How to Draw Female Bodies Ch 4 Part 2

PAGE 128:

1: Butt Sticking Out
2: (right of 1) The butt and thighs are the themes here. Let’s look at how the linework changes.
3: (below 1) Leaning forward / Bowing
4: (below 3) Diagonal Back Angle
5: (right of 4) Shapes that bring out the pelvis.
6: (bottom left of 5) This supple line establishes the dimensionality of the rib cage.
7: (bottom right of 6) Where the leg connects. Use shadow to represent the bulge of the butt cheek.
8: (left of 7) Thighs bulging out
9: (below 7) Back Angle
10: (bottom left of 9) Bone - Scapula, spine, elbows, rib cage, pelvis
Flesh - Armpits, where the legs connect, thighs, ankles
11: (bottom right of 9) One leg is behind the other, causing the butt to tilt.
12: Bone - Scapula, armpits, spine, pelvis
Flesh - Muscle lines between the thighs, behind the knees
13: (bottom left of page) Have the butt crack extend out from the pelvis outline.

PAGE 129:

1: Facedown -> Raising Butt
2: Sleeping Facedown
3: Reflects the curved surface and thickness of the legs.
4: Curved surface
5: This is the lowest region of the torso.
6: Bone - Knees
Flesh - Armpits, breasts, inner thighs
7: (below 2) Entire body
8: (right of 7) Outline of torso
9: (right of 8) One leg is put forward, so the butt will lean towards the other side.
10: Raising Butt
11: (below 10) The breasts jut out towards the armpits.
12: (right of 11) Depression here.
13: Bone - Knees
Flesh - Breasts, crotch region, behind the knees
14: (above 12) The buttcrack is very subtle here.
15: (right of 12) The lowest region of the torso gets lowered.
16: (below 15) Center line. Captures the center.
17: (bottom left of page) Entire body

PAGE 130:

1: Sitting Pose
2: Let’s take a look at a sitting pose for this character from 5 different angles
3: We’ll draw the same character in almost the exact same pose for various different angles. Let’s take a look at how the bone and flesh can change in appearance depending on the angle.
4: (below 1) Diagonal Downwards ANgle
5: Pay attention to: Clavicle and armpits
6: Pay attention to: Belly button and the representation of the stomach with the short curved line.
7: (below 3) Side / Slightly Downwards Angle
8: (below 7) Pay attention to: How the breasts overlap and their positioning
9: (left of 8) Pay attention to: The line leading from the clavicle to the shoulder and the scapula.
10: The legs appear thin from a side angle
11: (bottom left of 10) Back
12: (right of 11) Pay attention to: The arms stretching out behind her and how the scapulas and armpits are represented.
13: (below 12) Pay attention to: The arms supporting her weight behind her and the elbow wrinkles.
14: (left of 13) Pay attention to: The subtle wrinkles at her waist
15: (below 14) Pay attention to: Ankles
16: (bottom left of page) Bone - Clavicle, elbows, knees, ankles, scapulas
Flesh - Armpits, stomach, belly button, breasts, thigh lines
17: (above 16) Pay attention to: The varying thickness of the thighs and the knee representation.

PAGE 131:

1: Front Upwards Angle
2: One leg is lifted up for this example specifically because otherwise both legs would look exactly the same.
3: Pay attention to: Her hand on the knee(arm forward) and her arm placed behind her. Look at how the armpits differ.
4: Reference - Symmetric legs
5: Pay attention to: The curved lines of the underwear(the thickness of the legs and how the underwear attaches to them)
6: Pay attention to: Neck, clavicle
7: Pay attention to: The difference in shape between the breasts
8: Pay attention to: Belly button(angle of the line)
9: Diagonal Upwards Angle
10: (below 2) Pay attention to: The difference between the knees
11: Pay attention to: How the knees and shins connect
12: (below 11) Pay attention to: Ankles
13: (bottom right of page) Pay attention to: Feet

PAGE 132:

1: Main Points
2: Let’s draw while using the surface that’s being sat on as a guide.
3: Diagonal Downwards Angle
4: Rough sketch of the entire body
5: Captures the torso(waist) and how the legs are connected to it.
6: Edge of the sitting surface. Can be used to guide knee placement.
7: Overall shape cleaned up.
8: Side / Slightly Downwards Angle
9: Use a cross for the head even when it’s facing away.
10: Rough sketch of the overall structure. Sketches out things like the thickness of the body and where the head is facing.
11: Rough sketch of the overall linework. It is close to the final stage at this point, so the linework gets fleshed out.
12: Back
13: Rough sketch of the overall structure. Look at the balance between the size of the head and the shoulder width.
14: The shoulders, elbows, legs, and knees have their positioning established here.
15: Things like the waist position, knee joints, and butt shape are adjusted as the linework is finalized.
16: The legs have had their positions changed for the sake of experimentation.

PAGE 133:

1: Front Upwards Angle
2: Correction/adjustment of leg positioning
3: Sketch out the pose you have in mind as you build up the design.
4: The basic sitting pose of the legs was established, so some potential adjustments were made in this sketch.
5: The main drawing process begins once the general pose is decided. The torso, pelvis area, and leg connection points are clearly defined at this point.
6: Diagonal Upwards Angle
7: The center line is drawn in while keeping in mind the directions the head and body are facing.
8: Since the angle is upwards, try keeping in mind the depth of the surface being sat on while drawing.

