All language subtitles for 03. 3-D Composition and Expressing Motion

Hello.

In this lecture, we go from the past to the content

Let's learn together how to draw using medieval and center of gravity, as well as exercises to draw by moving the point of view of the camera angle.

The past time was spent practicing through film what is important when wanting to represent objects in three dimensions.

In the basic institutional film model of my direction, the painting was a bit stiff and

This time, we will understand the basic center of gravity and body of the human body, and practice drawing them naturally.

Let's start by learning about the center of gravity.

If it weren't for weightless space, humans would basically try to keep their balance while their feet are on the ground.

In order to keep the human body in balance, the

The axis or shape in which the body tries to effectively distribute its weight and which supports it is called the center of gravity.

Ignoring the center of gravity when drawing the human body.

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If drawn awkwardly, the character looks dangerous or unnatural, so be sure to take the center of gravity into account when drawing

It is better to draw a pose.

To express this center of gravity, let's take a look at some things to know.

If something goes wrong with the human body, which parts are unable to control the center of gravity?

First of all, of course, we step on the feet of the ground and are unable to support the center of gravity.

And if the lower back is injured, you will feel the strain even standing still.

People who paint often sit and work, it's really easy to get a back injury, but make sure you drink well to take care of your back.

Be sure to stretch a little while listening to the lecture.

Anyway, the center of gravity

This swaying can make it difficult for the body to stand in balance, and aids are usually needed to support the weight in this case.

So, when you are looking for the center of gravity of the human body, you can draw a triangle to plot the center of gravity based on your waist and feet.

If you have a waist, put your arms in the middle of

When you draw a triangle this way, you can stand firmly on the ground if you draw a triangle.

Let me take another look at this stolen model.

Also, in the movie, if there is a waist on the ground, then the feet that touch the ground become the standard for grabbing the center of gravity.

When drawing a triangle like this, the

If the triangle can stand stably, then the body may be small.

However, when the triangle is off to one side, the center of gravity will become unstable.

If the waist is biased from the sides to the non-center, the weight of the body will move in that direction.

So, unless walking or running, the center of gravity should be drawn as a diagonal triangle.

Also, if the center of gravity is bent excessively at the waist, the center of gravity becomes unstable.

The human body is basically designed to support the weight in a stable manner, and the bones in the center of the body - the spine - form the numerical curve.

So with the waist as the base, the upper body and lower body tilt in slightly different directions.

Watch two movies and it will look like this.

This is called spinal blood and lumbar vertebrae on the lower back.

If the curves of these lumbar vertebrae are curved excessively, it is difficult to support the weight in a stable manner.

Therefore, the other points that make up the center of gravity - the feet should be spread more lumbar to make the triangle more stable.

Exaggerated waist posture

Makes the human silhouette more dynamic, so often poses because the waist is bent at a higher than normal angle.

In this case, I must have remembered that I should grab the center of gravity more steadily by spacing the feet, right?

Then, in order to grab the center of gravity, the body must be in a symmetrical pose, and not.

If the human body is drawn in a symmetrical pose on both sides, the center of gravity may be stable, but it looks very stiff.

So it has nothing to do with the center of gravity, draw it as unnatural.

In Western painting and sculpture, the

To solve these problems, I considered a pose that depicts the human body asymmetrically, but also captures the center of gravity.

A pose that supports the body's center of gravity with one leg so that the pelvis and shoulders are oriented diagonally is called a contrast.

The leg that supports the weight gets closer to the axis from the waist to the ground, the less the opposite leg is weighed.

This side of the bridge is closer to the center.

At this point, the pelvic side of the side leg with the supporting weight is directed upward, while the shoulders fall in the opposite direction.

Composing the body in this way, the midline of the body draws a gentle curve.

This contrast column gives the right amount of tension and balance to the static pose, so now or a variety of figures

It is a pose often used in illustrations of flower characters.

You have also heard a lot about the forces that I also consider first when conceiving a pose.

It is advisable to practice contrasting columns in order to draw from multiple angles.

So, what should you do to draw these contrast posters at multiple angles, and watch the movie too.

First, on the side

If you look at this pose, the perspective of your shoulders and stomach will be a little bit worse.

So, when the dragon is looking from the side

Because the head stays in a spherical frame, the

There is no change, but when the dragon is viewed from the side

should be shortened to the bottom.

The pelvis is tilted in the opposite direction.

Should be shortened to the top.

If we look at this leap from the opposite direction.

Looking at the difference in perspective from the direction of the second axis, the opposite

The one just drawn and the short one will be opposite.

So, although the shortening is the same, the 6 people and the lower side are visible to the opposite degree.

The pelvis is drawn the same way

Together with the inclined shape, the difference in height of the shoulders can be depicted.

Again, following the direction of the line of sight

You can confirm that the shoulders are not directly attached to this side but should be drawn slightly upwards.

The opposite direction is completely obscured, so it's okay not to draw it.

Relatively speaking, it doesn't matter if it's completely slightly further down than the outer contact when you look at it here.

The opposite direction is not completely obscured, the

You can slightly confirm what you can see above.

Furthermore, according to the basic bend of the waist

the body and pelvis are tilted backwards.

The body can be tilted, when viewed from the side

The pelvis also tilts.

This resolves the bending of the lumbar gesture.

The front is the same as the one just confirmed, showing the abbreviations and making the ship and

You can show the sense of perspective of the shoulder.

The lower side of the abdomen

Need to trim the shading and the shoulders will be shortened, so the profile will be shown in a curve.

If the pelvis is equally fertilized, the

please modify it so that it can see the top surface that

The bottom surface should be modified to match the bottom surface as well, right?

By shortening the shape, we can show the orientation of the different shapes that

You can also explain a little bit more about the space between 0's.

It is very important to express in the space of this video, for describing the basic zigzag.

The bridge that was not finished, then when I was given the painting

To express closeness, it is better to use abbreviations. From the front, you can see the uncomfortable side of

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means you have a little bit of foot left.

The other side of the leg we do not have to use the shortened, but a straight line direction drawn as a square can be it.

If you draw on this side, the

The back leg is obscured, so it's best to draw it so you don't lose sight of it.

Next, I'll draw this figure seen above.

If it's hard to draw a different angle right away, as it was in the past

It's also helpful to plot the direction of my view on the front side view and check its shortening.

Because it's a high Engle, the overlay appears in order from the torso to the toe basically expresses it.

From above, the torso is seen here when

than the original has the direction that

Short lines are less frequent, so the cross section is flatter than the originally drawn graph.

