect

to actually do that.

When I'm drawing the human body,

I usually practice with the torso.

The reason behind that is,

if we make a mistake with the limbs,

it's easier to fix the mistake.

But, if you draw the torso wrong, you have to fix everything.

Actually, the torso area,

otherwise known as the body,

would be the most important part in anatomy.

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So, that's why I focus on

drawing the torso.

Here, I'm drawing all the outlines.

But I'll explain more in detail later on.

I'll draw the curves for the back

and the waist.

If you have a certain method of drawing,

you can just draw

according to your preferred method.

Start with the areas you're comfortable with.

If you usually draw the head first,

do that first, for example.

I'm drawing the torso without the head.

I'm doing this simply because

I want to spend more time on the body.

If we start drawing the head,

we would have to spend a lot of time focusing on that.

Now, let's look at the proportions.

Remember the ribs are two-thirds the length of the head.

I'll mark these.

Now, the bellybutton is located in the middle of

where the ribs end and the pelvis starts.

Make sure the pelvis is

wide, and not tall.

Now, we would draw in the muscles.

When we draw the muscles,

there are a lot of muscles

like the external oblique muscle that I'm drawing now.

There are also the abs.

To simplify it,

see the two-thirds point

of the diagonal on the ribs?

That's where we start drawing the abs.

Draw the abs downwards.

The outline that I just drew

covers the ribs a bit.

And the second row of rectangles

almost stick to the outline of the ribs.

Draw three rows of rectangles

to draw the belly button.

And make sure to draw this fourth rectangle

really, really long.

So, now we have an empty space

between the abs

and the external oblique muscle.

Make sure to

check that empty space.

It doesn't mean there aren't any muscles there.

Just remember it as the space

between the external oblique muscle and the abs.

Now that we drew this much,

another thing we need to study

would be the pelvis.

The pelvis has a very bizarre form.

So, let's go over it.

Remember how I said it's a heart shape?

Right now, both sides are turning left.

If we look at it from the front,

the pelvis does look like a heart.

But, actually, when you look at it, it bulges out forwards.

So, it would look different depending on where your gaze is.

If the pelvis heads right,

both sides head right.

If the pelvis heads right,

both sides head right,

and if the pelvis heads left,

both sides head left.

But, if the pelvis is rotated a lot,

its overall shape changes a lot.

So, that's why

it's important to practice while looking at

photos from different angles.

Especially, with the pelvis,

a lot of people make mistakes when drawing.

So, you should

practice rotating the pelvis.

Look at photo references

and keep practicing.

Now, I'll continue drawing the torso.

Another good exercise is

when we are drawing the body,

twisting the upper and lower body.

When we're drawing action scenes,

naturally, the upper and lower body

would turn around sideways.

So, you need to keep that in mind when you practice.

Let me give you a tip

with the outlines of the abs.

The abs stick out a bit

from the top,

and from the bottom, where the belly is located.

They also stick out once more

from the hip joint area.

These three parts I marked

are where the abs stick out.

The abs stick out three times,

from the upper belly, the lower belly, and the hip joint.

So, now we would draw the pelvis.

But, there's something you should be aware of

when the upper and lower body turn around.

When they turn around,

in real life,

you wouldn't turn them so much.

The torso here only turns around

about 15 to 20 degrees.

When you apply a tilting action

to a human body like that,

one of the most common mistakes

is to turn it around too much.

When you're looking at a human body,

if you focus on the direction of the upper body

and the direction of the pelvis

and turn the body around,

you'll see that it only turns

around 15 to 20 degrees.

Be aware of that

and keep practicing how to rotate the upper and lower body.

But, usually, when you get the feeling that

the upper and lower body

turn around more than that,

you get the feeling because,

like this example, the limbs

tilt up and down

so the movement is emphasized.

But, in real life,

the upper and lower body don't move that much.

So, even with moving the shoulders and the pelvis,

you'll understand more later, but,

when you're twisting the body,

never twist this area too much.

If you twist it too much, a common mistake you'll make is

making the pelvis face forwards, while the upper body is

looking sideways like this.

Then, with a slight movement,

the character's back would break.

So, the same principle would apply to that example.

Make sure the upper and lower body

don't turn that much.

Make sure they just turn

15 to 20 degrees.

