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Hello.
This is a voice-over.
There was an error with the sound,
so I had to record it again.
In Bonus 1,
we will try to fill in the holes
from the previous classes on anatomy.
I will demonstrate how I go about things
when I want to practice drawing figures.
I will also mention some key points.
Since the basics part had to be shrunk down,
this is a good opportunity to capture what we have missed.
When I practice drawing anatomy,
I like to work with torse.
As I mentioned before,
it's an easy fix if you make an error in the arms and legs.
But, you have to fix everything with the torso.
The torso is one of the most important parts
among the major parts of the human body.
So, I like to practice
this body part a lot.
I am using lines here.
I will explain them all in a bit.
Also, describe the back bent.
Try to draw a waist.
If you already have a method,
you can continue with yours.
It's like matching the orders.
You may draw the face first.
I have excluded the face.
It's just because my focus today is to practice the body.
Attaching a face can double the hours.
Pay attention here.
Ribs are two-thirds of the head.
Bring it down like this.
From the belly button,
use a 1:1 ratio to place the pelvic bone.
Remember to make it longer horizontally.
We need to add muscles.
You can see I'm drawing an external oblique.
There are oblique and abdominal muscles.
Let's simplify the complexity.
Find a point at two-thirds of the arch of the rib cage
where it's diagonal.
That's where the abs are visible.
Right below those points.
The first line of the ab sort of
covers the bottom of the rib cage.
The second line is almost attached
to the arch of the rib cage.
The third one is right above the belly button.
This should look familiar.
The fourth one is longer than the others.
Once you do this,
there is a space between the oblique and the abs.
Pay attention to this area.
It's not that we don't have any muscles there.
But, for our purposes, it's enough to acknowledge
the area as an empty space in between.
Next, we should pay attention to
the pelvic bone.
Pelvis is a very complex piece of the anatomy.
Take a look.
I said before that it resembles a heart-shaped disk.
But, this one is slightly turned.
When you look at it from the front,
it does look like a heart.
But, these bones exist volumetrically.
So, it appears differently from every angle.
If the body is facing right,
both curves will face right.
Look at the way I'm drawing.
If it's facing right, both curves will also face right.
When the body turns in space,
it can look very different depending on the angle.
There is no way around this.
You have to use references and practice.
The most commonly made mistakes are usually in the torso.
So, I recommend drawing it from various angles.
Find a real photo and try to copy it.
We will draw a few more torsos.
When you draw a human body,
try to twist the upper torso and the lower torso.
In action scenes,
the upper body and the lower body are
often turned in opposite directions.
Here is the ab.
I should mention some ab lines here.
The abs are most visible above the lower belly
and in the intercostal area.
The three parts I just highlighted are
where the abs come to the surface of the form.
Upper belly, lower belly, and intercostal area.
We should draw the pelvis.
By the way, when the body is twisted,
there is one thing to keep in mind.
When we draw a twisted torso,
in reality, it cannot twist that much.
This one is turned about 15 to 20 degrees.
One of the most common mistakes that happen
in figure drawing for action scenes
is over-twisting the torso.
Put one hand on your upper body
and put the other hand on your pelvis,
and turn your body as much as you can.
You can probably only twist for about 15 to 20 degrees.
So, with that in your mind,
study the relationship between the upper torso and the lower torso.
But, when we look at the whole body,
it seems as if it's twisted more than 20 degrees.
That's because lines indicating the arms and the legs
exaggerate the appearance of the twist.
But, the upper torso and lower torso actually
don't turn that much.
We will also go over the mobility of
shoulders and pelvis later.
When you twist the torso,
don't turn the shoulder too much.
It can cause some major errors.
While the upper torso is completely sideways,
the lower torso is facing the front.
This could break the back.
So, when you draw something like this,
reduce the angle of the upper torso
to 15 to 20 degrees.
While you moderate the upper torso,
you also need to keep the pelvis in check.
Again, don't twist it too much.
It's important.
The neck is thicker from front to back.
The front part is a bit more pointy.
The back is thicker because of the sternos.
Underneath, draw the collarbones,
then the shoulders.
Behind the sterno muscles,
we have trapezius muscles.