On the following curve, draw flatter, the

The mass also expands just a little bit.

On the contrary, the pelvis will be shorter than the originally possessed surface.

This length can be confirmed shorter if it was originally shorter.

So the smoke has become more rounded.

The sides should be shorter.

In this state, the shoulders and the pelvis are oriented

are now depicted side-by-side like this, and if each direction is returned to the side

is drawn like this.

Plus we put a little bit more emphasis on the shoulder position also then draw, the side leg that supports the weight

In order to continue from the waist, move slightly in the direction of catching.

Because the opposite leg cannot support the center of gravity

It doesn't matter if you move in a more free direction.

Need to modify the scale slightly

If you look at the separation from below, the shortening will look the opposite.

Let's start drawing from the pelvis.

The pelvis is dilated, instead.

The shape is a little flatter than the original drawing

The cross-section will change

The torso should be shorter than the original drawn shape.

If this difference in shortening occurs, the

Humans express the spatial sense of the vessel through blood flow.

In this state, Hein draws the same, the direction of the torso and the pelvis

tilted, rather than appearing with stones.

It should be arranged that way.

If you draw another leg, then the bridge supporting the center of gravity will be shortened as it is.

which is as long as the torso.

A little bit longer than the side of the torso, right.

Go towards the middle.

The side-extended leg is drawn here with a glance.

You'll notice it's slightly extended on the side.

Compared to the leg next to it.

so you can't move the column directly.

A little bit of expansion

Take the shape of the figure shadow, then draw it toward the station side.

If the center of the torso and pelvis are not shown here, the direction of rotation can also be drawn.

As an example, if your torso and pelvis were facing you, you would draw the center, and if I put the torso to the left

If you draw the pelvis to the right, this direction is not just a shape with curves in the front and back

Here is another point

and the feeling of rotation.

If you draw it this way, you will have the perspective of the shoulders. This side of the shoulder is a little bit further up.

The back shoulders should be drawn more shaded.

The same goes for the pelvis, and later, when you draw the human body

The length of the waist based on the belly button will change.

When drawing the arms on the shoulders, the

placed in the position of the extension from the station.

It is not difficult to imagine the upper arm.

Each criterion drawn here, which is this surface formed by the section

It is very helpful in the future when drawing the human body or clothes wrinkles, so you can express them together if you have time.

Have you also imitated here?

This way using contrast posters can give the human body the same potential from now on.

So, I understand the center of gravity of the human body and the basic signs, let's practice the homopotential.

If the human body extends in a direction that forms a curve instead of a straight line, the human body will have an active sense of movement, and this is called synesthesia.

The natural round core injects a sense of vividness into the character and makes the character more communicative.

It is important to note that the same world refers to adjectives, such as the objective direction and line of the action, rather than the cute and active child world.

It's a little difficult to say and may be hard to understand.

Let's move the photo together I'll draw it under the shape and together we'll see how the same potential of the human body is three-dimensional.

First, I prepared a couple of rulers in the three-dimensional direction represented by the East Seal.

The near and far perspective appearing on the human body is more suitable for the exercise of drawing below zero degrees than for the flat images.

Conversely, diagrams with too strong a perspective should be considered distorted according to the perspective perspective method that

Not recommended for practice, general Olympic Games photos and choreography practice photos, etc. generally target a bit of the camera at a distance, so

The city did not appear, so the information seems appropriate.

Well, I tried to move the information together stereoscopically to the shape.

Let's start with observation.

Usually, we start by drawing something like the screen orientation and hand scale that

Instead of using the model to confirm what kind of curve the lines are in, it's a more three-dimensional view, from the tips of the feet to the head.

This three-dimensionally cut out what from my eyes, it is better to draw it while confirming me from a distance.

The first thing closest to the snow is probably the feet on this side. And then it continues all the way down to the knee.

And leads to the pelvis.

Then along the torso

Later the shoulders were placed and finally the head was placed.

So, if we express it in terms of kinetic potential, then we place him on the graph that

Starting from the toes

The directional lines of the body and head leading here are to be shown in three dimensions.

Also, although it is not the head from the toe, if there is a point that can express the sense of perspective, let's take a look at it.

From here, the near side of the leg is fully extended, so the long calf is seen like this.

he opposite, the shape of the thigh from the knee to the pelvis is shorter than the original known proportions of

It can be confirmed that a short time appears.

So, if we move it back to the graph later, the calf must extend that

Use the superposition to show that the thigh is farther than the calf.

And this thigh theft should happen so short.

In contrast, if you see a leg on the other side of the shade, in order to show something a little bit further than this thigh

overlap is taken for granted.

Compared to the preceding leg, the shape of the leg from this pelvis to the toe is flat, the

which extends into an internal shape.

Has a three-dimensional feel.

Also, if you look at the arm, the geometry extends very long from the elbow to the hand

The theft that extends all the way to the shoulder looks particularly short compared to the proportions that we know.

Thus, the overlap and the shortened extension will appear compounded.

Likewise, the back side of the arm is seen here, compared to the eight poisons getting shorter, the important thing is

Because the ratio of the shape between the wrist and the shoulder is similar to the front side.

The extension perpendicular to our eyes.

So, when we move it to the image, the

The exact human scale is a better choice, but to practice the shapes more effectively, each shape is overlapped and shortened.

It is better to confirm these things first and then draw them.

So when drawing in three dimensions, it is recommended to draw in the order closest to the eyes, so that

Instead of starting with the torso, it would be better to start with the lower legs, which should be helpful when practicing.

First, I'll start with the calves.

Slowing down on the calf, the part that's close always has to be drawn in an extended form first.

If you want to complicate the expression here, in order to give you a representation of the knee being farther than the ankle

Slightly, but you can also express abbreviated.

Superimposed and shortened from thigh to pelvis, as described above

indicates a vertical tilt from my eye, where the opposite leg is drawn before extending all the way to the pelvis

Express it first and then go.

You can see on the back leg that

About half of the thighs are obscured, so draw the map so that the overlay can happen on the front legs.

Same length as Tauran here, and if the lower legs are connected, you can draw the terrain of the lower legs that touch the ground.

Although a little bit, but want to show a three-dimensional sense of words, in order to show my words, the calf is farther than the knee, I will use a little bit of buckle.

After that, please draw the last surface that touches the ground.

From here, the direction my feet are facing and my eyes are messed up, so shortening occurs and drawing is very short.