Now, let's check the pelvis area.

Don't make the upper and lower body

twist too much.

I can't stress this enough.

The neck bone is wider from front to back.

Also, the front is a bit sharp.

The reason why its back is thick

is because of the sternocleidomastoid muscle.

Right under this muscle,

there's the collarbone

and the shoulders.

And behind it,

there's the trapezius muscle

that we commonly massage when we're massaging our 'shoulders'.

I'm drawing the torso from different angles.

It's okay to perceive the upper body

as a cuboid when you draw.

Let me share my tip.

In real life, our sides

are supposed to be a bit thicker.

But, when you're drawing

casual style characters,

make those areas a bit more thin.

Even if we include the scapula,

it becomes this thick.

If it becomes more thick from here,

the character could look too muscular.

So, that thickness would be just right.

Another thing you should practice

is bending the upper body forward.

If it bends backwards,

it looks kind of sexy, so you would draw it a lot.

But, a lot of you don't practice the opposite often.

So, I'd recommend you practice

bending the torso forwards.

You'd draw this pose quite often.

You'll draw this pose in action scenes.

If we strain our bodies,

we often bend our bodies forwards.

As our muscles contract,

our bodies tend to bend forwards.

Again, in this scenario,

the upper and lower bodies don't twist a lot.

Now, if you look at the bellybutton

which I'm drawing now,

some of you would always draw it in an I shape.

But, actually, that itself is a hole.

Here, the body bends forwards.

So, the bellybutton faces downwards

and its shape changed a bit.

For example, I'll draw a body seen from a low angle.

I'll draw the collarbone,

and the ribs.

Because the bellybutton

is essentially a hole,

it would go downwards,

like this

and it will look like this.

Now, I'll draw the pelvis.

Remember the bellybutton's shape changes.

Some of you always draw it in an I shape.

This is incorrect.

When you're drawing a low-angle,

check the area

that I just colored.

That's the bottom of the pelvis.

Now, if we draw the thigh,

the muscle inside the thigh,

in other words, the genu valgum muscle,

it's two-thirds of the thigh's length.

Don't forget that.

Draw the muscle that's pointed out, like this.

If we look at the shape of the thigh,

it is thin from front to back

and it is thick sideways.

The front is a bit sharp

and the bottom is a bit wide.

And the side is very wide.

Because of this shape,

when you're drawing its shape

on the leg,

make sure to narrow this area.

That's how you would draw the basic shape.

Instead of drawing a perfect circle,

remember how the leg is thick sideways?

This is why

when you look at the body from the side,

the legs could be thicker

than the body.

From the side,

draw the heart shape of the pelvis.

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If we attach the legs here,

the hips would go here,

and when we draw the legs

their thickness

is almost the same as the body's thickness.

When we look at it up front,

the leg won't look that thick,

but when we look at it sideways,

the leg will look very thick.

Keep that in mind.

I'll draw the other leg, too.

Drawing the leg as if it is cut off

will help you a lot with understanding the human body.

So, it is good to

draw as if it is cut off.

Later, we'll draw these contour lines

around the body as well.

When you're drawing them, make sure to remember

the thigh,

an empty space,

the abs,

and an empty space,

the thigh again,

and then the external oblique muscle,

another empty space,

and then the abs.

Remember, the abs fold inwards

in an I shape twice.

Go inwards, then outwards.

One, two, then an empty space,

then the external oblique muscle.

If you draw the contour line

in detailed curves like that,

you can practice more effectively

when you're practicing the human body.

In the lower area, the space between the external oblique muscle and the abs is large.

On the other hand, with the upper area,

this area is small.

So, get rid of these empty spaces.

Then, you could draw the abs like this.

This could be a more detailed training.

Keep drawing the cut-off sides.

If this is your weakness,

draw a lot of these cut-off sides

to practice drawing.

Draw these markings under the collarbone.

I'll go over the shoulders and the pelvis.

We'll study the areas that are hard to draw.

Now, these circled areas

are the shoulders and the pelvis.

What's important with these areas?

Basically, these areas are movable.

Actually, the pelvis doesn't move a lot.

But, the shoulder bone can be moved forwards and backwards

and up and down.

When we're drawing shoulders,

we make a lot of mistakes when

the arms are moving

but the shoulders aren't moving.