This is where we massage when we have neck pain.
We are trying every angle.
You can think of the upper body as a cuboid.
Here is a tip.
The side of our body is actually thicker than this.
But, when you draw a casual character,
try to draw it a little thinner like this.
It's about this thick when you draw up to the collarbones.
If you draw any thicker than this,
the character may look too muscular.
So, I prefer it this way.
Another thing you should practice often is
to bend the body forward.
When we draw a sexy character,
we often get to draw a body bent backward.
But, we rarely draw a body bent forward.
So, you should purposely put some time aside
to practice drawing bodies bent forward.
Because you do need to be able to draw this pose.
In action scenes, a character's body is
more likely to bend forward
as the muscles compress.
When you draw a forward bent body,
again, remember not to twist the torso too much.
If you look at the belly button,
some people really insist on a vertical shape.
But, a belly button is hollowed.
Since the upper torso is bent downward,
the belly button changes its shape.
As another example, let's draw a low angle.
Draw the collarbones.
And the rib cage.
Since the belly button is hollowed,
it will look concaved up.
So, when you draw from a low angle,
it will face upward like this.
Draw the pelvis.
The navel reshapes every time you change the angle.
But, I see so many people just draw a line.
That's incorrect.
When you draw a low angle, be mindful of the pubic bone.
It's the area I just filled in.
When you draw a cross-section of the thigh,
the inner thigh adductors are
two third of the thigh.
Draw this protruding part of the thigh.
If you look at a whole thigh,
it's wider from its side.
The front part is shaper
and the back part is wider.
The side has the longest width.
When you draw a leg cross-section,
it's better to dissect it in detail.
This is a better way to draw a thigh cross-section
than just making it into a circle.
Since the side of a leg is thicker,
when you draw a body laterally,
sometimes, the side of the leg is
thicker than the side of the torso.
Locate the pelvis.
Attach the leg here.
Here are the buttocks.
The leg looks as thick as the torso.
The same leg won't look as thick as from the front.
But, it's much thicker if you view it from the side.
Always remember this.
Try to draw a cross-section for the other thigh.
Drawing a cross-section can help you
understand three-dimensional elements.
Later, you will also draw contour lines
in the center of the body.
You have to keep the same things in mind.
The pelvis should protrude and here is an empty space.
Then the ab protrudes.
Repeat the pattern in a symmetrical way.
There is an oblique above.
Another empty space and then the ab again.
The ab folds once in the center.
So, it folds and protrudes again.
One and two.
Then, an empty space again and then another oblique.
Subdividing each section like this is
an effective way to practice drawing a figure.
The lower oblique has a more empty area
than the upper oblique.
So, you can remove it here.
Draw the ab immediately after the oblique.
This is something more advanced.
Continue drawing cross-sections.
If you struggle with volumetric drawing,
drawing cross-sections is a good practice.
Draw the indentation underneath the collarbones.
We should look at the shoulder and the pelvis
as we study the most commonly made mistakes.
When it comes to shoulders and pelvis,
the important characteristic is that
these parts have mobility.
Pelvic bones don't move that much.
But shoulder bones can move up and down
and side to side.
One of the most common mistakes is when
we move the arms
and forget to move the shoulders.
So, make sure you are able to express this dynamic.
Let's try it.
When we draw a high-angle,
we can move three parts around.
The collarbones.
The shoulder blades.
The shoulder bones.
They are movable parts.
But, you can't move the ribs.
We can move these three back and forth.
And also up and down.
So, you need to practice moving them around.
This is important and difficult at the same time.
While pelvic bones are not as mobile,
the leg bones can make many big movements.
Leg bones can be extremely mobile.
The waist doesn't really bend much.
That's correct.
On the other hand, legs can.
Let's look at the shoulders more in detail.
Assuming that the arm is raised,
let's discuss the easily mistaken points.
Just because the arm is raised,
the upper arm bone will not relocate on the collarbone.
Arms are always attached to the side of the body.
Never attach it on top.
The collarbones will face less upward.
Since the shoulder bones are sent backward,
the deltoid muscle, namely the shoulder muscle,
should face towards the back as well.
In other words, the shoulder muscle
wraps around the three bones we are dealing with.