When we look from here, we see the area of the foot is the side of the foot when we want to shorten here.

Similarly, if you put the torso together, the

The body is facing in a somewhat smaller direction, but to express something farther over the shoulder

instead of a quadrilateral.

should be drawn as a cylinder.

Similarly, when the hair continues

Instead of differentiating a little bit, why don't you use the same thing that you see, and show everything that's obscured with it?

And then draw an arm.

because it's closer than the torso.

It can't be drawn separately, like you give overlaps and exercises.

The pattern from the heel to the wrist can be extended and drawn on as well.

The upper arm from the heel to the shoulder should be shortened so that the thighs are shorter and the shoulders can be covered.

The opposite side of the shoulder is also sturdier than the torso in the back or the shoulders expressed in the formula on the upper side

Please write an overlay, then

When drawing a diagram, you can draw a square cylinder.

As stated in this pavilion, like the hand, it may become too complicated when entering the graph.

First, the stage can now be omitted.

Again, I'll look at the other data.

If you move this graph to the two movies.

What does "closest to the eye" look like, where each shape is vertical?

There are side-by-side or tilted, and there are shortened sections.

So from the opposite side, the calves and thighs will not be very different in length.

So something like the bridge in front of us now with the a-fold doesn't appear in three dimensions, the

These shapes are shortened to the same degree, or extend each other to form lines in the direction of the plane.

The pelvis also confirms that we see it completely from the bottom, so that when you move it to the dragon

It has to be effectively shortened.

Same with the torso

to speed up.

Match here, then the shoulders are laid out as well, right?

Let's move this around a little bit.

Which means that by drawing from the closest point to the eye, the calf will extend and

The thighs should shorten to the pelvis.

The other side is

Draw a picture so that both expand, the

side.

thighs than drawing this shape, reducing or expanding the degree of shortening that

Just pick up in the direction of the pelvis.

The pelvis is shortened with the exercise line, so that the lower side is visible

even shortening the torso.

Draw half the pants.

The shoulders, too.

In order to show something closer than the torso, please don't point and bend the painting, but put it in a position that covers the torso.

Like the foot, there is text here that allows us to see the bottom of the foot directly into the back of the foot

On this side, the foot can be seen sideways, so the area of the back of the foot should be drawn so that it is not directly visible.

So, to make it easier to stay away from the calf, please write some overlays.

This side is drawn for the dorsum of the foot, and this side is flattened, so it is drawn.

If you're used to drawing arms, then when you practice drawing English

Try practicing drawing closer to the eyes and covering the distance from the eyes.

The other side of the arm at the torso is obscured

You'll find the inspiration is obvious.

If you are a teacher here.

that go all the way down to the knees, most of them are not slanted from our eyes, and they are not slanted, but they are not significantly slanted.

So, it's better to draw a picture in an expanded form, keeping the proportions of the human body, but from the knees to the toes after that

What follows is the near and far parts of the eye.

To make this look the same in English, it should be drawn in three dimensions.

If you draw it here and want to express your later little suspicion that the pelvis is sunken backwards

It's best to shorten it to the top surface in this state.

And the thighs.

It's not a big deal to draw as is, but if you can, even if it's just a little bit

Need to use the sense of space

Also, when flipping to the calf, you can't draw directly from this state to the outer frame.

To clarify the overlay, and to indicate that the ankle is further away than the knee, put in the column with a shortened shape.

The foot is also farther from the ankle. To express this, write a good overlap.

As you can see from the photo, because it is completely covered by the opposite knee, so do not be covered by the thigh, and just draw it, right?

When it comes to personal stories, I actually had to practice some movies first than learning Crockett or gesture drawing.

Originally loved doodling and drawing, but limiting time constraints made it a little hard to play Crockett.

Of course, Crockey did have good practice in looking in order of importance, and now he can have so much fun, but

Caring about correct proportions and lines was too hard for me the first time I drew.

So two terms, just like the Lantern Festival, I found a way to draw freely, and I learned, personally

It's not like that roadbed, but it does have a lot of help in the future.

In particular, Jo Yung Won has the feature of being able to express himself in three dimensions, and it really helps a lot when he usually draws with various compositions and poses.

So when you're practicing film.

than to memorize the feeling of this training, where is the place where I can apply my creation through this sketch?

For example, if you look closely at superimposing or shortening, as you're doing now, and then practice

trainees are sure to find useful parts as well when they know what they will be doing later.

Next, let's look at a few different models.

like the model that is now drawn.

Overall, the three-dimensionality is not stronger than above, but it is possible to identify overlapping or shortened parts

Let me see where first.

You can see where the shoulder line and the head appear to overlap.

This little arm

It appears to be planar, but compared to the scale we originally knew

In terms of being slightly shorter, it appears to be shortened in one part, so it can be depicted in that form.

On the contrary, the upper arm is expanded in this way, but in the case of the lower arm here, you can see that shortening has occurred.

So later you can draw it as a ceramic version and just move the shape around like this.

Having the brains.

The torso should be drawn slightly like what you see above.

The pelvis is

Along the trunk and down the legs

This side of the leg is also slightly forward

And the length of the lower leg is long, so you can tell it's OK.

The opposite leg and the leg in front of it do not appear to have a great sense of space, so even if you draw it directly, there will be no problem.

Here, it is enough to draw the area according to the part of the foot that touches the ground.

The later shoulders are also a little slower than the ones on this side, so save the overlay if possible.

The upper arm needs to be expanded and the lower arm needs to be shortened

The other side is also slightly stacked back on the shoulder, so that the table is not drawn as it is, slightly shortened

shorten it again, and then look at it three-dimensionally.

can explain the sense of structure that you get when you go in. Again, let me take a partial look at this model.

If you look at it, the torso is like one of the sources that I read earlier, and it probably wouldn't be a big problem to draw it as a flat composition.

Like the leg over here, which is now here, is approaching me when you look at it in three dimensions.

We need to show in the direction away from my direction.

If you draw a little bit with this.

The torso is drawn at a slightly lower angle, yo

The pelvis is drawn as a vertical extension

In the case of the legs, the legs on this side are shortened to be close to my eyes, and the opposite legs in the opposite direction.

Shorten it to the direction away.

the calf away from the knee, too.

Shorten the time for me.

But you can see the opposite calf is slightly longer than the length on this side.

So it should be drawn as a relative extension.

Using complementary types.

The advantage is that if you draw it flat, it looks like a simple line, but in both movies, the part

It is a guideline for full use when you draw the clothes line later, so draw it while confirming this part.

