How To Draw Female Bodies Ch 3 Part 2

PAGE 94:

1: Drawing the Body
2: (below 1) Stomach Representation
3: (right of 1) Let’s take a look at how to draw a stomach as well as various body thicknesses.
4: (below 3) Let’s start with focusing on the muscles of the stomach.
5: (below 2) Front
6: (below 5) Belly button only. The simplest design for a stomach.
7: (starting from the top line thing on the middle body) The dip in the pit of the stomach
8: The dips from the rib cage
9: Abs
10: External oblique muscle
11: A stomach that shows all the dips and bulges.
12: (starting from the top of the right body) Muscles and Skeleton
13: Rib cage
14: Abs
15: Edge of the external oblique muscle(groin line)
16: The width and size of the abs are up to personal preference.
17: Stomachs That Look Toned
18: Here only the line representing the dip in the center of the abs is shown.
19: (right of 18) Here the outline of the abs demonstrates the bulges in the lower abdomen.
20: The dips around the belly button are emphasized here.
21: The dip in the pit of the stomach is emphasized here.
22: A more modest representation of the abs
23: (below 18) Dips from the rib cage
24: The ab lines around the belly button are omitted.
25: The muscles poking out from the underwear are heavily emphasized.
26: The dips in the pit of the stomach and around the belly button are emphasized while the ab lines are lightly filled in.
27: Rough sketch. The outline is loosely defined.
28: Rib cage outline
29: Abs outline

PAGE 95:

1: 45° Upwards Angle
2: Rough Sketch
3: Center line
4: Rib cage outline
5: External oblique muscle outline
6: Clearly define the curved lines of the body from the stomach down to the crotch.
7: (right of 1) Clean Type
8: (below 7) Only the belly button is drawn
9: The center dip that connects to the belly button(center of the abs)
10: The dips that appear at the sides of the external oblique muscle
11: (below 6) Toned Type
12: External oblique muscle
13: Draw the center dip as well as clearly defining the roundness of the external oblique muscle.
14: Dips of the rib cage
15: Dip of the pit of the stomach
16: This line makes up the roundness of the stomach area
17: The stomach’s undulation can be represented by the lines that make up the belly button.
18: Belly button
19: (bottom left of page) The dips of the pit of the stomach, rib cage, and external oblique are all drawn in.
20: Abs
21: The left and right ab lines are added and the center dip is less defined. The lines below the belly button and some of the lower abdominal lines are omitted.
22: The center line is drawn in and the body’s curved outline is defined while drawing the overall figure.

PAGE 96:

1: Various Body Types
2: (below 1) Slender Type and Normal Type
3: (right of 1) There are various ways of drawing different body types. Let’s check out some easy ways to adjust body width and thickness starting with the slender type and normal type bodies.
4: (below 2) Slender Type
5: Narrow neck
6: The armpit position is just about at the width of the head.
7: Small breasts(small mountains)
8: (right of 6) Narrow body width
9: (below 7) Take care to not have the pelvis jut out too much. Have the lines reaching down from the rib cage to the pelvis be very slender and smooth.
10: (below 9) The pelvis width is narrow, so the thighs and legs will be slender as well.
11: (right of 4) Normal Type
12: Thick neck
13: The armpit stretches out farther than the width of the head.
14: (right of 13) Wide body width
15: Breasts have more volume(ball shaped)
16: (below 15) The lines extending from rib cage to pelvis use straight angled lines as the pelvis spreads out.
17: (top right of page, under 3) Slender Type Normal Type
18: (below 17) Head width
19: (right of 18) The chest and butt extends beyond the head width.
20: (below 19) The scapula is one of the most important parts in making the body thicker.
21: (below 20, bottom right of page) The slender type overlapping with the normal type. Not only are the chest and butt different, there is varying thickness from the neck, scapula, and waist areas.
22: (below 10) The slender type overlapping with the normal type.
23: (below 22) Armpit lines
24: (below 16) As the body width and thickness increases, the neck, arms, thighs, and legs become thicker than the slender type as well.
25: (below 24) Normal type shoulder width
26: Slender type shoulder width
27:  ☆The main differences between the types are the shoulder width, armpit placements, and pelvis width.