Put your hand on your shoulder and raise your arm.
You will feel the shoulder turning back.
Now, if you add some lines,
you have a raised arm.
I always recommend this to my student.
With the same upper torso, you can practice
drawing collarbones, shoulder blades,
and shoulder bones with different movements.
So, I suggest you attach many arms
at multiple angles to the same body.
So that you can understand the changes in lines
when you move the arm.
And this allows you to study volumetrically.
Move the arm back and forth and so on.
Practice with many different angles.
Try to raise and lower the arm from the side.
This is something you can keep on practicing.
Being able to depict shoulder mobility
helps you to draw figures more naturally.
This is a very useful skill when you need to
draw an aggressive action scene.
How would this apply in reality?
Let's think of an illustration example.
When you draw a sexy character,
you can place the shoulder forward a bit.
When you want to draw a side view in a sexy way,
put the shoulder forward and the shoulder blades like this.
Sometimes, you will draw a body like this.
This is a tactic often used for this style.
Putting the shoulder bones forward or backward.
So, it will be useful to practice this.
We can attach the breasts here.
Let's move on to the pelvis.
Unlike shoulders, pelvic bones do not
move around so freely.
When the torso is bent forward,
it looks as if it's bent a lot.
But, in reality, it's not bent that much.
This is usually because when the legs move,
people misinterpret it for the torso movement.
In this case, some people will say that
it's bent around 90 degrees.
So, when drawing a bent body,
many people bend the torso too much like a folder phone.
But, you really shouldn't be doing this.
When the torso folds,
the angle at which it bends
is somewhere around 20 to 30 degrees.
Like so.
The bottom should look like this.
Now, we need to attach the leg.
We can fold this leg quite a bit.
Usually, starting from 90 degrees.
If you really want to make the body fold by a lot,
it's really the leg that has to move.
Assuming that it's sitting down
and hugging the legs,
we need to locate the bottom of the pubic bones.
In this case, it's facing downward.
It helps to know whether the bottom of the pubic bone is
facing upward or downward.
This is a very common mistake.
When people need to draw a folded body,
they tend to make this error
along with the shoulders.
So, please be mindful.
Today, we will mainly discuss the details that
people often get wrong easily.
I've also seen people draw shoulders like this.
A little bit lifted like this.
Some of you really made this a habit.
Then, practice drawing it downward as well.
Please don't use the same angle for different movements.
If the arm is extending forward, make it forward.
If the arm is extending backward, make it backward.
Keep changing the angles.
The legs can move freely,
but the pelvis and the ribs cannot.
If you keep these points in mind,
you will avoid many rookie mistakes.
I mean, we could fold the body a little bit more here.
But, this is it. It's hard to go any further than this.
Keep practicing different angles
for the arms and the legs,
The leg is a bit too far out.
Let's move it back up a little.
If you want to know the exact height of the leg,
find the side of the pelvis,
and lower it by 45 degrees,
to locate the leg bones.
Give it a little bit of room.
And put it 45 degrees below.
I mean this looks like a folder phone to me.
This has to be a very flexible person.
Next, we will draw the breasts and the buttocks.
Both of them need lines to depict their fat pads.
So, it's good to practice them separately.
Let's try to draw
the breasts and the buttocks.
This is more integral for female characters.
In fact, they have a completely different texture
from the muscles that we've been dealing with.
So, you need to set them apart to practice.
First, draw the upper torso,
and we will attach the breasts after.
Breasts are largely made of fat.
And our fats are above our muscles.
So, the breasts are attached to the pectoral muscles
in this shape.
So, breasts are also on top of the muscles.
You have probably seen characters with breasts
that are bigger than the attachable area.
In the case of a casual character,
what happens is that,
if you look at the upper body from the side,
the attachable part does not change.
But, then,
an average-sized breast will look like this.
It's like a water pouch
that doesn't have a round bottom.
It's like a water pouch except that it's filled with fat.
So, make it look like a teardrop.
But then, when it becomes bigger,
while the attachable area is the same,
it curves in at the bottom like this.
So, what we often see as an underline is
actually a folded line.
Again, the attachable area is the same.