That's when we make mistakes.

So, make sure

you can move the shoulder forwards and backwards.

Let's test it.

I'll draw a torso seen from above.

There are three parts you can move around freely.

The collarbone,

the scapula,

and the shoulder bone.

These three parts would move around.

However, you can't move the ribs.

The three parts I mentioned

can be moved forwards and backwards

and up and down.

Keep practicing moving those parts.

It's very difficult and important at the same time.

Like I mentioned,

the pelvis doesn't move that much.

But, you must be aware

that the leg bone itself moves.

The leg bones can move a lot.

I mentioned that the torso doesn't bend forwards a lot.

While that's true for the torso,

the legs bend a lot.

So, we need to look at it.

Let's look at the shoulders in more detail.

Let's say that the torso here

is lifting its arms.

Now, what's important is

that the arm bones don't go on top of the collarbone

just because it lifted its am.

Remember, the arm always

sticks to the side of the body.

Remember that.

Never stick it on top of the body.

And, the collarbone

doesn't head upwards as much as you think.

Here, the shoulder bone is leaning backwards.

This deltoid muscle

is the muscle around the shoulders.

Make sure you draw the deltoid muscle

leaning backwards.

Some of you may find this difficult.

The deltoid muscle

is one of the three muscles

that cover the shoulders.

If you place your hand on your shoulder

and stretch your arm backwards

you'll notice that the shoulder

heads backwards.

So, if you draw

the outline of the arms

you can draw an arm lifted upwards.

I recommend to a lot of my students

that they practice attaching the arms

from many different angles

on the upper body,

by utilizing the collarbone, the scapula,

and the shoulder bones.

That way, when the arms are moving

it will be easier to understand

how the outlines change.

You can also study

how the human body would work three-dimensionally.

So, stretch the arms forwards

and backwards

to make sure you draw them from different angles.

From the sideways, try lifting the shoulder

upwards

and downwards.

Keep practicing like this.

Also, try moving it forwards and backwards.

If you can do this,

you can draw the human body more naturally.

It will also help you a lot

when you're drawing a fierce action scene.

So, how would you apply this knowledge

when you're actually drawing?

If you're drawing an illustration,

and if you want to make the character look sexy,

you might push the shoulder forwards

like how I'm doing right now.

You may want to

make sure the character's side profile looks sexy.

So, you'd push the shoulder forwards

and draw the scapula

to draw the image you're aiming for.

Your knowledge

will be applied when you're drawing that.

So, it is good to practice

moving the shoulder bone forwards and backwards.

And you would draw the chest here.

Now, let's look at the pelvis.

Unlike the shoulder area,

with the pelvis area, the bones don't move.

When the body is bending forwards,

you might think that

the body bends forwards a lot.

But if it doesn't bend forward

as much as you think.

You usually get this impression because

the legs are moving a lot.

Some of you may think

the body bends forwards and forms a right angle.

Especially, when drawing this kind of pose,

some of you bend it too much

so that the body looks like a flip-phone.

There are some parts that shouldn't be confused,

so, I'll emphasize this.

When you're bending your body,

the body moves

around within

20 to 30 degrees.

If you bend it like this, and if you apply

where you're seeing it from

to the lower part here,

this would be where the leg would be attached.

Then, this leg would

bend inwards a lot.

It could form a right angle

and could be bent even more.

So, when you're bending your body,

the leg area

would move a lot.

So, when you're sitting down on the floor,

lift your legs up

and cuddle them with your arms.

Then, look at where the lower part of the pelvis

is headed.

In this example, the lower part of the pelvis

is headed downwards.

It will be good to check

whether the area faces forwards

or downwards.

It will help you.

A lot of people make mistakes here.

People make a lot of mistakes here

when they are drawing the body bending forwards.

People easily make mistakes with this area,

along with the shoulder area, so keep that in mind.

Today's lecture focuses on

the parts where you would

makes mistakes often

when you're drawing the human body.

Especially, with the shoulders,

there are people

who always

lift the shoulders up.

Try to practice drawing

when the shoulders would go down.

Also, remember to apply different angles to the shoulders.

When your arms go forwards, they go forwards.

If the arms go backwards, they go backwards.

Keep these changes in mind.

And when you're drawing the legs,

remember that while the legs move a lot,

the pelvis and the ribs

don't move a lot.

