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Okay, so we finished with the first part

that was chestal

and we have already that knowledge

incorporated to our draws.

So we can go forward to talk about

anatomy and movement.

Because those two things

usually we saw them separated

because we also see a lot of people

that work mostly the anatomy

by their side

they study the muscles

and how the bodies work

when they are making different poses

in poses

static poses, relaxed poses

and also when they're in some action poses

where they are a lot centered in

how the muscles work in that.

And that is really okay.

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It's a form that

you can use for studying anatomy

and incorporate

how the muscles look

when you're making your poses

and make your character more not rough

and also that can work with shadows

and that stuff.

And if you're interested in

the part of realistic art

it's really important to know

how those work together.

But in this case

I want to point

that it's more important for myself

to see how the anatomy

and the movement works together

how we can go from gesture

to some drawings that have

that gesture incorporated

and also the anatomy that looks not rough.

So this is something that we will talk about

here in this section.

So, let's go.

So, when we are talking about

how we can incorporate

that anatomy to our gesture

we need to simplify the anatomy.

Why, you may want to ask

but it's really simple.

That is, we have a drawing

that is really, really simplificated

and really rough

and don't have time to stop

for so much details

and we have anatomy

that is top in the details.

You need time for drawing anatomy

and look it really nice.

So, we need to work

with the simplification of the anatomy.

And what I mean with that is like

we will see

how much can we simplify the anatomy

the figures that we can make

and how we can use the simplificated figures

to make it more anatomy-looking

so we can give that sense of our drawings are

with a lot of anatomy

when the anatomy is really

really simplificated

and have the movement we want.

So that is really the answer here

so we will start with that.

So here we are.

We have our pose

we have a reference.

We can see the different parts of anatomy.

How the arms are working with the hands

how the curves of the muscles are going with

of the movement she's doing.

You can see all the details here.

So, what is the first step

for simplificating our anatomy?

The first thing is that

you need to think about

how we can draw this.

We are watching this

and how we can draw my anatomy

to not be so detailed

so I can not lose a lot of time doing that

but at the same time

making the anatomy really nice.

First thing is that you need to see this

and imagine different parts of the body

separated.

What I mean with that

for example

we have curves here.

Head.

The neck.

And then we have the torso.

We have the torso

that is like

a potato bag

if you can imagine something like this.

And we have, of course, the legs

arms, and

each butt is different.

So, how can we think about

simplficating the anatomy?

Usually when I see people

that try to put the body pose

and try to draw over

that pose, the anatomy

they usually use like sticks.

You know, like, we have the head then...

Something like this.

And they draw over this.

And in my personal opinion

these things don't help

in anything like. This

don't give you the idea of anything.

Like, no volume

the position of the arms is bad

the position of the hips is bad

where the legs bore in the torso

also is bad.

So, you need to have

a really good knowledge of

human anatomy and proportions

for those and for these sticks to work.

So my recommendation is not use them

because at the end

it's more headache for yourself

than being a help for you.

By my point of view

it's better that you work with volume

from the start.

We can have the head here.

Like

something like this.

We can have the neck

not doing a line.

Keep volume to the neck.

It's a cylinder.

The neck is not a line alone.

Right? It has volume.

You need to give that idea of volume

to your drawing from the sketch.

To make your

drawing more easy for you

and your sketch base

to add elements

will be more easy for you

to be fully sized.

How to put those elements

in the drawing?

So we can have the line of the shoulder here.

We can make

a middle line if we want

and mark

where the arms

or the torso

have its limits.

So we can do something like this.

We can have the first part of the torso

and the second part of the torso.

If it's a character that have curves

of course, this will be more

pronounciated.

But

if it's a male anatomy

not will be pronounciated

and this part will be more long.

As you can see, we're giving volume here.

Not is only

the drawing like a boat.

We are giving volume

so we can see

the space that the body is occupying.

And we can put the legs.

The legs also are like cylinders.

Something like this.

The body is formed by cylinders

mostly.

Potato bags

are safe too.

You know, like

this, and this, and this

and this, and this is like a bag

or a flour bag too.

And

spheres.

The spheres usually go in the shoulders.

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We can add also

those

to make

the parts where

the anatomy flexes.

And you also can make some big spheres.