There can be a little difference depending on
the size of the breast,
but the difference in the attachable area is
never that significant.
So, when you need to draw big breasts,
don't change the attachable area.
Instead, draw the folded line underneath.
They would look like this.
Here is a tip for drawing fat lines.
It's the indentation.
Right here.
For smaller breasts, they would look like this.
In this case, there's no fold.
But, there are folding lines for the bigger breasts
in a round shape.
Before we go more into the details of
the fat lines.
Some people draw small breasts like this.
But, rarely.
Some people like to express them like this.
They carve the top
and make the bottom round.
This is a more minor taste.
The most commonly used is flat breasts like this.
But, this is largely divided by personal taste.
So, select the one that suits your style.
For a more detailed analysis,
it's important to add the indentations.
The two parts that I pointed out with arrows
are the parts that have indentations.
If you add these details,
the breasts look more fluid
and look more true to their texture.
So, together they enhance the sense of texture.
Let's try another angle.
Even if we are drawing them from the front,
draw it inward and then outward.
These details can help you
depict the fat lines.
Depict the cleavage with a Y-line.
It's also possible for them to fold here.
When the breasts are very big,
this Y-line becomes a straight line.
It's when you try to pull the breasts toward the center
that they create a Y-line.
To make them look more natural,
let's just add a Y-line in a subtle way.
You can see the lines pulled inwards.
This is important to depict the fat lines.
The next important thing is
the direction of the breasts.
After all, the breasts are placed
on top of the pectoral muscles.
But then, the pectoral muscles
are on top of the rib cage.
So, it's safe to assume that the direction of the breasts
depends on the shape of the rib cage.
Let's take another high-angle look.
Our body is not a cuboid.
It's a little bit rounded like this.
The breasts are attached at a perpendicular angle.
So, naturally, the directions of each breast
are outward and away from each other.
They are not parallel.
They face slightly away from each other.
For example, if we draw low-angle breasts,
it can separate further apart.
Considering the gravity, you can make them sag a bit
and even further apart.
The directions are like this.
Some people draw them much more outward.
It depends on the texture of the breasts.
Some people like to make them appear firmer.
Some people prefer to express the fat line.
Another important thing is
how the rib cage is positioned.
In this case,
at a low angle, the rib cage line should be prioritized.
Although the breasts have round underlines.
Because the rib cage is facing upward,
when it's an extremely low angle,
the line of the rib cage dictates the shape.
So, it is influenced by the line above and the line below.
So, with a low-angle like this,
the rib cage line takes over.
When it's a mid-angle,
since the breasts are round,
the breast line takes over.
You can make this further in detail
if you include the lines of the bones beneath.
When it's only a bit of a low angle,
the breast lines facing downward will be stronger.
Try to practice with different sizes of breasts.
Explore from small to big breasts
and increase the number of types of breasts
that you can draw.
Depending on the character's style,
use this practice
to describe accordingly.
Body information is all part of the characteristics.
You should be able to draw many types of bodies
to be able to handle characters with different styles.
Let's draw buttocks.
This is a back view.
There is a sacrum here
above the pelvic bones.
Draw the spine lines on top.
We are shaping the pelvic bones.
To study drawing buttocks, you need to study
both fat lines and muscle lines.
The glute muscles look like this.
It's a little bit inward.
On top of this muscle,
the fat pad takes a different shape.
Let's draw the legs.
There are some details required here, too.
The thickest part of the thigh is
a little bit below the pubic bone.
It's about one-third of the leg.
Like so.
Draw the other side.
When you add the muscles,
Like before, it goes inward
from both sides.
The fat pad is added on top.
But, it will go outward
in a slightly diagonal direction.
The shapes of the fat pad and the muscles are very different.
Actually, the fat pads above the glute muscles are
practically part of the muscle study.
Because the glute muscles are dominantly present,
you could consider the fat pads above as part of the muscle.
But, for our purposes, let's keep them separate.
Going back to the breasts,
because they are basically attached to the breastbone,
the pectoral muscles are not that important.
On the other hand,
as we describe the mass of the buttocks,
the green part where the muscle and the fat overlap
needs to have more volume than others.
The red part
and the green part
do not have the same height.