If you practice drawing

the human body

with that in mind,

you won't make as many mistakes.

The body could bend forwards more from here.

But, this would be the limit.

It can't bend more than this.

Keep practicing

by drawing different angles of the limbs

like this.

See how the legs go downwards a lot?

So, I'll lift these legs a bit upwards.

To accurately know the leg's length,

find the side of the pelvis,

and mark another dot at the bottom right,

and draw the leg bones from there.

Just make sure that this dot

comes down around 45 degrees

from the side of the pelvis.

But, if you drew that,

the body would be like a flip-phone.

The example I drew is actually someone very flexible.

Now, let's look at the chest area

and the hips.

These two parts

have curves around the fat.

So, practice separately

with these two areas.

Let's learn how to draw

the hips and the chest.

With female characters,

these areas are especially emphasized.

Also, the breasts

have a completely different composition.

They have a different composition

compared to the muscles we drew so far.

So, again, practice separately

with this area.

If you draw the upper body like this,

you'd place the breasts here.

But, the breasts are made up of fat.

You should remember that fat is attached to the muscle.

If the chest muscle is shaped like this,

the fat would be attached to it

in this shape.

In the end, the fat

goes on top of the muscles.

But, if you look at breasts in illustrations,

you would have seen

breasts that are much bigger than the chest muscles

with casual style characters.

Why does that happen?

When we look at the upper body from sideways,

the area where the chest is attached doesn't change.

It stays the same.

And if the breasts are just a regular size

you can think of them as water balloons

that don't sag down.

For now, I'll approach as if there's fat inside the balloons

and draw them like water drops.

This would be the final result.

If the breasts become bigger,

the attached area would stay the same,

but the underside would curl inwards.

The part where we see usually,

in other words, the area that's underneath,

is where the breasts would curl.

The attached area stays the same.

Although it could be different

depending on the breast size,

that area will nearly stay the same.

So, when you're drawing huge breasts,

instead of modifying the attached parts,

keep the attached parts the same

and make the underside curl inwards.

Remember that.

So, when you draw large breasts,

they would look like this.

I'll give you another tip

when you're drawing the fat curves.

These lines tend to

go inwards.

If we draw small breasts,

they would look like this.

The underside doesn't curl.

However, with big breasts,

the underside tends to curl

roundly.

Before I move on to what's important in drawing fat curves,

I'll point out that sometimes

people who draw small breasts draw like this.

Only sometimes.

Some people draw like this.

Sometimes, people make the upper curve go inwards

and make the lower curve round.

However, we don't usually do small breasts like that.

Usually, like how I drew,

people draw flat breasts.

But, again, this is affected by your preferences.

So, just draw the breasts

as you like.

To draw the breast curves

more in detail,

the curves that go inwards are important.

The areas where the arrows are pointing

are the curves that go inwards.

You should draw these areas well

so that the breast line

looks more fluid,

just like fat.

That way, you can emphasize that the breasts are made up of fat.

So, even if we are

drawing the frontal view of the breasts,

describe the curves in detail

when they go in and out.

This is very important

when you draw the fat curves.

And draw a Y shape here.

Sometimes, the breasts fold like that.

When the breasts are large,

around that area,

the Y shape

would become an I shape.

But we're seeing a Y shape because

the breasts are squashed next to each other.

Go for a natural look,

and just draw

a small Y shape.

See the curves that go inwards?

Those curves are important

when depicting the breast fat.

And another important thing is

where the breasts are headed.

Remember when I told you

that the breasts sit on top of muscles?

But, the chest muscles

are right above the ribs.

So, the direction of where the breasts are headed

is decided by

the direction of the ribs.

Let's say we're looking at

the upper body from a bird's eye view.

It won't be an exact cuboid shape.

Because it isn't

an exact cuboid shape,

because of the ribs,

it would look round.

Now, when the breasts are attached here,

they would be attached in a right angle.

So, in the end,

the breasts would

head outwards.

Each breast

wouldn't be headed towards the same direction.

They would split up

and they would head

in different directions.

When we apply this

to a breast with a low-angle shot applied,

we would have

breasts that spread out.

If we want to show the breasts sagging down

because of gravity,

we could make them go outwards.

They are headed in different directions

and they go outwards.