If you think about a model like this one, overall, where is the three-dimensionality?

More active than the legs on the arms.

Elbow and shoulder on the wrist

to the torso and opposite the elbow of the shoulder on the wrist.

should be drawn in sequence on the overlay. The torso is tilted forward and

Bend behind the pelvis.

Because the sense of space from the hip to the ankle does not appear directly

In such a case, we might as well expand it and draw it out.

Instead, it has a distant hind leg.

We do need to look at it as an overlay.

Just like you practiced.

From this hand to the back arm, use the overlay in order, then move to the model with the shortening

appearing like this.

If you can, when trying to dissect the structure, the front rib line

Or the long bone play part.

If you're free, you'll see the back.

You can roughly locate the position of the shoulder armor object.

Let's see in which aspects of this model are three-dimensional.

the directions may look short and long in the plane when viewed sequentially from the feet on this side to the feet on that side.

Look at the directions three-dimensionally and confirm that the body appears in a three-dimensional direction from here to 6.

You can see.

So, if you draw it as a graph.

to orient this three-dimensional direction.

There is a leg in the back.

On both movie models, try not to show lines.

Please draw while thinking about directionality.

Because the feet are facing forward.

But the foot is not frontal, so it will appear short, and the back will also want the direction, lending area.

Here also you will first see where the shortening actively appears.

Right here.

Don't simply draw this line as a long, short party.

The extended thigh shape and the shortened calf.

Also, you need to draw a picture so that the overlap happens.

The rest of the shapes are also effortless

Layout for you while thinking about directionality.

This side of the arm is now itchy with hair, so it won't look closely at the

Than the moon leg, in order to show that the arm is in the back, this side of the space is going back a little bit.

Instead, we need to extend the arm at the foot to keep it natural.

Once the shape is completed to a certain degree, the

It is also good to show the anatomical structure again.

Therefore, I practiced moving the sense of perspective and the body that appears in the photograph into the film.

So, now let's see how to express the same lock on white paper.

Basically, the goal is to draw while maintaining the proportions of the human body.

Before applying the contrast poster, it is recommended to catch the center of gravity and then draw.

If I were to use two terms to describe the basic pose of a semi-lateral pose, I would draw it first.

with the torso slightly tilted to this side and, conversely, the pelvis slightly tilted to the back of the door.

tilted backwards.

The mood of the human body.

From the same age, the waist is slightly bent, so it's better to draw the two feet slightly apart than to drop the feet side by side.

Because there is no control poster now, the shoulders and pelvis are separated in the direction of emergence

It will be handy to set the ground reach

The orientation of the feet.

We'd better draw it as a little gap.

For the arm, the special case is

or that it has less influence on the center of gravity than the waist or the feet in a standing motionless human body.

preferably free to be placed.

Basically, the body is stationary, through the feet and waist

Triangles will be formed.

Enlarging the distance between the two legs makes the triangle larger.

Increasing the spacing between the two legs, the

Increased

Per leg

will tilt toward the foot.

tilt, and the overall height is going to be a little bit lower.

making the triangle larger.

Draws a very stable, static pose by increasing the spacing between the feet.

Often used on standing pips for game illustrations, because even if the waist is a very large country road, the feet can fully grasp the center of gravity.

The curve of the human body is more omitted, so you can look at it more frequently on male characters.

Now, like one of the drawings I did beforehand, with the feet putting their weight in the middle

a little bit further than the basic spacing.

The center of gravity will be a little more stable.

Also, in the case of the ninth degree of pelvic formation, when the feet are gathered inward, they will be a little straighter than inward.

A pose that becomes frequently used when drawing characters that do not require emphasis on the lower body.

Conversely, when the center of gravity is concentrated in the middle

In addition, it makes the center of gravity look more unstable

To make it out, let's use the curve of the waist again.

Step

should be shown in the middle of this.

This case of

The orientation of the two feet could also be drawn a little more neatly, which is pretty realistic, right?

And the back of the waist is backed up a little bit.

Shorter area.

This section creates slightly more surfaces

Creates a steep curve.

With the waist as the axis, if the torso is available

Let it go back a little bit, the

In this case, contrary to the pelvis

The extension should be drawn flatter.

Instead, in the default pose, the legs will become

Gathered together, the center of gravity is drawn next to the

This becomes relatively unstable and can easily produce a sense of thrill in the pose.

So, when you draw some conventional concepts to depict those aggressive or unstable lumps

there are times when the center of gravity is intentionally drawn to be unstable, and it's very common to shrink two out of frame for drawing that

Or, if the waist is further bent in this state, then a very unstable pose may be intentionally made.

However, when you are floating in the air, or not affecting the picture on the ground, you rarely need to pay attention to the center of gravity.

For example, when we depict a character that is jumping, falling through the air, or feeling like he is flying

Just like when we learn the center of gravity, there becomes little reason to finish drawing from the pelvis to the toes.

In this case, the short extensions of each shape are superimposed

It is recommended that you concentrate on space and three-dimensionality.

or walking.

It is also good to move the center of gravity when the character is moving in a specific direction (e.g. jumping).

For example

For example, when you draw a forward pose, the

When the triangle of gravity is symmetric, the

So, if the biaxial symmetry falling from the waist of

feels a little bit static, if the waist or the upper body is deliberately tilted forward, instead of the onion 1

can add to the feeling of the character moving in that direction.

So overall, the body from the head to the pelvis

Plus the bridge that supports the center of gravity

It's better to move forward a little bit more.

Thus, the opposite leg has relatively less weight, the

In this case, the leg that normally supports the weight of the lateral leg extension

While supporting the weight, a contrast column usually appears.

If you draw a center of gravity, the

Rather, the opposite leg supports a lesser center of gravity.

This way the drawing shows more positively the direction the character is moving.

If the character is running, it can be more dramatic to show the asymmetry shown here, when simply drawing

The brother from the head to the pelvis.

Drawing another diagram so that the leg supporting the weight remains at the waist, while the opposite leg hangs in the air.

Drawings that are not related to weight are helpful when drawing running poses.

Later, when drawing this pose at a different angle, the

Don't back, don't draw, just like we just practiced, from head to pelvis

Also, we need to arrange two movies so that this curve can be presented in three dimensions to the other leg.

Also there are cases where the character is sitting or leaning against the wall, so here's a brief look.

No matter what pose you draw, if you are used to drawing from very close to the eyes

It will be helpful to practice for two movies.