PAGE 134:

1: Drawing Different Kinds of Characters
2: (right of 1) The face, height, style, and way of standing often reflects the character’s personality. Let’s bring out the various different representations of bone and flesh in these characters.
3: (below 2) The most obvious differentiation between characters is their height, which usually falls between “large”, “medium”, and “small”. We’ll also go over “even smaller” and “even bigger” characters.
4: (below 1) Full Body Pose
5: Small Character (follow the text downwards)
6: Looks upwards a little bit
7: Small bust
8: Thin legs
9: Defenseless stance
10: Large Character (follow the text downwards)
11: Looks straight forward
12: Large bust (big tits)
13: Thick thighs
14: (right of 8) A confident pose that faces straight forward. Wrists are accessorized with bracelets.
15: Medium Character (follow the text downwards)
16: Slightly facing down and diagonally
17: Medium bust
18: Legs of average thickness
19: (bottom right of page) Legs spread apart

PAGE 135:

1: Height Differences
2: The height differences are in intervals of about half a head’s length.
3: Reference - Even Smaller Character
4: Facing diagonally
5: Almost nonexistent bust
6: *The neck, arms, and legs are all even thinner than a small character’s.
*The finger in mouth pose emphasizes the individuality and traits of the character.
7: Differences in Clavicle
8: Strongly Defined Clavicle
9: A surprisingly thick clavicle.
10: Faint Clavicle
11: Reflects the ample amount of flesh.
12: Firm Clavicle
13: A common trait of slim characters.
14: Tiny Clavicle
15: Shows how young the character is.

PAGE 136:

1: Knee Shot Pose
2: The knee shot is a good size to fully accentuate the character’s face and body. Let’s take a look at various characters with the focus being their bras and bust sizes.
3: (bottom left of page) A normal character whose appeal is her soft and healthy-looking body with just the right amount of bone and flesh texture. (main character)
4: (right of 3) This one has an especially large focus on her muscles. Her fit body shows that she’s an action character.
5: This is an example of a token “sexy” character whose personality doesn’t match her body. Her main appeal is her thick meaty body.

PAGE 137:

1: Normal Character
2: Her pose is meant to bring out cuteness
- Her shoulders are slightly raised to bring out movement.
- She’s slightly looking down(eyes are looking up).
- Her posture is relaxed and tilted(shoulder and hip angles are shifted).
3: She has a young, healthy-looking body. Her bone and flesh texture is just right.
4: Just-right Bone Texture - Clavicle and shoulders
*Clavicle - The lines aren’t very thick.
*Shoulders - The shoulders are slightly bunched together and raised up, so the linework should be very tight.
5: Just-right Flesh Texture - Neck, armpits, breasts, stomach, crotch, around the underwear
*Breasts - The linework shouldn’t be too emphasized. The bra should bring out a natural-feeling softness.
*Stomach - The abs around the belly button are slightly drawn in(vertical line) and the external oblique muscle should have a light presence to bring out the softness and roundness of the stomach.
*Around the bra and panties - Show that it’s digging into the skin.
6: The Bra’s Natural Bust Line
7: It should have a tidy and reserved look to it.

PAGE 138:

1: Active Character
2: Her pose is meant to bring out liveliness.
- Her arms are tied behind her and her chest is thrust out.
- Her heavily defined shoulders are raised.
- Her chin is slightly raised(eyes are looking down).
- One foot is forward.
3: Pelvis
4: (right of 3) Deltoid
5: (below 4) Underwear that covers a lot of skin
6: With an emphasis on bringing out hard bone texture, a more athletic character is represented. The lines around her shoulders and waist give her a muscular-looking body.
7: Hard Bone Texture - Chin, clavicle, shoulders, rib cage, pelvis
*Clavicle - Should have a thick and defined look to it.
8: Flesh Texture - Armpits, shoulders, breasts, waist creases, stomach
*Shoulders - Bring out the deltoid muscles.
*Breasts - Has volume to them due to the bra squeezing them together and pushing them up.
*Stomach - The line around the belly button should be drawn longer to show her muscles. The creases around her waist and pelvis demonstrate a fit torso. The external oblique lines should be sharp as well. They should feel tight instead of round.
*Around the bra and underwear - Since these are sports underwear, they should appear to be very tight as they dig into her skin.
9: Pushed-Up Bust Line
10: Brings out a sporty image, as well as a sexy one with the cleavage. Makes a Y-line.

PAGE 139:

1: Sexy Character
2: Her pose is meant to bring out embarrassment and emphasize her large breasts
- She’s leaning forward while lifting up her breasts(breasts are heavily emphasized).
- Neck slightly tilted + slightly looking down (eyes looking up while they’re cast down).
3: This pose is meant to show off her large breasts while her neck is tilted as if she’s kind of in an awkward spot right now. Her expression brings out her personality, while her small shoulders make her look timid.
4: Bone - Clavicle
*The clavicle is drawn thinly, as if it’s only visible because of the pose. The depressions around the neck should be soft in order to bring out her soft skin texture.
5: Flesh Texture - Neck, breasts, stomach(belly button), crotch, thighs
*Stomach(belly button) - Horizontal because the body is leaning forward.
*Side of bra - The breasts should look like they’re spilling out from the bra to emphasize their size.
*Crotch - Should be cleanly drawn with round and soft lines.
*Thighs - Should be thicker to bring out more skin texture. Have the inner thigh lines bring out her softness.
6: “I” Bust Line
The bra causes the breasts to squeeze together, making an “I” shape. Shows that she has voluptuous breasts.

PAGE 140:

1: Overall Body Balance - Bringing Out Character Differences
2: By having these 3 characters placed next to each other, their differences end up standing out a lot. Here are a few of the main differences that end up being demonstrated:
3: - Pose, as in the direction the head is facing, the direction the body is facing, and posture differences
- Hairstyle differences
- Face, as in the differences in art style and expression
- Differences in body texture and underwear
4: Differences in posture
5: Rough Sketch
6: (below 5) Hair and eye differences
7: Differences between bone and flesh / Differences between clavicle and breasts
8: By having the characters stand out from each other, seeing just their face or a part of their body makes it obvious which character is who.