That's why when we look at the legs
from different angles,
the buttocks look very different.
From the side,
the buttocks look like this.
Like so.
When we look at it from the side,
it looks like this because
When we draw a 3/4 view
with the upper torso twisted sideways
and the lower torso facing more toward the front,
even if you add the lower body,
the line in the back is pretty subtle.
It doesn't look round from its side.
That's more like an implant.
This is a very common error.
Many people make this mistake.
People make this mistake when they draw a lower body.
Except for the side view,
don't make it look like this.
Make a gentle curve in other angles.
Of course, they can look slightly different.
It all depends on your body type.
It could be bigger like this.
But, when we draw a character,
we don't add this much deformer.
So, avoid drawing it like this.
The shape of the buttocks is complex from multiple angles
because the middle part of the buttocks is the thickest
so it looks like this.
But, the outer parts of the buttocks are not as thick,
so if you look close up from the front, it's not as obvious.
There is an empty space near the pubic bone
below the butt chicks.
Now, we are attaching the legs.
If you draw the inner thigh muscles,
you will get this kind of triangle.
You can do this if you want to make it more detailed.
From here, try to from different angles
and observe the change in the way the buttocks appear.
It's a side view of
when you raise a leg forward.
What will happen?
Fat tends to go along with muscle to an extent.
When the muscle is pulled in a direction,
the fat follows the same direction.
When it's standing straight, the buttocks remained like this.
But, when it's being pulled to the front,
the buttocks are stretched forward.
On the contrary, if you extend the leg backward,
it will look more compressed.
Depending on the movement of the legs,
the buttocks will compress or stretch.
So, remember that
the lines for the buttocks always change
according to the angles of the legs.
When you draw the shoulder,
you should be mindful of the mechanicals of the deltoid.
When you draw the lower body,
you should pay attention
to the changes in fats and muscles.
So, we've looked at the most commonly made mistakes.
I suggest you practice drawing breasts,
buttocks, and fat lines.
When I study fat lines,
I try to consider other objects
or other forces like gravity
that affect the lines.
This is different from muscles.
If the breasts are touching a surface,
they will look straight at the bottom.
But, the indentation and general round shape
are kept consistent.
I like to imagine different scenarios
that can cause a change in lines and shapes
and practice drawing the changes.
Because I want to be able to distinguish
the texture of fat from other parts of the anatomy.
This is how I practice.
I'm adding the buttocks.
This is how you practice figure drawing.
You should practice drawing the torso at all times.
I like to use my warm-up as my practice.
When I warm up before the actual drawing,
I draw about ten torsos,
and at least ten faces
to get myself going.
Invest about 30 minutes to an hour before drawing
into a warm-up
to give yourself a head start.
You can see I am paying attention to the lines
as I draw the anatomy.
Something to prioritize when you draw a torso
is not to consider every torso as a unique figure.
Remember we made a mannequin in our head before?
Think of each one as a version of that mannequin.
In a nutshell, you are drawing the same parts
of the same body.
It's just that you are applying different movements
and various angles.
So, don't isolate each practice.
You can increase fat
or detail the pelvis.
If you can do this freely,
you can consider yourself advanced in drawing figures.
That is to say if you draw a figure
and add mobility to the figure,
you can pretty much draw any character you want.
When you practice drawing figures,
if you find it overwhelming with all the body parts,
there is a way for you to simplify the complexity.
I've mentioned this before.
Once you dress your character,
the lines become less important.
Deformer applications vary from person to person.
For example, characters in
One Piece have particular proportions.
There are mangas like Once Piece
that use extreme deformers.
You could simplify the figure
and draw it like this.
As long as the proportions make sense,
it shouldn't look too awkward.
Let's add the legs here.
Proportions can be partially adapted to your needs.
Maybe you are not interested in sexy characters.
Then, you don't need all the detailed line descriptions.
So, if a simplified figure is enough for you,
then apply different angles
and poses to that figure.
Even after you've simplified the lines,
once you put the clothes on,
those lines are no longer that important.
Especially, if it's loose-fit clothes.
Usually, cute characters wear it.
Add the details for the creases.
It looks very cozy and loose.
Draw the pants.