In this case, the role of the foot as a support for the center of gravity is the wall that

Because the legs of the chair are auxiliary, the center of gravity captures a three-dimensional shape, not a triangular one.

There are feet on this side, where the wall on this side touches the ground.

If you continue the waist from here, it's not a triangle, but a triangular cone shape.

Also, here the waist and arms of the center of gravity are present

When the legs of the chair supporting the center of gravity are joined together, this part will draw a square pyramid shape.

In this way, I would stand on both feet, of course

because there are times when it's more stable, so the degree of bending at the waist is not an important factor in the center of gravity.

However, when drawing a body with a specific behavior, one thing needs to be known in advance.

For example, if you look at this picture together and he says, the character is shooting an arrow, or swinging a bat in a pose.

There are really a lot of elements in the photo that can indicate what the character does, not only the brass lines of the character, but also the anatomical clothing wrinkled wind tools, etc.

But it's relatively difficult to know specifically what the character is doing in the pose if this is portrayed directly as two movies.

So, we need to emphasize a little bit of the same pose.

From the same life of the character in Li Hua, the terracotta figurines are arranged in this way that

just like this

Draw some arcs with the ship as a reference

Draw the clothing pattern or anatomy if the person is shooting an arrow before drawing the bow

I'm afraid it's difficult to show.

So, in emphasizing this momentum, we need to rearrange the shape, thinking that it will make this curve a little bit steeper.

If you draw it a little bit, the body is going to go back a little bit, so it's going to shorten a little bit more.

The pelvis is also opposite, with a steeper curve

Let Jane Jane be a little bit more aggressive.

Taking the board as an example, if the same trend is forced to be emphasized

This person is shooting arrows will confuse people, so if you do it as it is, the symbols that can be drawn

The head is a little bit, but draw the symbol closer to the torso

And the waist, which supports the center of gravity, is more arched

You should expand the leg a little bit more and fix it so that it holds the center of gravity securely.

If it's laid out like this, than the character drawn next to it

The curve in the eastern potential direction is slightly, but you can see the turn in a steeper direction.

Looking at the belt here again, I first drew two movies, the head

It's not going to work.

Looking at this in stereo all the way down to the pelvis

Instead of a simple curve like this, the

Although the head is close to the ship and getting farther away from it, you can confirm that there is a curve drawn in a three-dimensional direction.

If this curve gets a little steeper by reorienting, then when drawing from the head, the

the body will be shortened to slightly reveal some of its sides, the

to change the overlap.

The direction is also slightly backward

If you can, change the direction slightly so that the waist is slightly less stable than the original drawn center of gravity.

It is also better to have the arms a little wider apart than they were drawn.

Facial orientation diagram

Same as the torso orientation, if you tilt it a little, it might emphasize the body a little bit, right?

Again, the continuation from the shoulders to the arms would show a little bit more.

The torso is back in the back, so it's best to draw the shoulders where they no longer appear either, showing a little difference between the top and bottom.

If you draw in this way, next to the film and other cases, only draw the respective tools to shoot arrows.

Or wielding a bat.

As now depicted, in the absence of any other factors in particular, when the target's behavior is fully displayed

further drawing of the topology or tools of the tool character, etc., later on, a more convincing drawing can be entered.

Therefore, when drawing, it is better to emphasize the three-dimensional direction in the process of expressing the same potential, more prominently than imagined.

On the contrary, an overly exaggerated body is rather unnatural, but if you want to produce the feeling of dynamic

I recommend that you practice emphasizing the fuselage in this way.

Just for fun, I'll change the tools.

Anyway, the advantage of both movies seems to be this.

The advantage is that when sketching freely and showing imagination to the maximum, it can be as realistic as three-dimensional.

Let's see how to express verbs dynamically.

In any case, the more you explore ways to emphasize three-dimensionality, the more dynamic the body becomes, right?

Therefore, when setting up the fuselage in two films, it is best to consider shortening and extending the direction in which the overlay actively appears as much as possible.

Like trains or something like that.

If the train is in a straight line direction, then identifying this space becomes very simple and straightforward.

Each car of the train shows short distance differences so that each car shows a different direction, which makes it appear more evasive in spatial mapping.

So, if you want to make these static poses more dynamic when you draw as two movies

"Shorten" and "Extend" allow you to see the directionality of the steeper curves in the layout so that it looks slightly worse.

Now next to this material

Because I feel energetic enough, so I painted it, the disadvantage that the three-dimensionality of this situation is a bit poor.

Especially from the pelvis to the bike, the three-dimensionality will appear in order like the train next to it.

This is not the case now, the upper body tends to be drawn a bit flat.

Let me change it so that it has some overlap or shortening.

For example, the neck is a little bit shorter than the original drawing, Lado

You can shorten the upper body a little bit and set it in the direction away from the pelvis.

Also, if the two arms are symmetrical, they'll look slightly easier, so slightly, but the shoulders and

The opposite shoulder is also modified in position, the

Memories that create a sense of depth

Rather than unfolding them simultaneously, a single arm is better than

shortening the time that

The upward arm is expanded and if the difference between long or short appears

When we look at this, in order, the

makes the shoulder bend in the heat.

Same thing here.

If there is an overlap and shortening from the shoulder to the arm, the

And the degree of shortening, we are free to modify it a bit.

In the case of the cheeks like the cheeks, the drawing is now also three-dimensional enough, so it can be drawn as it is

Conversely, in this case, the orientation becomes more asymmetrical when you see the plane as well.

Two legs

With the same shortening, with a relatively little expansion on one side, the

Otherwise, with the shortening, you can use a little bit more depth, right?

Because it's already expanded here, we draw it as a completely harmonious miniature

The direction in which the torso is facing is not frontal, either

This side is the left side of the car, and this side is the difference.

Lifted to the right, the shape of the abdominal dorsum joining up will look a little more interesting when I draw the anatomy later.

When I draw clothes in the future, if I follow this guideline to show the three-dimensionality

Very helpful.

Let me see a few more examples.

The mobile type is also a three-dimensional copper line, with such a three-dimensional direction from the head to the pelvis.

This also allows us to be a little steeper.

Then there's the knife, which would look ridiculous if over-exaggerated, but the shortening and expansion of the legs and such cases

can be shown more effectively. Think about it and modify it a little bit.

The area of the body that is covered has become larger

Shorter.

while the pelvis extends in the opposite direction

In the three-dimensional direction we have depicted, we can form a steeper curve.