PAGE 97:

1: Drawing Process
2: Slender Type
3: Center line
4: This line helps with establishing the upper body outline
5: Waist outline
6: (below 5) This line helps with establishing the pelvis outline
7: (left of 6) Overall outline. The breasts aren’t drawn.
8: (right of 4) This line helps with establishing the upper body outline. Visualize it as a curved line traveling across a curved surface.
9: (below 8) Fleshed out. The outline is made more clear. Small bumps are added to the chest. The curves of the waist are purposely made subtle.
10: Finish up after adding nipples, areolas, and underwear.
11: Normal Type
12: Upper bust line
13: Lower bust line
14: Draw this in mostly the same process as the slender type. Add outlines for the breasts and clearly define the silhouette.
15: Flesh out the outline. Shape out the breasts.
16: Finished
17: Upper Body Comparison
18: When changing the shoulder width and body thickness, the clavicle and upper bust positions change. Their positions in the normal type are lower compared to the slender type, which makes the normal type feel thicker.
19: Overlapped

PAGE 98:

1: Drawing Where the Legs Connect and the Region Between the Legs
2: (right of 1) The hip joints are covered with flesh and don’t appear on the surface. Let’s take a look at the representations of the base of the legs, the crotch, and the butt.
3: (below 1) Features Around the Base
4: (right of 3) The texture of the flesh can be created using curved lines. When drawing underwear, it’s important to have it dig into the skin.
5: External oblique muscle
6: Base of leg. A clear crease can be made out.
7: Muscle line. It makes a dip in the flesh.
8: Crotch. Curved surface.
9: Butt
10: (below 8) The rubber part digs into the skin.
11: Draw the underwear digging into the flesh on this side sharply, otherwise it’ll look a bit pudgy.
12: Seam line on the underwear. Represented by curved lines across the curved surface.
13: There is a slight gap between the cloth and the skin here. Thick lines that represent the shadow will bring out its dimensionality.
14: (below 13) This line helps capture the thigh muscles.
15: (below 14) This line helps capture the butt shape.
16: Drawing Tips
17: These lines help capture the curved surface of the lower abdomen.

PAGE 99:

1: Drawing Underwear and the Area Around Where the Legs Connect
2: Waist
3: The hole where the leg enters
4: The waistline. Helps capture the dimensionality of the lower abdomen.
5: The lines that wrap around the leg openings in the underwear. Can use them as a guide for the base of the legs (and vice versa).
6: Underwear Examples
7: The curved waistline brings out the roundness of the body.
8: Crotch Without Underwear
9: Curved surface. Curves around the lower side.
10: The crotch can be seen from behind.
11: (right of 10) Underwear X-Ray Diagram
12: (below 11) Underwear where there’s more cloth on the backside (same for front side)
13: (below 9) Drawing Around the Crotch: Outline and Rough Sketch
14: Capturing the general outline of the butt
15: Outline of body
16: Outline of butt
17: These lines serve as guidelines for the base of the legs. It’s basically like underwear that digs in deep.

PAGE 100:

1: Drawing Where the Legs Connect From an Upwards Angle
2: (right of 1) This involved drawing a region of the body that most people aren’t familiar with. Let’s learn about how to draw a crotch by looking at how the legs connect to it. The underside of the body is covered with soft flesh.
3: (below 1) Front of Crotch
4: (below 2) Diagram of Body From Upwards Angle
5: (below 4) The torso is cut into different cross sections.
6: (left of 5) The curved surface of the front of the crotch is emphasized when looked at from an upwards angle.
7: (below 5) The leg is cut into different cross sections. Knee socks and such would be about at this line.
8: (left of 7) Where the legs connect.
9: (left of 8) Lowest part of the body(under the torso)
10: (below 9) Where the legs connect. The thighs are vertical ellipses.
11: (right of 10) If the lines of the legs were to be added in.
12: (below 3) Diagram of the Torso’s Underside
13: (below 12) Front Side
14: (right of 13) Crotch. Separated into parts.
15: (below 13) Back Side
16: (right of 15) Butt
17: (below 14) Center
18: (bottom left of page)
19: The muscle lines around the crotch. It adds more dimensionality, but can be omitted.
20: (right of 19) The pelvis and hip joints usually have very little bearing on the overall outline.
21: (above 20) Character Skeleton
22: (right of 21) X-Ray Diagram

PAGE 101:

