Okay, so now let's talk about some of the major differences
before we get into drawing the female version.
I just want to show you that one of the things that you can go and thinking about,
remember I spoke about there being a lot of triangles and be
like shapes into the male form,
Mel, trunk, male torso.
And basically if you were to look at it like that very primitively.
And then the comparison for the female form would be a little bit more of
an hour glass or a bit of a shape like this,
but definitely like an hourglass.
A lot of times what I see when people draw the female form is one of the big mistakes.
So make is not showing enough distinction to this basic starting point.
So they may draw both of them with the same kind of tapering to the waves.
So for instance, with the male form,
as we've already kind of illustrated,
you know, you've got the shoulders,
pectoralis majors, latissimus dorsi,
ribcage, and whatever we want to implement that,
remember there's a couple ways we wanna think about that.
Abdominal muscles and then external obliques.
Okay, so that's the basic,
you know, trapezius, all that stuff.
But, but you see that there's a bit of
a tapering and if I bring out the obliques too much,
it starts to look more feminine or
it starts to look like somebody who's not really in that good a shape.
So it's just something to be aware of.
But if you bring that down more like this,
then you know that that V-shaped
that men are always after when they work out, that kind of thing.
So you can see that pretty distinctly now.
Hopefully again.
And then obviously you add the pelvis and that's going to widen out a bit.
It shouldn't keep going straight down.
Some people do, some people are very thin all the way down like that.
It's just, again, you're going to play around with variation to that.
In fact, let me clean that up.
So that's a, a bit messy Now.
Just real quick because again,
we want to think about this and crude basic shapes.
I think that, that should help you to
memorize and ultimately play around with these things.
It's when we, you know,
we jump into anatomy.
We try to draw things very complex because there's a lot to it, right?
And it can be very complex.
But I think first we need to think about things in
this sterile metric approach and then it allows us to simplify and etas and
the process of developing
all that complex anatomy over top of
first you gotta get this underlying structure kind of working.
Okay, so something like that and that's good enough.
Okay, so now for the female shape, same thing.
Shoulders can be roughly here.
V for the collarbones are clavicles.
What I like to do is first get the ribcage in groups like this, taper this down.
I tend to try to make the hips a little bit larger by comparison to not just to the mail,
but proportionally to the upper body.
So again, this is an always type thing.
There's definitely women that have.
Bigger shoulders, there's definitely women have,
you know, bigger hips.
Its proportions will vary.
But one of the things that typically we'll see what the female connection points of,
of the legs is that there'll be slanted up a bit higher.
And because of that,
it will also be a taller oval.
Okay. So just something like that where
the male pelvis it's going to be a little bit more of a lower angle.
So just pay attention to that.
Likewise, you can put a bit more curvature to the,
you know, kind of this line here, this separation point.
And then even for the abdominal muscles,
you can put a bit more of a flowing curve.
Now, you can still start very angular and your approach to this point.
But one of the things I do want to make sure to point out is
generally when I'm trying to illustrate female characters,
I will hold back a little bit on the,
on the angular cleanup work basically.
So I may start very angular with everything.
Again, it's a sterile metric approach.
It helps you to kind of pinpoint things throughout the illustration.
But as I render it, I will definitely use
more organic flowing curves to connect everything.
Bras had generally draw yellow zone as circles,
but then obviously you don't want to leave them,
is that they should,
they should look softer.
And circles can appear very rigid.
And then also they should kind of be a bit of a teardrop shape by the time we're done.
So what I usually do is draw this oval,
this tapered oval going back towards the shoulders a little bit.
And I would say I can refine it further from there,
but this is kinda work through it now,
in a more relaxed posture,
I may not show as much of the ribcage,
the center of the ribcage like that.
But again, if I'm going for that very dynamic expressive posing,
I'll definitely draw that ribcage like this and then drop the rectus abdominis down.
But really the rectus abdominis goes over that,
those top two muscles actually sit up here and then you get the rest like this.
But again, for stylized were ambitions
and you're going to hear me reiterate this a couple times.
You're gonna see people break that rule
that they oftentimes won't draw the realistic version.
Ok, and then trapezius.
The neck generally is a little bit thinner, a little bit taller.
Again, not always this sometimes.
But it is it is kind of something you see
enough where you could almost considered a rule.
Navel is midline to the waist.
And if I was drawing the arms down further,
the elbow also coincides with this area.
So you can you can use that as another gauge,
but I really don't want to put the arms too far.
I want to really focus on the mid section here or the trunk of the body.
So again, this is really what I look at as far as the difference from male to female.
So it's the same basic anatomy as far as obliques,
abdominal muscles and all those same muscles are there.
But I tend to think the best thing is to really pay attention to.
The, you know, the triangular or be like shape of
the male torso compared to the hourglass form of the female trunk of the body.
So let me clean this up real quick and make it a little bit more sense of it.
And then we will proceed on and we'll start to do some simplified versions of the torso.
And even at this stage,
I feel myself already wanting to sculpt the lines m with more curves.
Again, I want to fight that a little bit as I'm trying to
pinpoint proportions and align things.
But again, that's one of the things I typically do to
show a difference from masculine or feminine and the masculine,
more magical and characters,
I'm going to use more chiseled features which more angles.
And then for the appearance of sensuality and feminine.
Feminine quality, I will use more organic lines,
curves and have Thanks flow a bit more.
Will just FYI there.
And, but if it's
a very strong female character than I might add in some more angular anatomy too.
You know, strengthen up the forums.
And deltoid xs are a good example that
It's like I can definitely throw that in with a curve.
But it's, I don't know,
deltoid is almost always seem to look better to me with a bit of bit of angles in there.
And then bony landmarks are kind of another part where angles makes sense.
Even though the, this portion of the collarbone has a pretty significant curve in there.
And then another area that I find myself making
a mistake and I see it oftentimes and others work as well,
is really being careful with the way you bring up the trapezius.
Usually I brought it up pretty significantly there.
It's very easy to overdo that.
And one of the things that you're going to do is you turn a character on the page,
so you're returning this model back.
In this way. You're going to really pay
attention to the orientation of the collarbone to the trapezius.
And the more that character's raise,
it'll get to a point where it looks like the collarbones are like
this and then just kinda comes up from there.
And you really don't want to draw the trapezius.
And because if you draw min,
that means your forward facing or looking down at the characters.
So just keep that in mind as you,
as you rotate the figure,
it's going to, you're going to maneuver and things like that.
So again, little hint to this being more of a teardrop shape,
less of just two spheres on the,
on the front of the character.
Went down the middle here.
And that's really a so now again,
I just want to point it out one more time.
The same basic pelvis like shape,
but there's a bit more curvature in there.
The leg orientation.
The ovals are at a higher angle right here.
So that's something to pay attention to.
The hips flow up higher and should be larger by comparison.
Again, trying to really get that hourglass form going.
And then the I would say the obliques here are
noticeably taller but then blended in a bit more of a curve into that hourglass.
So I guess it really ties into the hourglass aspect of it.
And then the shoulders can, to me,
I always feel like the shoulders almost look larger by comparison
in proportional aspects of obviously men can have very big and broad shoulders.
But because of the thinness of the torso or the rest of the body,
generally, I think that the shoulders and
the collarbones are very significant by comparison.
So just kinda keep an eye out for that.
And then obviously proportions are gonna vary greatly across the board.
So let's go ahead and conclude here.
Let's head over to the next lesson and now start to do some simplified versions of
the torso of a female torso and
some different movements and talk a little bit about that.
So with that, let's move on.