There are people who make them really go outwards.

It would be different

depending on how you want to draw the breasts.

There are people who draw solid breasts

and there are others who draw soft breasts.

Also, the ribs themselves

are rounded.

So, if the breasts go on top of the ribs,

and if we're looking at them from a low-angle,

the curves around the ribs would be more evident.

The breasts are round,

and the rib curves head upwards.

So, when there's a low-angle,

this curve,

in other words, the rib curve

would be evident.

The curves that go downwards

and the curves that go upwards collide.

With this example, a low-angle is applied.

So, the curve that goes upwards become more evident.

When we look at our eye level,

because the breasts are round and go downwards,

the breast curves would be more evident.

So, if we describe the bones as well,

it would be a bit more detailed.

With a low-angle,

there would be a curve that goes downward

like this.

Apply what you've learned

to different

breast sizes

and draw big and small breasts.

Make sure you can draw different kinds of breasts.

So, later, you can apply that

to the characters you want to draw.

That's how it works.

All details of the body

show off a character's characteristics.

So, you should be able to draw different types of body

so that you can draw

different characters.

Now, after that,

I'll draw the hips.

This is the back of the hips.

Now, from the back,

there would be a diamond shaped hole,

and above the pelvis,

I'll draw the erector spinae muscles.

The pelvis would look like this.

For the hips,

which are part of the pelvis area,

you should study both how

the fat and muscles would look.

The muscles themselves

would look like this.

They would go inwards.

With these muscles,

later on, on top of that,

the fat would be attached

in a different shape.

Let me draw the legs.

Before I go on,

the thickest part of the legs

would be right under the hip joint.

It is at around the one-third point

of the leg length.

Draw the other leg as well.

If we draw additional muscles here,

they would stick inwards

like this.

The fat would stick to it,

and the fat would

go downwards, like this.

If you look at it,

the fat and the muscles look very different.

Actually, the fat

that is right above the hip muscle

is a part of the muscles, too.

There are about

two to three layers of muscles.

So, you can see the muscles are very thick.

Although we can say that part is also a muscle,

I'll divide the fat and the muscles

so that it is easier to distinguish them.

With the breasts, it looks like

it sticks right on top of the ribs.

The shape of the chest muscles

isn't that important, but,

in this situation,

if the hips are attached upwards,

the green area,

where the fat and the muscles meet together,

pops out even more

compared to other parts.

So, the red area

and the green area

bulge out differently.

And because of that,

if we look at the leg from different angles,

there's a big change in the hip lines.

When we look at the leg from the side,

you'll see that the hip line

pops out like this.

It's round and it pops out.

But when we look at it sideways,

the inner part of the hips can be seen.

So, it looks like it pops out.

When we draw a body that faces diagonally,

a body

that heads diagonally

just like this one,

when you attach the lower body,

the back outline comes out very gently

and the hips are separately round

and it doesn't stick.

It won't be like a duck's bottom.

People make a lot of mistakes here.

Quite often.

When you're drawing the lower body,

you might make mistakes here.

With the hips,

other than the side features,

since the hip outlines would pop out,

you should never make the hips pop out too much

in diagonal angles and frontal angles.

Of course, they could stick out a bit.

Depending on your body type, if your hips pop out,

to a certain extent, they can pop out

roundly.

Although that's true,

usually, when you draw the characters

and apply deformers,

you don't do that much.

You need to be careful

so that you don't draw it like that.

The reason it's coming up over there is because

the center of the hips

have thick muscles.

So, that side will pop out.

The outer parts aren't that thick,

so if you look at it closely,

you can hardly see it.

At the lower part of the hips,

there's a bit of space left under the part where the hips crack,

like this dark area.

There, if you draw the lower part of the legs,

in other words, if you draw

the genu valgum muscle,

usually, there's a triangle shape

here.

To express it in more detail,

like this,

as expected, you can see that even in this case,

the shape of the hips changes

by the angle.

It's good if you

practice this along with the other parts.

When you lift your legs forward,

from the side,

how it changes is

the fat

follows the direction of the muscles.

When the muscles are stretched out,

the fat is also stretched out.

When standing still,

the hips stick out,

but on the curve that gets pulled forward,

the hips become firm

and the outline keeps continuing.