For me, it doesn't really works

so I usually don't

use them here.

So you need to know

that the basic for drawing your

character in anatomy

is using your cylinders, your spheres

and your potato bag.

The hair is another form with usually...

The hair is not like

only an ellipse

because that's not like an egg.

Some people can draw with an egg

that can work too for you.

But the idea here is to not draw sticks.

No sticks.

Give volume to your anatomy.

So we can go back to

our reference

and we can start to search

these forms here.

So, we can see

the sphere

and see

the cylinder.

We have another cylinder here.

We have our potato bag

here.

And then you can go recognizing

all the simplificated forms of the anatomy.

So, how can this fuse with the chestal?

because that's the point of the gesture.

Because we have the chestal

how we simplificate our dynamic pose

at the very, very rough lines

and very fast lines

and everything related to that.

And how with this basics of anatomy volume

how we can fuse those

some parts of making

our final dynamic pose

with anatomy.

The gate is here.

I will turn off this.

And we are marking our graph.

Chestal pose.

Some random pose.

And there we have our

really rough pose

a dynamic one

because you can check this.

We have this exaggerated...

You can exaggerate it more if you want.

Like, if we pose this more like this.

And make this more

like this.

But as you can see

I'm incorporating my knowledge

about basic anatomy

because we are looking at it

and it has volume already.

This setting will take time

and will take time incorporating the chestal

and the simplificated anatomy together.

But the basic idea is that

you can manage those two together

so you're like making two steps in one.

So the idea is that you can draw fast

you can draw

looking really nice

really in movement

and at the same time

giving volume to the character.

This helps the anatomy

you can see the meat

you know?

So, that's the idea of everything.

We can focus on this now.

You can check that I already did this

in my mind.

And we have here the potato bag.

Its volume

as you can see.

Also, the potato bag works

for poses that

if the torso is like, going for the part of

out of torso.

Like this one.

So, this part

is going behind

for some reason

because the pose is near this.

And this one too, but

makes like

something like this.

You can test it, like

with another bag, or, like

the flour bags also that are in

Not in paper but in the normal ones.

You can test this

how it works.

It'll always be making this movement.

If it's a girl

of course, we have

this, like this

going with the movement of the torso up.

It's something to point.

But going back to the pose

we can see

the potato bag.

We can see

this and this.

It's important.

We can see

the cylinder here

and the cylinder here.

And also we can see the cylinder here.

Also the neck.

Right, so you can

figure those

and you can see they are not

perfect cylinders or perfect spheres

or perfect nothing.

It's really rough.

It's only for help you

to put the anatomy in order

and give it volume

and also give perspective.

Because at the end of the day

that is the case too.

Give perspective to all sketches

because the character

not is only in a 2D space.

Only if you're working with

very, very cartoon stuff

or chibi stuff.

Usually those are more focused

to be in only two dimensions

but usually when we're working with

our characters

we want those in 3D space

so we can give them volume

and also the idea of they are in a space

that we can see the perspective.

Like, the antotmy overlooks itself.

The anatomy is not

always

simple.

Like

with our frontal view only.

So this is the foreshortening.

And, with this

we can give to our pose more interest

from the person that's looking at it.

It's not the same draw

and arm that is something like this.

That draw an arm

that is here

that we can ...

The arm borns here

so we can curve this, and this, and this.

The cylinder is giving the idea

that the arm is going forward.

so we can draw something like this.

And the arm is giving the idea

that this is going forward

and then

it's going back again.

You can't put the cylinder like this.

The change of angle.

So it's going here

to here.

And with that

this part

is more interesting than this part.

And it's only a manage

of volume of the body.

And a simplification of the anatomy

we're looking at it.

And also the forms of the arm

it's helping but that's the idea

of the cylinders

and the spheres

because the body have a read.

This is not important.

Think that we're talking about more

forward zone.

Here is a really rough example

that we can incorporate

the basic simplification of the anatomy

together with chestal.

It's very, very rough

and I think it's really, really important

for you to see

and see that both can work together

without problem.

And as you can see

how I draw it

I didn't even

start with the chestal part

and then I added the cylinders and stuff.

I incorporated everything

and I did it together at the same time.

So, I'm doing both in one.