When you draw a sexy character
with tight clothes,
you will need to add more body lines.
But, without being too ambitious
if you just want to reach a point where
you can draw characters with normal clothes,
you can take more liberty with this formula.
Even if you apply all the body lines,
it doesn't really matter once you put clothes on.
There are no lines that reveal the body.
The result would have been the same,
even if I had a detailed figure.
Study the body lines according
to what you are aiming for.
By adding more information on muscles and fat,
you can increase the details of your drawing.
If you are new to drawing figures,
this might be difficult for you.
Then, you can skip this for now.
You can learn them later on.
The information on anatomy in the curriculum is
not for the immediate outcome.
You can be aware of them now,
and then, study them later.
Instead of studying everything,
study easily plausible poses.
How much can the torso bend forward?
How much can it turn in space?
For now, it's much more useful for you
to study them in detail.
The lower pelvis. Volumetric figures.
They are a lot more helpful
and useful for practical work.
But, when you abbreviate too much,
it's easy to make a mistake.
You could make the upper body too long.
The more deformers you apply,
the more easily you can make a mistake.
Frankly speaking, human bodies are all flawed.
So, it's okay to make these mistakes.
If you don't draw yourself,
it's hard to notice them only by looking.
So, the important thing is
to decide what you believe to be suitable
and think about how it moves in space.
The more you draw, the better it is.
When you are not good at drawing figures,
some of you tend to obsess over the lines.
I hope you will change your thought on this.
Instead of prioritizing the lines,
it's better to focus on the proportions
and the shape of a figure.
Now that we've covered the body,
let's move on to the face.
This video shows you the way
that I practice in real life.
When I draw a figure,
I think about the fat lines
and attach limbs in multiple angles.
I also like to apply various angles to the face.
As in the case of drawing figures,
detailing the lines is not mandatory for drawing faces.
You could add the lines for pupils,
or double eyelids.
These detailed depictions are
only for when you want to increase the aesthetics.
So, they are not necessary.
If you want to abbreviate the face,
you could use a straight line for the eyes.
A detailed eye as I am drawing now
is only for when you feel the need for that extra.
Probably most of you will want to.
This is an eye looking to the left.
Don't forget to add the necessary details
like the brow ridge.
Height of the ears.
The angle of the nose.
Think about the face shape.
The face I'm drawing now
is considered pretty detailed.
Even if you simplify more than this,
it's still enough for the basis for a casual character.
For example, the American cartoon style.
So, if you are not too eager, this is enough.
Or maybe you like the cartoon style.
If you draw a point for the eyes,
the nose, and the mouth,
this can also be a learning experience.
Nothing is a waste.
But, if you have some time to spare,
and you want to add more value to the face
to meet the standard of commercial art,
after practicing the basics,
you can add the details on top.
If your basics are solid, it's easy to add the details.
Just replace the dots with the details.
Add the hair.
Similar to drawing a figure,
I like to practice drawing the face separately.
Start by laying down the basics
by drawing with dots like before,
then I add the eyes in detail and the hair.
Together, they can become
a set of elements that collectively form
the character you are working on.
That is it.
Let's try another angle.
When you turn the face in multiple angles,
I recommend the side view.
This is a good angle to study the volume.
The nose and the mouth protrude more than others.
Many of you are quite confused
about this area.
Because I could easily state that
this is the area with the most deformers.
Of course, the head generally
is always bigger than reality.
But, the mouth especially has a lot of deformers
compared to reality.
So, understanding this will help you shape a face
in terms of the deformer.
The hair can be anything.
It can be long hair like this.
I mentioned earlier that
the basics in the curriculum were shrunk.
Still, most of the things I wanted to fill in
are all included in this bonus.
How to approach drawing a figure?
How to approach drawing a face?
Even the creases are also part of the approach.
Because once you are in, everything is quite redundant.
So, it's important to learn how to approach them.
So, don't be discouraged in the beginning.
Understand how you can approach
different body parts.
and continue to practice,
The results will definitely show.
I am drawing an old man.
This is also part of the practice.
Let me share my way of thinking.
I've seen people who don't like drawing male characters
or older characters,
and only like drawing female characters,
Or there are also the opposite cases.