On the other hand, if you put your legs back,

usually, you'll see that your hips

have become quite bumpy.

So depending on the movement of the legs,

the hip area over there

shrinks,

and these things are applied.

Remember that there's a change in the outline of the hips

depending on the leg angle.

Remember that.

When the shoulders turn,

if you're aware of

the shape of the deltoid muscle spinning,

when you move your legs,

look at how

the muscles

and the fat changes.

So, in the upper and lower body parts,

we looked at the parts where people make the most mistakes.

Practice drawing the breasts

and the hips

and the fat.

When you practice drawing the fat,

for me,

I become aware

of the shape changing

because of other things

or by a force like gravity.

It's the difference compared to the muscles.

So, when you put the lower part

on the floor,

the bottom part becomes a straight line

and goes inwards.

The ones with the round lines will stay the same, or

when things happen

like that,

practice separately

this area where it changes fluidly.

I practice those areas

with the human body

because I want to

describe what fat is like

when I'm drawing the human body.

Draw the hips popping out like this,

and like this,

familiarize yourself with drawing the human body.

You can think of it as practicing as if you're breathing.

In my case,

if I'm practicing the human body,

before I start drawing that day,

I draw around ten torsos

and ten heads.

After that, I would get into

the actual drawing of the day.

Before you work,

take about 30 minutes to 1 hour

to practice drawing the torsos and the heads.

If you increase your amount of practice and then start,

you can draw well that day.

See how I'm checking the lines

and keep drawing lines?

When you're drawing the torso,

what you need to focus on is

not thinking that every time you're drawing,

you're making a new human body.

When we learned the human body beforehand,

we made a mannequin.

So, you need to remember that

we need to keep drawing

the mannequin.

Say you're drawing the same human body.

You're drawing the same body,

but you're moving it,

changing its angle,

and practicing.

So that it doesn't become a completely new body every time,

you should be careful.

I'll put on some fat while doing that.

If you draw the detailed lines

like the lower part of your pelvis,

if that's included,

you can say that

you've mastered the human body.

In other words, in the end,

if you can draw a simple human body

and if you can move it,

you can draw any character you want.

If

you're practicing drawing the body right now,

and it's too hard,

and it feels like there's so much to do,

including the muscles,

you don't have to worry too much.

We talked about this before.

When I dress it up,

the lines on the human body

aren't that important.

In the end, deformers are different depending on the person.

When you apply deformers,

and when you look at the human body,

there are also human bodies that are like ones

from the anime One Piece.

If you apply deformers a lot,

like this,

you can draw

very simple human figures

like this

as long as the proportions are correct.

Then, those parts

won't look that awkward.

And if you draw the legs from there

and set the

appropriate proportions

for your characters,

you could say you don't want to draw sexy postures.

So, if drawing the body up to this extent

suits your drawing style,

just draw a simplified version of the body.

And you would practice

by changing its angles

and by changing its postures.

So,

even if it's simple,

when you clothe it,

the curves won't become that important.

Especially with big clothes

that a lot of cute characters wear,

with them,

describe the creases

and make sure the big clothes

are loose.

Draw the pants too.

When you're drawing sexy characters,

you're going to draw tight clothes.

So, you would need to give information

to the body's curves.

But if we're going to make it easy

and if you want to improve your skills,

until you give your character casual clothes,

if you want to do at least that much,

even if you omit most of the curves

like how I'm doing now,

they will all look the same if you dress up your characters.

Even if I drew the human body in detail,

there's no part where

I can see the line of the human body.

That's why it would be the same.

So, just add in the line details

as much as you want.

Draw in the muscle curves

and the fat curves

as you like.

You're going to make the human body more detailed.

So if you're drawing the human body,

and if it is too difficult to draw the muscles

because you are

a beginner,

don't focus too much on it.

Things like the muscles and the fat

can be focused on later.

Actually, for now,

it's not important to understand right away about

the human body in the curriculum.

You'll just briefly keep this in mind

and study it later.

So, that's what's important.

So, instead of practicing that,

remember when

we bent the body forwards?

Keep in mind how much it's bent,

and how much it rotates.

It's much better to

practice these parts

in detail.

Drawing mannequins

with three-dimensional information applied

to the underside of the pelvis

helps you much more.

It will also be a better practice.

Of course, if you simplify too much,

you'll make mistakes.