In this case, the body is tilted and

the position of the shoulders will change slightly.

Legs also direction

If you want to show it more three-dimensionally, the leg spacing on the pelvic side is now the leg spacing on the knee side.

And there's not much difference in the leg spacing on the foot side.

To show this, you can look at

This way or Thigh Road Inko

If you show the opposite degree of shortening and expansion of the thigh, you can show the sense of space that is getting farther and farther from the knee.

There are many poses in which we usually think of legs or arms side by side, such as drawing a sitting pose and stretching out.

In fact, if miniaturized later, observe that the amount

When spreading the knees or stretching, sometimes to draw in the arms and no imaginary running direction.

In this case, as now practiced, it is better to set each of the two shapes facing in a different direction.

Just the opposite.

Needs a slight adjustment to space the moons further apart.

Then

This side of the foot is slightly shortened, and you can see the modification of the back of the foot when triggered if

More than the original drawing can use the sense of space to draw.

Originally a dancing pose

The dance has become intense.

It doesn't make much difference what you see here in the pose that

If you look at the directional plane extending from here, is there a direction where you can emphasize the curve in a more three-dimensional way.

Think about it a little bit more.

Only the big curve from the torso to the pelvis and then to the head

Let me modify that a little bit.

The pelvis will shorten to a little bit of a setback, the

So, we're going to have to take the leg back a little bit, the

It's better to shade it a little bit.

The torso is also better than the original drawing

Needs to be drawn a little shorter.

The waist is based on the soccer that goes through the middle of the

Perhaps it is also necessary to confirm that there is no distinction between the hair and the torso because the second axis is too curved.

Because the body became shorter, we drew the

The shoulders and the arms need to drop a little bit and

If this keeps getting boring

If it's like the upper arm, you can shorten it a little bit to show the three-dimensionality is also the way, right?

The same for the head

A little bit closer to the

Able to prevent seeing the outline of the woodwork.

Generally speaking, the creation comes out interestingly and freely within the range of techniques that one can digest.

So, when creating, I recommend that you practice, starting with man cave birds and leather shoes, starting simple and trying progressively more difficult attempts.

As an example, if you draw the same now

The pose looks a little awkward, or I try to draw it dynamically, and if something isn't, then move it to the movie.

After that I'll modify the direction of the curve to a more emphatic direction, like I practiced.

This posture is different from the center of gravity, and the role of the arms is important for him.

From the shoulders to the arms, compared to other body parts

Connected with complex and many joints that would be more stiff than expected if placed in a straight line direction.

Thus, using joints to make arm movements more dynamic can make otherwise ordinary arm movements more graceful or dynamic.

For example, just like I drew a small section, we practice it if we use shortening and extensions instead of each shape side by side

Instead of having to appear separately, use this space between the arms to set up a more three-dimensional composition.

And, if you can make full use of the short lines and extensions, the

When this direction forms a curve, the expression can be a bit more flexible.

When we move it to the shape, the section part of each shape

or when lifting the anatomy

It is better to mark the terms.

In particular, the shoulder is the starting point of the joint and a very important part of the natural posture.

A symbol that allows you to take a closer look at the structure, including the anatomy for the next time.

Up to now, I have tried the exercise of showing the body after the theft.

Before depicting complex structures, which is very important in tosai, composition and pilfered sketches.

Let me practice in two movies.

Usually, character illustrations are divided into servant and low-angle thinking.

I have seen the movie before, but the perspective method does not draw the direction with the object

Be sure to know that the direction of my view is the datum.

So, when you draw with the lower layer, it doesn't cost much to draw with the back up, but when you look from above, in the order of the near

Feel free to draw more different poses when thinking about whether each shape is vertical or horizontal.

Should be an exercise.

So, I'll look at some of the models that I've drawn before for the contrast, and I'll see how it should look when you look at it from the top or the bottom from different angles.

First, let's start by bringing in the photo data theft that we just practiced.

If these stolen models are difficult to move directly stereoscopically, the

it may be worthwhile to see this degree model from the front or side first, and then draw the direction of the line of sight.

Keogh, let's draw this stolen model.

So, now this character that

We're looking at it from the side, and if this model was viewed from the front, I would start by looking at how it's depicted.

Before drawing directly with highIn text, it's important to express the distance far, near, from this side's perspective, right?

So when the torso is drawn out, the

instead of just drawing it as a square, the

To be shortened in order to be able to see the lower side.

The top side will be curved in the same direction.

The pelvis is also drawn as a shortened pattern so that the top surface can be seen.

The legs on this side are forward, albeit somewhat, and should indicate shortening and extension.

Because from the side, the sense of distance and proximity does not show up greatly.

Even if it is drawn in my direction, the problem is not too big. Take the back of the foot

The toe part is the dorsal part of the foot of the Akafei Island, which can be painted slightly on the top side.

Also, if you look at the shoulder on this side, you'll see that it's very close to the direction of my view.

The shoulder on the opposite side is further back than the shoulder on this side.

Placed on the shoulder closer to the torso than the torso, with the opposite direction shaded backwards.

Also, as you can see here, I need to position me so that my height difference shows up.

So it's okay for the body to be slightly more twisted in direction than square too.

You can also see here that the arms can't just be drawn sideways, very close to my eyes, and in the distance.

To take advantage of this here, we can use overlap and shortening.

The reverse direction is the opposite.

Also, I have this direction on my shoulder.

The torso and whichever hand is screwed will depict the natural torso shape.

And, to keep the shoulders and pelvis from running off

Maybe we can try a comparison.

In this state, the leg has no problem in the present state, even if it is drawn as a straight line out in front of and behind me

For a more natural pose, each leg brings the red direction into focus.

That is, the lower leg under the thigh

Draw from the beginning of the Duoying until the superposition appears ah.

Drew the front like this

Now, if you look at this shape from above, then let's practice the difference between overlapping and shortening.

No matter what angle you look at the head from, you'll draw a circle that

From above, you need to simply depict the direction of the line of sight.

You can see that this is the direction of the line of sight.

With the axis of the line, there is very little shortening of the torso, or it's not a problem to be drawn as fully extended, right?

However, the

For the pelvis, on the contrary, the backward regression will shorten more than the original angle.

It can be confirmed if you draw another line, but the masked part can also be seen.

Save this, let me express the torso's motion towards this direction first.

And then

the torso shapes should not be drawn side-by-side like this, the

The torso is extended a little bit more than it was.

The cross section needs to be drawn flat, while the pelvis is drawn more rounded in the opposite direction.