1: 45° Angle
2: (below 1) The crotch region has a roundness to it. Draw it with a gentle curved line extending down from the lower torso.
3: (right of box) This helps establish where the right leg connects. Draw it in accordance to the left leg.
4: (bottom right of 3) Use the line reaching towards the front side of the crotch and the ellipse made from the butt’s outline as guides for drawing where the leg begins.
5: Reference: Hip Joints
6: (right of 5) The hip joints are buried inside the torso, so it can’t be made out from the outside. The edges of the pelvis sometimes point outwards(for the more slim types).
7: (below 5) Bottom of the Pelvis
8: (below 7) Pubis
9: (right of 8) Lumbar
10: (below 9) Tailbone
11: (left of 10) Where the femur pluts in
12: (right of 9) Edges
13: (below 12) Ischium
14: (right of 13) Tailbone
15: (right of 14) Ischium
16: (above 15) Pubis
17: (below 11) This part enters the opening in the pelvis.
18: (below 17) Femur
19: (below 18) Character Skeleton X-Ray Diagram
20: (right of 19) Where the femur connects
21: (above 20) Bottom Angle

PAGE 102:

1: Backside of Crotch
2: 45° Angle
3: Upwards Knee Shot Angle
4: No Underwear
5: The torso is drawn with the image of the crotch region curving towards the front side.
6: Where the legs connect
7: Character Skeleton
8: X-Ray Diagram
9: Example of failure. The crotch is emphasized too much and too much of the underside of the body can be seen from this angle.

PAGE 103:

1: Low Angle
2: (below 1) The leg connection line is thinly drawn in. This can be omitted.
3: (top right of page) This line is used to guide the position of both butt cheeks.
4: Center line
5: No underwear. The butt line is more distinctly drawn in.
6: Open Legs
7: The wrinkle from the cloth getting sucked in.
8: No underwear
9: Draw the torso using ellipses.
10: Use ellipses for the thighs too to help establish dimensionality.
11: The underwear is raised a bit higher than the butt crack.
12: (bottom left of page) Rough sketch of the entire body in this pose. General idea.

PAGE 104:

1: Drawing Where the Legs Connect in Action Poses
2: (below 1) Standing with One Leg Up
3: (right of 2) The crotch’s appearance will change depending on how the legs move. Let’s take a look at various positions of the crotch and legs.
4: Crotch bulge
5: Butt meat
6: The outline of the butt is reflected here.
7: High Kick
8: Torso behind leg
9: The line becomes slightly sharp here.

PAGE 105:

1: Jump + Kick
2: The leg is in a diagonal position
3: Kicking Up
4: The leg direction is straight up
5: The curvature of the butt will change depending on the direction the leg is kicking in.
6: Flying Kick
7: The crotch bulge is barely visible from the front if the legs are spread out.

PAGE 106:

1: Start of Roundhouse Kick
2: Only a slight portion of the crotch isn’t covered up by the leg.
3: Carefully draw the curved lines of the crotch region even if most of it will end up getting covered up. The shape of the underwear will help with this.
4: Front Kick - The thigh is lifted up
5: Torso behind leg
6: Use the center line to help capture the crotch bulge.

PAGE 107:

1: Middle of Roundhouse Kick
2: Torso behind leg
3: The roundness and texture of the butt is emphasized.
4: Crotch and Butt Appearance
5: There are regions of the butt that aren’t drawn depending on the situation. Slightly upward or downward angles can change what you can see.
6: (below 4) Butt can’t be seen.
7: Butt can be seen.
8: Strictly speaking, “A” would be the example of someone getting their picture taken from the very front. If taken a little farther back from a lower angle, something like “B” would be the result. There are cases where the butt can still be seen from a normal front angle in order to make the overall appearance more attractive. Try to draw while keeping these things in mind.

PAGE 108:

1: Drawing the Butt
2: (below 1) Standing Pose
3: (below 2) Bending
4: (right of 1) These are drawings with the butt as the focus. Let’s take a look at various representations of butts.
5: Normally speaking, the bulges of the butt cause a crack to form. Pay close attention to how the butt spreads out from the waist.
6: Outline
7: A butt from a 45° angle. The curve of the butt crack should be drawn using the outline as a guide.
8: Waist
9: Waist
10: Directly from behind. The butt crack forms a straight line. The crack actually begins from below and is rather short.
11: The butt is drawn jutting out and from a low angle. The butt is more emphasized.
12: The butt crack follows the center line.
13: Reference - Full Body Design