Even now, you can see that the upper body

becomes longer.

In fact, the more the deformers are applied,

there will be more mistakes.

But, actually,

as soon as we apply deformers to the character,

the human body is already incorrect.

So that's why

it's not that important.

In fact, people who don't draw

don't notice

even if there are errors in the anatomy.

That's why, the important thing is to

practice while

you turn a human body

that you think is correct.

You also need to practice a lot.

So, some people who can't

draw a human body beautifully

focus too much on the curves.

So, I hope you put your mind to it more

so that you won't make that mistake.

Don't focus on the outlines.

Instead, focus on

the proportions,

and the shapes and forms.

Now that we're done

practicing the torso,

we need to practice drawing the head.

The practice methods I'm showing you

are the methods I use

when I practice drawing

the human body.

When you're drawing the human body,

think of

the fat and muscle curves

and practice in many different angles.

When you're drawing the head,

practice in different angles.

With the head,

like we did when we drew the body,

the detailed lines

are actually just additional.

Additional details like

drawing the pupils

or the eyelids are needed

when you want to

draw a

more beautiful character.

So, that isn't always necessary.

When you're drawing the face,

if you're really going to simplify it,

you can just draw the pupil with only one line.

And if you are

drawing a detailed eye like what I'm doing,

you can draw the details

when you want to.

But I'm sure

most of you would go for a detailed look.

If it's an eye facing to the left,

draw like this.

Remember the additional details

like the eyebrow bones

and add them in.

Predict how

the ear's height,

the nose's angle,

and the face's shape would be applied.

The face I'm drawing right now

is actually quite a detailed face.

Even if you draw much simpler,

you'll still have the basis for a casual-style character.

Just like American cartoon-style drawings.

So, if you're not going for detailed drawings,

you can just do that much.

Or, if you actually love drawing that style,

you can just do that.

Even if you just put dots for the eyes

and the nose, and draw the forehead like this,

you can still study drawing.

You can just do that.

But, if you have time left,

and if you want your face

to be in demand

commercially,

just practice the basics,

and put in the details later.

As long as you know the basics,

putting in the details won't be that hard.

Draw the details where you've marked, like this.

Draw the hair.

We practiced drawing the details

along with the body

that became our basis.

Practice drawing details

like the pupil with a dot,

practice the eyes,

practice the hair,

and combine them

to make a character's face

that you like.

That's how you should approach it.

The process is simple, really.

Let's draw other angles, too.

When you do that, and when you turn around the head,

I recommend you practice

drawing the face in profile.

This is very important when you're understanding

three-dimensional information.

When we look at the profile view, the character's nose

and mouth pop out a lot.

So, a lot of people make mistakes

in that area.

You can say that the area

is the part where

the most deformers are applied to the head.

Of course, we can say the deformer is applied

when the head becomes large.

But, when the mouth pops out a lot,

there's a lot of difference compared to an actual face.

Understanding that

will be the basic thing

when you're deforming

the head shape.

Remember that you can

attach the hair in many different ways.

For instance, draw a long-haired character.

Previously,

I told you I didn't go over the basics a lot.

But, actually,

I covered most of the things

I wanted to tell you.

How you should approach

drawing the human body,

and how you should draw the head and the face.

Even with creases, the important thing is

how you would approach drawing them.

The practice process

is all about repetition in the end.

How you would approach it is important.

So, when you're drawing the human body,

don't be afraid because you think it's too difficult.

Just make sure how to correctly approach

drawing the different parts.

And if you practice repetitively,

one day, it'll all pay off.

Right now, I'm drawing

an old man.

I'm doing this to practice drawing.

But, let me give you a piece of advice

when it comes to your thoughts.

I've seen a lot of people

who don't like drawing male characters

or old characters.

So they would only draw female characters.

Of course, people who are the opposite exist as well.

There are people who only focus on male characters.

But, I think it's better to

draw many different types of characters.

But, I'm not talking about

drawing all the different types

to draw a male character.

We're drawing a male character

to draw a female character.

Right now, I'm drawing an old character.

Can you see that

with old characters, they have more three-dimensional information

compared to the more deformed characters

on the right?

There's a lot of detailed information

above the forehead,

and the eye sockets,

under the eyes.