Don't forget to be covered as well.

Again, let me see the legs.

If your legs are falling side-by-side in a straight direction, you can draw it out.

You can confirm the backward flight as you are doing now, with the backward extended leg slightly shorter than the original drawing at the side.

Conversely, the forward-extended leg, with my line of sight, is closer to vertical, making sense to expand

The drawing can be made.

The starting point used for the thigh path is different, but the ending point will be different.

This bridge is written together, and a shape like this is just connected twice like this.

In this state, when you look at it from the front, the

If you draw these dynamics further, they will each be tilted in the direction of the non-stretch.

and the central axis of the torso is not this way.

A little bit to the left

The torso and dragon will be oriented slightly sideways.

Plus the shoulders.

The body system also does not need to be external to the dragon, to draw a good cover up it.

The back also to cover the dragon.

There's a little bit more, but when you look at it from the front, if you see it facing up, this side is also the dragon

Even if it's just a little bit

Should be drawn shorter.

The other side is the same.

So, when we observe it, the

For example, the pelvis, from our eyes

or the leg that extends backward, can be completely shortened when viewed from above. On the contrary, when we look from above, the

does not appear but the standing torso and the extended legs can be drawn as extended forms.

So, when drawn this way, the proportions of the human body are completely different from what you see in the front.

But when we look at it head-on, the proportions of the human body are more familiar, so when we draw it three-dimensionally

As with the positive ratio, the

There is the habit of wanting to match, so that if you confirm with the movie, it is best to apply a little more when drawing future characters.

Again, for this look, let me draw what you see below.

So, if you look at it slightly from the side, what would the result be?

First, we see the graph from below.

From the front, the overlay from the calf to the head is not too big.

But if you look at it from below, the story is a little different. Expressing a sense of perspective and extra movement from the feet to the head

It should be arranged in a curved direction.

So, if you start drawing from the ankle, the

The calves and thighs are going to fly away

Instead, from the bottom, here the thighs are completely perpendicular to our eyes.

So you can't shorten it.

Draws as an extension.

which does not look intuitive when viewed from the front.

You can see that it is going backwards in this direction compared to the thighs continuing up to the ankles.

When you look at it from below, you can express it.

The foot also follows the calf as a marker.

If the foot is visible here, the bottom of the foot will be visible, so just use the overlay to place it as well.

If the pelvis is also distorted here, the side should be seen.

The bottom half should look very visual.

If you look at this torso from the side, the

The head should be in this form behind, because the direction of the view is now facing this way.

The torso shape is shorter than drawing the pelvis.

If you also make use of overlap, then you can draw the cross section almost as a circle that

In the direction of barely drawing the sides

to position it.

If we superimpose from here to the head, the curve we see on the front side in the three-dimensional direction appears.

So what you see here is

The fuselage in the backward direction toward this direction will be plotted.

The shoulders are further back than the torso when viewed from the front.

Back to the rear, then it's completely covered.

If drawn with a high angle

If you think the overlay appears almost opposite here it's fine.

Stretching the boat out in front.

Thus, having painted the terracotta figurines on the torso of

The pelvis should be drawn with the opposite shading, shortened.

Descending side by side, the

This side of the leg

Simple direct drop is fine, but when viewed from above

This thigh situation is dilated, right?

Similarly, in the backward

If you look at it from above, you'll see it more visually.

The shoulders that are more back than the torso.

When viewed from above, the

Starting from the hand on this side and going farther toward the shoulder on this side, let the overlay come to life and draw humanity.

The necessity of simple and easy

The process up to here is really hard for someone practicing drawing objects in three dimensions for the first time.

And it really takes a lot of practice.

On the contrary, after depicting the three-dimensional form very well with the figure film, it becomes quite easy to further depict structures such as anatomy and clothing patterns.

It is somewhat more understandable to draw by first confirming the guidelines or shading aspects that are followed according to the parts of the two films drawn.

Let me see this example of sketching with a diagram movie.

As I explained before starting the English course, my generic model matches the human scale exactly, the

compared to the overlap drawn by

Because it mainly utilizes shortening, a casual representative like me is suitable for the reference of those who adopt the playing method.

I can also feel free to use demodulation, look at some details in the movie and give some examples.

First, the head

When we look at the overall picture

You can start by making sure that the length of the neck should be shorter than the one drawn when viewed from the front.

And the torso

The relative degree of shortening is the enemy, so you can live in the anatomical analogy of the gun we know.

When drawing the pelvis here, you can't draw it with the idea of falling down and drawing

You can confirm here that you will find that the waist will appear very little on the peripheral lines.

In the last discussion, the

When the thin terracotta figurines between the terracotta figurines like the neck and the waist as large as the waist are drawn in this way according to 9 degrees

The peripheral lines are obscured in many cases.

So, omitted on the stolen model and later expressed through the muscles when posted on the anatomy

Slightly better.

So, you can't draw out the waist of the braided waist, but straighten it into a pelvic-like outer line.

And the pelvis is shortened in the direction of

on the pelvis can also fall directly onto the leg

And the torso of the thigh, as we know it

There's nothing wrong with drawing longer

The heel is behind the heel of the foot.

drawn in this form.

But the leg that falls backwards is much shorter than the leg in front, so the bend is compressed and

Should have drawn the long bend shorter.

You have to put the thigh halfway up the thigh

The calf also has to be placed where it ends around the knee.

When the arm is extended from here, the body is not connected, so you want to express the shoulder first.

Then I'll extend the arm and draw it out

I've drawn it side by side here, and if we want it to look slightly curved, then the dragon will be shortened.

This side of the dragon can also be expanded to make the upper and lower arms look different lengths, which can be drawn.

Also, because the torso will be used sideways, the part where the back muscles and stuff like that will be exposed.

Just the opposite.

Normal shortening to the upper arm, but if the outer arm is shortened further, so that the curve direction is created, right?

The additional parts here, like the hand, are additional descriptions.

Trim a little more of the sketch, if needed for future sketches

to express it a bit.

Simply put, if we tattoo the clothes in

If you're wearing short sleeves, you shouldn't break like that.

Coincides with this part

Needs a short-sleeved t-shirt to see the profile.

The other side can likewise refer to the stolen model to draw the profile of the clothes, right?

When the dress is wrinkled, the

See here is one such guideline, which is handy if you follow the guidelines to consider clothes wrinkles.

For the pelvis, which is a completely curved cross section, the

because the curve of the torso is relatively flat.