PAGE 109:

1: Walking from Behind
2: Leg that is behind
3: Leg that is going forward
4: Leg that is behind
5: Pay close attention to the curvature of the butt and the lines of the legs.
6: Twist of the waist
7: Leg that is going forward
8: Leg that is going forward
9: Twist of the waist
10: How the butt differs depending on how one is walking and where their waist is facing
11: Normal Walking Stride
12: Slow Walking Stride
13: Direction of the butt jutting out
14: (bottom left of page) A normal walking pose. The waist has a large turn, making the way the butt juts out more defined. The distinction between the front and back legs is stronger as well.
15: The turn of the waist is not very emphasized. The butt cheeks jut out at about the same length. The lines around the butt show which legs are at the front or back.
16: Butt cheek representation
17: Use a small wrinkle to show where the leg connects. It should show how the leg is extending out towards the back.

PAGE 110:

1: Butt Thrusting Out
2: Small Cute Butt
3: Some of the crotch can be seen. Can be omitted.
4: By having the butt cheek extend onto the thigh, a cuter, rounder impression can be given.
5: Upper Body
6: Twist
7: Sketch. The upper body is almost directly at the side, while the waist makes a twist. The back line is corrected when the main line work is drawn in.
8: In the case of underwear. The butt crack can be omitted as well, showing only the creases of the underwear.
9: Bowing
10: The outline is the pelvis’ curved surface.
11: Roundness of the crotch.
12: The W shape of the butt doesn’t show up. Slightly draw in the wrinkles representing where the legs connect(curved lines going slightly upwards).
13: Thickness of the pelvis
14: This sketch captures the size of the pelvis.
15: Establishing the thickness of the pelvis. Meatier characters will use a thicker size, while skinnier characters will use a thinner size.

PAGE 111:

1: Sitting Poses
2: (below 1) Sitting with Arms Around Knees from Behind
3: (right of 2) Drawing that emphasizes the butt
4: (right of 3) Let’s take a look at how butts are shaped when against the floor.
5: In the case of underwear on. The hem is curved.
6: (below 5) Main Points
7: (left of 6) Supple line
8: Round silhouette
9: 1. Draw out the silhouette. The butt should extend out wider than the shoulders.
10: 2. Flesh out the pose. The waist should stretch out downwards to the sides.
11: Changes in Butt Cheek Lines
12: Width of Butt Cheeks
13: The butt widens out, forming the entirety of the butt outline.
14: The butt actually flattens when against the floor, but try giving it a round silhouette instead.
15: The butt isn’t very round when viewed from the front.
16: These slightly round lines show that the butt is making contact with the floor.

PAGE 112:

1: Back Stretching Out While Sitting
2: A sitting pose that especially emphasizes the butt by making it slightly stick out.
3: Emphasizing the butt lines.
4: The butt juts out.
5: In the case of underwear on. The cloth width does not change much.
6: Draw the butt crack reaching towards a very deep position. The butt is given more appeal this way.
7: In the case of not emphasizing the butt lines.
8: The butt crack only reaches about half as far.
9: Main Points
10: The back line(center line). While keeping in mind the bend of the waist, draw this line reaching all the way to the butt crack without any interruptions.
11: Draw underwear to use as a guide for establishing the round surface of the waist.

PAGE 113:

1: Sitting with Back Bent Forward
2: In the case of underwear on. The hem is much farther down. The surface area of the cloth decreases.
3: The butt curves in.
4: Only a slight bit of the butt crack can be seen.
5: Main Points
6: 1. Outline
7: Center line stretching down the back
8: Waist curve
9: 2. Rough sketch
10: Represent the curve of the waist.
11: (bottom left of page) Silhouette of back.
12: (right of 11) The butt curves towards the thighs
13: 3. Flesh out the overall line work.

PAGE 114:

1: Column
2: Let’s Draw Poses Where the Soles of the Feet Can Be Seen
3: Soles Are Pretty Meaty
4: Let’s take a little look at the representation of soles. The sole is made up of curved surfaces. Draw while keeping in mind the various dips and bulges.
5: Arch of the foot
6: The shaded regions are where the foot will most likely touch the floor first.
7: No Underwear
8: Line that represents where the leg connects
9: Gentle bumps.
10: The heel is actually pretty flat.
11: Keep in mind the bulge here.