That's the point

I want to show you

I want you to understand

and if you want some day

to incorporate it to your art if you like it

you're making two pluses in one

and at the same time it's very, very helpful

for your pose and your volume

in the figures

so they are not looking like

really plain.

They're looking volumetric.

And that is the interesting of this, because

I didn't even draw anything here.

It's only the pose

and you can see how the body

is going with volume around.

I'll make this leg too.

We can make something like this

because this is going forward

and also we can get it back.

And the feet is going behind.

It's like a game of

how you can position your

different parts of the body of the pose.

Any pose you want to make

is possible

and you can play with these ellipses

and with these cylinders

and these spheres

and book them in different positions

to make the anatomy look interesting

giving volume.

Remember always to foreshortening

because also

if you think about it

these forms help you to understand

how to put elements

all over the other one.

For example, I have the shoulder here

and then I have the ellipse

of the arm.

And then I have the ellipse

of the next arm.

And then I have

the hand.

As you can see

it was for me really

fast to make

this thing.

This pose that usually

to us, gives you a lot of work

to think like, oh no

I need to put the hand

that is going forward in the camera

and I don't know how to make

the rest of the arm

how the arm works.

Because that becomes difficult

usually because we're thinking a lot

only in the curves of the arm

and the curves of the muscles.

And that is really nice

if you have time for a study

and you have time to stop to study this

and spend time on study

for example

how foreshortening works for an arm

in a really nice anatomy

on a real anatomy.

But usually

the major part of people don't do that.

So it's a thing that

if you have the idea of

how so simplificate those parts of the arm

the parts of the leg

the parts of the body

you should know in simple figures

that it's more easy for you

to put it in a space

in different poses.

Also, it will be more easy for you

to make the foreshortening.

And it will be more easy for you

to make poses that are more interesting

because they are not the same as always.

They are not boring.

They are like, doing

the character is doing

something interesting.

And it's more normal

that we're making poses that

always are in foreshortening

because we're not in a 2D plane.

It's really, really important

that you have all this in mind.

So I will give you some exercises

to make this and

it starts to

work this simplificated anatomy

and at the same time

make the fusion of those

with the chestal.

Now, we will start with some exercises

that can help you to

understand and practice

how we can

fuse the chestal

and then anatomy simplification.

So, first of all

I will recommend you that

you can search by yourself images that

have poses that

are interesting for you

but the first tip as I said before

try to note

the persons that appear in these photos

have a lot of clothes.

The idea is that you can see the body

the body curves, the body anatomy

how the arms are positioned

and in the space.

Images that are like this one

works perfectly.

Like, we can see here

really clear

how the arm is going.

We can see the cylinder here

the sphere here

this other cylinder here.

It's really clear

and also we can see the hand

is going a bit

behind.

So the curve in the

cylinder we need to use

is something like this.

It's the opposite than the hand of up

that is going clearly

forward in the space.

The curve is like this in the cylinder.

This kind of images

that you need to search

are really good for you to study

how to put this volume.

This studies, exercises

will take you more time than studies

because here we need to look

more at the anatomy

and not only to see the curves

because we can lose our minds

looking at how the arm

is doing all these

little curves.

And we can see for example

the arm is going here

but we have this muscle here.

That is a part of the pose

because the arm is going

really, really close to the torso

and making pressure in the torso.

So we have the arm that

this can be the normal volume.

With pressure, we have something

more like this

because this makes pressure over the torso.

And it's like we have

material that we put together.

And

the spheres will compress each other.

So those things

are important to have in mind

when you draw in the future

but right now know this point.

We will be focusing mostly in

how is the rim of the body.

For example,

here we have the arms

but if we want to focus on the torso

we can see the torso

by this shoulder reference.

We can see that it

has this line.

And with this

we have the idea that

the torso is doing a movement like this.

So if we see

this image from the front

we can see the torso is doing

something like this.

And we can see how

the torso is making pressure over itself.

We can see the reference

if we were in front of the girl

we will see something like this.

These kinds of poses are interesting

for you to study

because if you sit and look at it

and try to study

how the arms and the legs

and the body are positioned

in the space

you will have a more varied idea

of how it works.

And it will be more easy for you

to take ideas to make your poses

and your character in interesting poses.

Also this is going really from line

so if we see it from the front

it will be something like this.