Because old characters are less deformed

compared to highly deformed characters.

So, this kind of information

would be included a lot.

So, with this information,

it's actually hard to practice

when you're drawing just characters.

So, you can practice under the premise

that you're drawing an old character

to draw a beautiful female character.

I'd recommend that.

So, it's very good to

practice drawing old characters.

It's good to draw old characters,

but, the purpose would be

not to draw an old character

but to draw a female character more beautifully.

I'm telling you

this kind of approach

because people never do what they don't like.

That's human nature.

I've even seen people who say

they'll never draw male characters.

But, it's really hard to

catch up to people

who practice

with that kind of perspective.

So, you should draw different characters.

Even with old characters,

the one I just drew

isn't a realistic shape.

I applied a lot of deformers to it on purpose.

But, even that's enough.

You'll use the information you acquired

while drawing the old character.

And if you keep it in mind,

you can draw expressions as well.

With expressions,

remember where the facial muscles move?

The parts where you frown or where your eyes would go up?

You'll utilize these parts

to draw different facial expressions.

Even when you practice with expressions,

in your head, you'd be able to

apply the three-dimensional expressions.

I'll draw a head

with a low-angle applied.

Another thing

with drawing faces.

I want to recommend students to

draw as they want to.

Because we're drawing causal-style characters,

the deformation process

is actually quite free and open.

Of course, you'll face limits

if you're going for a realistic style.

But, other than that,

we apply deformers to some extent when drawing.

So, from that point,

drawing is actually a very free area.

So, I'd strongly recommend

practicing with different

facial expressions.

It's actually interesting to draw them.

You can also utilize them in later drawings.

We won't always draw

characters with the same facial expressions.

When you're practicing this,

you can draw

a squashed mouth,

or you can draw eyes that look silly.

Draw characters that have comical expressions

and approach them in a fun way.

But you should make sure to draw

the three-dimensional information accurately.

As you draw the head,

try to make sure the three-dimensional information

is correct.

And you should apply different deformers

to draw as freely as you want.

Drawing accurately

and drawing beautifully

are two separate things.

The basics of the human body that we went over

were all about drawing accurately.

Later, as you are practicing,

you will draw different facial expressions.

That's closer to drawing beautifully.

You could also say you're drawing naturally.

It's good to keep training in those areas.

So, do that when you're drawing the head.

There's not actually that much to do.

It's actually just a repetition.

Same with the creases.

In the end, creases are all about patterns.

Memorize those patterns.

Later, you would be able to

creatively draw the creases.

Keep in mind how the creases would move

when there's a certain action.

Remember the center of gravity,

the direction of force

and the

X and Y shapes.

Draw the creases in dimensions.

While drawing with your hand,

you should think about the dimensions

in your head.

Draw big clothes,

dry clothes,

tight clothes,

and soft and stiff materials.

Set down many examples

while looking at photos

and analyze the creases.

Also, look at deformed clothes

while thinking of your own deformers.

Remember, there's three steps to practice

when you're practicing with the creases.

Analyzing the patterns from a photo is the first step.

Analyzing the deformed patterns

from an illustration is the second step.

And applying all that is the third step.

Be aware of these steps

and keep drawing the creases.

Don't just draw the creases around the arms.

Draw the creases when you're drawing

the body part.

Actually, the body is

just thicker than the arms.

So, the creases around the arms and body

aren't that different.

Creases are all about repetitive patterns.

The X shapes and the Y shapes.

And the center of gravity.

In the end, it's all about repetition.

The creases around a hoodie would look like this.

Think of them as dimensions.

Though I'm drawing them as lines now.

It's also good to draw them

while you're coloring the dimensions.

You can also practice

similarly to how you copy dimensions from a photo.

So, today, we practiced a bit more in detail

the human body.

So, I'll summarize once more

what I want to tell you.

In today's lecture, I went over

where people make a lot of mistakes.

Think of it as a bonus lecture

on what we need to focus on

when practicing the head

and the clothes.

Because I thought

I didn't cover the basics enough previously,

I filmed this extra lecture

to go more in detail.

When you look at the contents,

the previous lectures

and today's lecture

would have taught you about

all the basics of the human body.

In the end, it's just about repetition.

So, keep practicing

the human body with that in mind.

I hope what I taught you

will be helpful for your future works.