If the dress ends in the middle

Draws the profile with a steep curve.

Is the profile relatively expansive like here if the pants also wear shorts?

The cross-section can be flat, but the other side

According to the guidelines, it does get drawn as a surface.

I'll give you a modifier symbol.

At some point, after the sketch gets rough, the

with a slightly darker line with some additional description, the

Clean up the line.

Clear unnecessary lines, as much as possible.

Start close to the perimeter

It is better to add "line".

A little thicker where the customers gather.

After leaving, it can also be painted to indicate.

Your neck is also taken for granted

The neck is close to the opposite shoulder, so the profile should be prioritized into the destination.

Very simple, of course.

I think the planar drawing error comes when these are accumulated.

If you have other tricks for three-dimensional drawing, when you look at the torso from above

like this, here's the dress pattern or all of the structure with a little bit of the middle omitted, a little bit of this part omitted

the outer part is a little bit more precise than originally known, the

Helpful for stereoscopic representation.

Shoulders are stiff, so reduce

Draw along this sphere as a surface.

When you see the pelvic map, the

When you see the side, you see that there is such a surface, and here there is such an extended side.

When you represent the part as a straight line, the surface in that part and the surface in this part

The steepness of this middle can confirm that the clothes have wrinkles, right?

Therefore, a line that is almost close to a straight line will be drawn.

Just the opposite, the surface on this side stays as it is, so the fold line is almost close to a curve.

Draw a vengeful person that

If the waist does not get longer, because if you don't know, stand on ah while watching two movies.

I hope you look at the ring can not be long appear in the periphery.

Let the hired models live incomplete fine twists and turns

Need to enter book sketch.

When it is completely shortened in this way, sometimes you have to pay attention to the north direction when you do the body color later.

When sketching, I have some directions.

While slowly organizing the lines, you can organize the layout a little.

Here if this word goes in, it shouldn't go in straight, let it rise up on a little bit of the surface that

It needs to go in that direction.

I checked out these simple generic model guidelines and how they apply in the sketch.

I'll try it again. This is the model that was just sketched.

This model

because the torso goes upward.

In order to shorten and see the profile, a sketch must be made.

Conforms to this direction and also marks the mass group or moonlight system line, I think.

Because the opposite, the pelvis drops backwards.

The profile would be represented this way.

If your pants are waisted, or if something passes this way, the

should be drawn according to this guideline

The dragon is expanded

This side of the dragon will also shorten

Especially if the calf on this side is shortened a lot.

When you do structural expressions on the fault, like clothespins, the

The heavily shortened sections need to be focused on the description.

As I said, the

When calling it Vinpole, please touch the shoulder size as the center of the front.

Something with a complex structure, such as an arm, before drawing on top of the film while backing up

Use only the overlap and shortening used here to go to the sketched representation.

Let me post the anatomical model securely.

The clavicle should also be continued towards the shoulder, and the greater middle military is also the direction the body is facing

Then point out on the surface according to the guidelines, from here to the side of the shoulder.

the abdominal muscles continue below the pelvis.

With the rib cage as the base, the peripheral prominence can be expressed, right?

and the eyes of this system.

Subject to partial, the end of the outer radiating muscle.

The side is definitely not the front, so it's drawn a little bit shorter than we know, so it's only normal for the bliss to be drawn a little bit shorter, right?

Similarly, when we put the side look back, don't draw it, and the side is slightly shorter

Drawing from the silhouette of the light large muscle

to shorten the right to vote.

Anatomy

This is a very good tool in plotting, but even without it, it is perfectly representable.

If, after stealing the model, there is a craving for a more realistic human body, then further combined with anatomical representation, the

see is also very helpful.

If it's angry, are the arms on this side drawn a little closer together than the shoulders?

You should have the same arm muscles as these two pounds covering the shoulder muscles.

In the case of the lower arm, a large muscle like the typical keel muscle

appears together with the trust index.

The starting point for wearing pants, as you can see, along the surface

The cross section must start.

The curve seen here, the

The direction between the curves seen here will have lines of folds.

Because the legs in this case are slightly spread out, the

drawn as a straight line so that you can see the direction. To the thighs can also be drawn in the proportions we know.

Instead, there are a lot of wrinkles and short calves

Suggest drawing line concentration.

And because of the folding feature of the clothes, the bend here

Stereoscopically, wrinkles appear when folded, but as it is now, when the folds of the dress are stretched in such a direction

Don't force the wrinkles of the garment to be drawn.

And it is also important for the object to be omitted even if you know it, to help the natural body color later.

Then you can draw sketches so that the foot can also see the back of the foot, so the shoes go in without worrying about the article.

Imagine drawing the top of the shoe.

And in sketching order, I used to draw the little things at the end.

So faces and hands and things like that are usually drawn out into the post.

Hands

When connected to the arm, please use the silhouette of both sides, if possible

It is recommended to draw it so that there is a difference in the angle of the two lines.

For example, the thumb side is now close to a right angle, and this side becomes obtuse.

And then there's the case of the lateral arm that

Cannot be drawn flat.

It is better to draw the hand as something that faces in this direction.

Although these hands and feet are omitted in both movies, a very important part of the drawing is next in time.

Combined with the anatomy, let's take a look at the details.

is not created by us with the correct anatomical structure.

The details need to be retouched in the sketch to make it more realistic.

For example, there are some curves on the thighs that

The knee part looks a little blurry.

The arms can also be expressed in curves to show the muscles.

Finishing off the

First, it is best to use the outline as a base.

When you sketch the

I'm not zooming in now, the

It's hard to determine the direction of Lee Do-young and how the scale is overall when you zoom in on things.

So as it's done now, the

Before optimizing the preferences, the

To maximize the range of

The whole non-dialogue direction is as I would like it to be, later with small strokes

Recommend zooming in a bit.

This also works together to practice using film to portray three-dimensional compositions and fuselages.

Even if the content is a bit long and difficult to listen to again many times, it is really recommended that you practice 10 songs.

The content is longer than I thought it would be, and if this is long, maybe the content will be shorter if it's short.

Because the basic skills are learned in the painting for the first time

Don't think it's the easiest, because the basic skills are the first to be learned as they need to continue practicing.

Later on when we learn, if you find it a little difficult, I suggest you continue to browse until what is explained today.

In the next time, in the human body structure, I think the most important hands and feet

Let's take a closer look at the joint parts, like the shoulder, including the anatomy.

You've worked hard on the long river. See you next time.