Some people only like drawing male characters.
But, I think you should be able to draw
a variety of characters.
I'm not saying that after the practice
you must draw a male character.
You building your experience
with a male character to draw a female character.
As you can see, I am drawing an old man.
Unlike the characters on the right with a lot of deformers,
with a lot of deformers,
this face includes more volumetric information.
Above the forehead.
Or the bones around the eyes.
This face requires a lot more information.
When it comes to deformers,
older characters tend to have less of them.
So, naturally, it requires more detailed information.
In other words,
it's difficult to practice these details
unless you draw an older character.
To be able to draw a female character well,
you need to practice drawing an older character.
So, I recommend this type of practice.
Because the skills you master here will
transfer to drawing a female character.
That's why this is a good practice.
I like to share my way of thinking with you
because we don't like doing what we don't want to.
Some people swear not to draw
a male character for the rest of their lives.
But, a lack of diverse practice
will cause a gap in your skillset.
So, try to give a variety of your subjects.
The face I am drawing now is actually
not so much of an old man.
I applied some deformers.
I just want to show you the minimum requirement.
If you revise the information you learned
from drawing an old character,
you can apply them to drawing a facial expression.
We learned about what moves in the face.
For example, the eyebrows can frown
or the corner of the eyes can go up.
You can make many facial expressions.
As you do so,
you can apply the volumetric information
from other drawing experiences.
A bit of a low-angle.
I also defined the head.
Another thing I want to recommend
when drawing a face is
to take liberty when you draw.
When you draw a casual character,
deformers can allow a lot of room for flexibility.
Okay, maybe some of you are into real images.
When a drawing
has deformers,
it becomes very flexible.
So, I recommend drawing different facial expressions.
I mean, it's also a lot of fun.
They can come in handy in a practical sense, too.
Because it's not as if we will only draw
the same facial expression every day.
You could make the mouth frown.
Or make the eyes look a bit dumb.
Something that fits in a manga.
Have fun with this.
But, don't deviate too far from the nature of volume.
Here is the head shape.
You should be mindful of the general formula for volume.
But, still, explore the possibilities of deformers.
I want you to draw freely.
Drawing with precision
and drawing for aesthetics
are two different things.
The anatomic analysis we learned just now and before
are about being precise and correct.
But, when you practice later,
adding expressions and deformers is
about increasing the aesthetics.
Making them look more natural.
These are good to know.
So, drawing faces is like this.
There is really not much to say.
It's a repetition of what we've done so far.
It's the same for the creases.
I said the creases are essentially a pattern.
You can even memorize it.
You can keep on creating them.
You can understand which movement
will cause what kind of creases.
Think about the center of gravity, the direction,
and the Y-and X-patterns.
These are all plane elements.
We are using lines to draw,
but we should think in terms of the plane.
Try to draw loose-fit, normal-fit,
and tight-fit clothes.
A soft material and a solid material.
Categorize your references.
And look at photos to analyze the crease patterns.
Find a deformer that suits you.
Look at other possibilities.
There are three steps to practicing.
When you practice drawing creases,
first, analyze a photograph.
Second, study the deformer patterns in drawings.
And finally, apply them accordingly.
Keep on creating creases.
Besides the arms,
you should also try drawing the torso.
Actually, in terms of creases,
the torso is only wider than the arm
they are not that different.
Essentially, creases are a product of repetition.
The Y- and X-lines, the center of gravity, and so on.
It's basically a repetition of them.
A hoodie would look like this.
Think in terms of planes.
We are drawing in lines now.
But, you can also paint in planes.
As if you are copying the planes.
It's not a bad idea.
Today, we have covered the materials in addition to
what we have already learned about anatomy.
I would like to quickly sum up the key points.
Our focus was to learn about the most commonly made mistakes.
What to keep in mind when drawing a face or clothes.
I hope you feel more familiar with them after this class.
Because I wanted to add a little bit more
to the basics part of the curriculum,
I took the opportunity today.
In theory, if you understand more
or less of the contents in this class,
you have learned all the important
parts of drawing anatomy.
It's about practicing them in repetition.
So, I hope you will keep on going
and make it to creating an illustration.
Thank you very much.