And the arm is doing something like this.

So for this reason

it's making pressure over the torso.

And this arm is going behind

and

at the same time it's going...

Same

line as here.

So we need to have

all those things in

consideration.

Also, studying this

will help you to understand this

and if you start to understand the body

in the space

it will be more easy also for you

to position

to make the position of your character

easy for you to understand.

Like

usually if you go directly to draw this

like, this is my pose reference

and I will draw it

it's really okay.

But

when you don't have too much experience

it will be difficult for you to understand

what is happening

especially in places like this

places like this.

Like, the composition of the arm

also will be a bit difficult

what is happening behind.

But if you're simply in a simplification

it will be more easy for you

to rotate that in your mind

and put it in a different pose

so you understand

what's happening.

Also, another tip I will give you

before you start to make theses exercises

notice to only take references

of outside.

Like, only photos or only images

that you found.

Really big for help here

is yourself, your own body, because

it's always known

that you'll be looking at photos

and that stuff

and that is helpful

but the photo is not the same

as a 3D person in real life.

And not everyone has access

to going to sessions

of natural painting or natural drawing

that you have a model

that you can draw in a session of class.

But you can be your own model.

If you have a mirror

it's really helpful

especially in your room.

But also

if you don't have a mirror

also it's helpful if you make the pose

because you

are the best model for yourself.

Because, for example,

we have this pose

and we don't understand

what is happening really with the arm

and it starts to be a headache.

And it's a bit difficult to simplificate too

because you don't already manage too to do

how to simplificate everything in the body

and it starts to be a headache.

It starts to be frustrating

because you don't

get that exact pose

and how it works

and you draw ??? in your drawing

you can show that in your drawing.

It's a good thing

to make the pose by yourself.

Like

you see this, and try to imitate the pose.

And what you get

when you try to imitate the pose

you will see how your body poses.

And I know if you don't have a big mirror

it's a bit difficult for you

to see directly

but you start to feel the pose.

I know that is an abstract concept

because it's not easy to define.

But the idea here is not like a random idea

that you always, like

you need to feel the pose

and that will give you the energy.

No, we're not going for that.

It's mostly like

if you're making the pose

and you're looking at you

and if you're feeling the arms

and if you don't have a mirror

instead it's like

you start to understand better

how to pose the different parts of the body

and how it feels.

And then you, for example,

can put up the arm

here, and you see

okay, I put the arm here

and I see the hand.

It's at the same

height.

The same position

up the head.

So you get the reference

if you had the head here

for example

and you see your hand over this

you now see

with those

knowing it already.

It's like this hand is not more

is not in this position

or in this position.

It's here.

Okay?

So, that will give you

little ideas

of how to pose

the different parts of the body slowly

because the idea here

is not only watch and copy.

It's not see the pose

and try to make it perfect in the paper.

The idea here is not

I will do that pose perfectly in the paper

but not in person, for example.

The idea here is that you learn

or you incorporate to yourself

different things that help you

to make your own poses

and

that will help you to not depend

only on the reference.

Or, for example

not use only one reference for your pose

make like a Frankenstein of reference

that you usually use.

For example, when I need inspiration

or when I try to get a pose

and I'm not really sure about

what I have to draw

what I do is, like

a Frankenstein of references.

I have not one

I have like five references.

And I can get ideas from those

and make a new pose

from all five references.

And you can think

okay, how can you make that

and at the end have sense

because you're understanding

what's happening in the body

of each reference

and how the arm

and how the leg, and how the torso

put the head, put the hand.

The arm position is in the place

in the perspective in the 3D space.

You are looking with your mind.

And that will help you to manage

and reposition into different parts

of the body you're drawing.

That capacity is the idea that you have

and to get that capacity

you need to study and practice

and not only copy

not only draw from reference.

Because always draw from reference

if you're really okay because everyone

needs to learn, needs to watch

how to draw things.

Not only will it take inspiration

it's always

to think about what you are doing

in your drawing.

For that, the part of feeling the pose

it starts to make more sense in some way

because you need to understand

what is happening

with the different parts of the body

for positioning them

and make your pose to have sense

and at the same time look natural

and at the same time look dynamic

or look nice

in some way.

