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All right,

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So in this video,

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I want to draw some examples of male versus female and draw the legs in a more dynamic way

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.

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More action or ended way.

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Eso.

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The main thing here is that we're not going to use as much segmentation and divide for the

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muscles.

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We've already kind of covered all the muscle groups and where they start where they end up

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general and things like that.

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So we want to do here is implement with alarm.

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But again,

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in a more dynamic approach,

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more poses a little more foreshortening.

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Um,

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now you can still rely on the previous diagrams to age in this process,

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but you're gonna want to pull away from all the segmentation,

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all the divides,

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all the definition.

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And obviously you're gonna play around this concept for a multitude of characters.

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You've got the major differences,

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obviously male to female.

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But then you have lots of variation.

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You have,

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you know,

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overweight characters.

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You have characters that have shorter legs versus a long,

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longer legs and,

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you know,

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proportion differences,

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things like that.

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But I do like to practice with the overly defined characters first because it allows me to

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think more about the volumes of the muscles.

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See the definition,

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and then it's a little bit easier for me to pull back and away from that.

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Now,

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as we get into the female representation here,

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I am going for a little bit softer.

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Feel not,

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doesn't mean that you can't see women that are very defined,

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very muscular,

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obviously.

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But in this case,

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I want to think a little bit more about the line language in the shape language I want

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there to be.

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You know,

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I want the lines toe flow through one another.

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I want there to be more sweeping Kercher's and generally that will give the appearance of a

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more feminine character.

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And that's what I'm going for.

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Eso again.

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It's not that you can't have.

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Obviously,

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females that are very,

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you know,

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have very dense muscle structure and that kind of thing.

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But in this case,

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I wanted there to be a little bit more of a,

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um,

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softer feel to the anatomy.

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So generally the legs will be longer also,

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you know,

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we obviously know that the hips air a little bit wider and most instances and some

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showcasing that Aziz,

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we go up the upper portion of the leg.

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The anatomy widens out a bit mawr and again,

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just a little bit wider bit of the framework on the pelvis area.

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Now,

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another thing I want to make sure to mention when you go to pull your reference and study

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from it,

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you know,

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things like picks obey.

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They've got a great amount of images,

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obviously,

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can just google images.

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But if you're gonna use it in your work,

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you gotta be a little bit more careful about that.

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But one of the things I did here is actually studied from certain parts of various images.

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And this one here,

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I'm actually adding a leg.

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And this leg is not part of the reference.

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This is from my own imagination.

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And I want to stress that because sometimes I will draw purely from imagination.

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If I find myself struggling that I'll go back to some reference and but I'll still make

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sure to kind of run it through my own creative filter.

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OK,

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so I like I like a little bit more of a dynamic feel to the work.

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And again,

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I'll challenge myself to take a component of the reference maybe one leg maybe a portion of

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the leg.

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Like if I'm struggling with the upper leg anatomy,

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I might just utilize that.

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And then I will go from there and construct my own version or add on pieces.

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And I think that's a really important exercise that we should all practice because if

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you're always studying from reference,

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if you're always trying to recreate what you see,

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they become a little bit more of just portrait's.

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In a sense,

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you know,

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you just you're just trying to create what's visually in front of you.

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For imaginative works,

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of our for character designs for storytelling,

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I feel like you need to stretch your imagination a little bit more.

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You need to practice developing with not there in a good way.

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To do that again is to take a component a piece and then add to it Eso,

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for instance,

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with this leg pose at the top left.

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I changed it from the original reference.

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That's why I'm not showing the reference.

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And then I also added feet.

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There was no feet in the reference,

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So just things like that were you again challenge yourself to add to it and develop it

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further.

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This last one.

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There was absolutely no reference whatsoever,

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and it probably shows in the stylization of the line working the way that I create the

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anatomy.

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But again,

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it's that kind of practice activity that I recommend we all dio so that we can develop

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imaginative characters a little bit easier and not always feel like we're so compelled to

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find just the right reference.

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Mainly because that could really be just a horrendous task if you're always trying to find

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just the right pose or even trying to create the right pose with the tripod,

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the camera,

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which I find to be more suitable but it's still a lot of work,

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you can develop your own imagination and get past that.

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So let's conclude here had over to our next lesson and continue on