All right,
So in this video,
I want to draw some examples of male versus female and draw the legs in a more dynamic way
.
More action or ended way.
Eso.
The main thing here is that we're not going to use as much segmentation and divide for the
muscles.
We've already kind of covered all the muscle groups and where they start where they end up
general and things like that.
So we want to do here is implement with alarm.
But again,
in a more dynamic approach,
more poses a little more foreshortening.
Um,
now you can still rely on the previous diagrams to age in this process,
but you're gonna want to pull away from all the segmentation,
all the divides,
all the definition.
And obviously you're gonna play around this concept for a multitude of characters.
You've got the major differences,
obviously male to female.
But then you have lots of variation.
You have,
you know,
overweight characters.
You have characters that have shorter legs versus a long,
longer legs and,
you know,
proportion differences,
things like that.
But I do like to practice with the overly defined characters first because it allows me to
think more about the volumes of the muscles.
See the definition,
and then it's a little bit easier for me to pull back and away from that.
Now,
as we get into the female representation here,
I am going for a little bit softer.
Feel not,
doesn't mean that you can't see women that are very defined,
very muscular,
obviously.
But in this case,
I want to think a little bit more about the line language in the shape language I want
there to be.
You know,
I want the lines toe flow through one another.
I want there to be more sweeping Kercher's and generally that will give the appearance of a
more feminine character.
And that's what I'm going for.
Eso again.
It's not that you can't have.
Obviously,
females that are very,
you know,
have very dense muscle structure and that kind of thing.
But in this case,
I wanted there to be a little bit more of a,
um,
softer feel to the anatomy.
So generally the legs will be longer also,
you know,
we obviously know that the hips air a little bit wider and most instances and some
showcasing that Aziz,
we go up the upper portion of the leg.
The anatomy widens out a bit mawr and again,
just a little bit wider bit of the framework on the pelvis area.
Now,
another thing I want to make sure to mention when you go to pull your reference and study
from it,
you know,
things like picks obey.
They've got a great amount of images,
obviously,
can just google images.
But if you're gonna use it in your work,
you gotta be a little bit more careful about that.
But one of the things I did here is actually studied from certain parts of various images.
And this one here,
I'm actually adding a leg.
And this leg is not part of the reference.
This is from my own imagination.
And I want to stress that because sometimes I will draw purely from imagination.
If I find myself struggling that I'll go back to some reference and but I'll still make
sure to kind of run it through my own creative filter.
OK,
so I like I like a little bit more of a dynamic feel to the work.
And again,
I'll challenge myself to take a component of the reference maybe one leg maybe a portion of
the leg.
Like if I'm struggling with the upper leg anatomy,
I might just utilize that.
And then I will go from there and construct my own version or add on pieces.
And I think that's a really important exercise that we should all practice because if
you're always studying from reference,
if you're always trying to recreate what you see,
they become a little bit more of just portrait's.
In a sense,
you know,
you just you're just trying to create what's visually in front of you.
For imaginative works,
of our for character designs for storytelling,
I feel like you need to stretch your imagination a little bit more.
You need to practice developing with not there in a good way.
To do that again is to take a component a piece and then add to it Eso,
for instance,
with this leg pose at the top left.
I changed it from the original reference.
That's why I'm not showing the reference.
And then I also added feet.
There was no feet in the reference,
So just things like that were you again challenge yourself to add to it and develop it
further.
This last one.
There was absolutely no reference whatsoever,
and it probably shows in the stylization of the line working the way that I create the
anatomy.
But again,
it's that kind of practice activity that I recommend we all dio so that we can develop
imaginative characters a little bit easier and not always feel like we're so compelled to
find just the right reference.
Mainly because that could really be just a horrendous task if you're always trying to find
just the right pose or even trying to create the right pose with the tripod,
the camera,
which I find to be more suitable but it's still a lot of work,
you can develop your own imagination and get past that.
So let's conclude here had over to our next lesson and continue on