For that reason

in some way you will, for example

see this pose and

it means you can make this pose

like if you look at it

like it's a front view

or if you want the camera here

or the camera here

or the camera behind.

That knowledge

of simplificating the anatomy

and try to rotate that in the space

in your mind.

knowing what is happening

it will help you to make whatever you want

with that reference

or a pose you want to make.

So remember always

that you are also a model for yourself

and you are the better model for yourself

when you're drawing

the better reference.

Because when I always talk to people

that want to

start to draw

or want to improve drawing

they don't consider themselves as a model.

They don't consider themselves as a tool

to improve their art.

And for example, if you want to make a hand

it's not really

okay, I will search

for reference for the hand.

It'll be more easy, more fast

but you forget that you have your own hand

for a reference.

I know it depends on

what hand you want to draw

and the hand you use for drawing

will be more difficult or more easy

to work without, for example, a mirror.

It helps to really see to have a mirror

in your workspace.

Try to put it there

and use it as a tool

because not only does it help

for hands, for example

it also helps for your inspiration

the volume of your head

how the size works in your head

because also always for us,

it's difficult to understand too.

And that stuff is independent

of your style.

It's independent of

what you want to draw at the end.

It's knowledge that we help you to improve

and understand what's happening

with all the body.

Those things are important things

that I want you to remember always.

You are

your

best

model

for...

You are the best model

for reference for yourself.

And also

feel the pose.

And note as I talk

in not in a crazy mood

and not in an open answer like

you need to feel the pose, no.

It's like

you need to feel the pose because

it's easy for you

to understand what's happening.

Because at the end of the day

I know it's a bit repetitive of myself

but a lot of people are drawing

because they like drawing

and it's fun, and other stuff

but they have the same problem.

They don't understand, for example

what's happening in the hand.

For that reason

the hand is difficult to draw.

They don't understand how the arm

when it's making an aggressive pose

like this.

It's working

because I don't know

how to pose the foreshortening

because I don't know how to

how the anatomy works

when it's over the other one.

And those things start to be like

stop for yourself

and start being frustrating things.

That happens again, and again

and again, and again.

So, feel the poses like

okay, I need to make a pose of the arm

like this.

Okay, so I don't understand

what's happening here.

And when I

flex my arm

I see

from my point of view

if I draw from my point of view right now

it's something like this.

Because I'm looking from here.

If you

you not only need to

take the part of...

Okay, I'm looking at my arm.

From here I only see this part.

But you understand

how the arm is going

how this other arm is going.

The hand where this is the pose

that has the hand.

And if you start to rotate your arm

to see the details, you will see

how the arm

show the muscles

making the pose

when you're flexing it.

And this is a natural

way to study poses

instead of searching for everything.

I know searching for references

is always good

but using yourself is better.

It's that you have the model

in live action right now

in front of you.

That is a really, really big tool you have

and you need to use it.

And coming back to the part of exercises

because I always start to talk too much.

Here I can give you poses if I want

but I will let you search for them

so I will say

homework for this part will be

search poses

not poses like this

but characteristics like this

as I said before.

No clothing.

So search

for three references

without...

It needs to fit the body always.

If it has, like

a T-shirt that fits the body, it's okay

but no clothes that are really like a coat

or a skirt

where you miss information from the legs.

Something like this

don't work for you

especially right now.

Research three references

and we will try to

analyze them.

You need to stop in each of them

and you need to watch

what is the rim of the anatomy

how the cylinders are positioned in there

how the spheres are positioned in there

how the torso is positioned in there.

So that is the idea.

You take your time

to do each of them

and at the end

you will make

three pose drawings

the pose drawings that you want

and try

to fuse

a simple anatomy.

As I did in the other sketch...

Okay, I will draw a pose

so I will make a head

a neck.

This one is too clear

but you can make it more rough.

You're starting to incorporate this

so don't worry.

But try to make the chestal

using this

the cylinders.

Try to do this.

The first three poses

will not be perfect.

It will be a bit difficult

especially if you're not used to it

and especially if you're coming right away

from the chestal part.

But it's the thing

that you need to incorporate slowly.

I think it'll be perfect

for you to start with these exercises

right now.

And yeah.

So this is the homework right now

for this part

and then we're stopping right away

for the next part.