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 PAGE 23:
 
 Chapter 2
 
 How to Keep in Mind the Skeletal Structure of a Character
 
 PAGE 24:
 
 1: (top left) Bones and Joints
-2: (right of 1) Drawing the lines of the bones that show up on the body’s surface.
+2: (right of 1) Drawing the lines of the bones that show up on the body’s surface
 3: (below 1) The Representation of Bones over the Whole Body
 4: (below 3) Front (Normal Angle)
-5: (right of 4) Bring out the contrast between the hard bone lines that appear on the body’s surface and the soft meaty flesh. Even in a drawing, the bones will serve to be the literal framework for your character. Focus on representing the clavicle and shoulder blades on the torso, as well as the elbow joints and knee joints on the arms and legs.
+5: (right of 4) Bring out the contrast between the hard bone lines that appear on the body’s surface and the soft, meaty flesh. Even in a drawing, the bones will serve as the literal framework for your character. Focus on representing the clavicle and shoulder blades on the torso, as well as the elbow joints and knee joints on the arms and legs.
 6: (below 5) Elbow Joints
 7: (below 4) Clavicle
 8: (below 7) Knee Joints
 9: (below 8) Ankle Joints
-10: (bottom left of page) An outline of the skeleton.
+10: (bottom left of page) An outline of the skeleton
-11: (right of 10) Fleshing it out.
+11: (right of 10) Fleshing it out
 12: (right of 11) Even if drawing the silhouette right from the very start, it’s important to keep in mind joint placement.
 13: (right of 12) Character Skeleton (Bones like the spine and ribcage are being drawn in a simplified fashion.)
 14: (below 6) Wrist Joints
 
 PAGE 25:
 
 1: (top left of page) Back (Slightly Downwards Angle)
 2: (right of 1) When it comes to the backside, the most important bones to be represented would be the shoulder blades and elbow joints. The wrists and knee joints can be represented with simple joint-like lines.
 3: (below 1) Spine
 4: (below 3) Shoulder blades
 5: (below 4) Wrists
 6: (left of 5) Elbows
 7: (below 6) Knees
 8: (below 7) Ankles
-9: (right of 4) Clavicle. Connects to the shoulder blades.
+9: (right of 4) Clavicle: Connects to the shoulder blades.
 10: (right of 9) Spine
-11: (below 10) Shoulder blades. They sit over the ribcage.
+11: (below 10) Shoulder blades: They sit over the ribcage.
 12: (below 11) Elbows
 13: (bottom left of 12) Wrists
 14: (below 13) Knees
 15: (below 14) Ankles
 16: (bottom right of 15) Character Skeleton (Bones like the hands, ribs, and legs are somewhat omitted.)
-17: (left of 15) It can prove useful to draw panties even when you don’t need to so you can get an easier grasp of the body’s curved surface.
+17: (left of 15) It can prove useful to draw panties even when you don’t need to so you can get a better grasp of the body’s curved surface.
-18: (below 17) Rough sketch. The shape is more defined compared to the very rough sketch. The elbow, ankle, knee, and wrist joints are represented in a simplistic manner.
+18: (below 17) Rough sketch: The shape is more defined compared to the very rough sketch. The elbow, ankle, knee, and wrist joints are represented in a simplistic manner.
-19: (left of 18) Very rough sketch. The downwards viewpoint is drawn first by grasping a general idea of the image. The shape of the entire body is roughly drawn while capturing the dimensional perspective and joint placement.
+19: (left of 18) Very rough sketch: The downwards viewpoint is drawn first by grasping a general idea of the image. The shape of the entire body is roughly drawn while capturing the dimensional perspective and joint placement.
 
 PAGE 26:
 
 1: The Important Bones of the Upper Body
 2: (right of 1) Clavicle, Jaw, Shoulders, Elbows, Hands
 3: (below 2) By taking a look at a pose that incorporates the neck region, shoulders, and arms, we can understand the importance of joints and bone structure.
 4: (below 1) Bust Shot (Neck Region, Clavicle)
 5: (below 3) The clavicle connects to both shoulders, meaning it can be used as a guideline for drawing the shoulders.
 6: (below 4) When drawing from a more downwards view, the clavicle makes a more curved line across the shoulders.
-7: (below 6) A pose with raised shoulders from a downwards view.
+7: (below 6) A pose with raised shoulders from a downwards view
 8: (right of 7) V shape
 9: (below 7) Jaw
 10: (below 9) Jaw tip
 11: (below 10) The outline has a soft curve.
 12: (right of 11) The lower jaw opens up at the bottom. Since the cavity is being surrounded by flesh, this area ends up being surprisingly squishy.
 
 PAGE 27:
 
 1: Drawing the Movement of the Shoulders and Arms
 2: (bottom right of 1) The clavicle line changes depending on the angle and the arm movement.
 3: (below 2) The shoulder joint connects below the shoulder blade and clavicle.
 4: (right of 3) Sharp
 5: (below 3) Round
 6: (below 5) The elbow’s look will change depending on the tendons on the elbow, so it can either end up looking round or sharp.
-7: (left of 6) Shoulder Blades(Backside)
+7: (left of 6) Shoulder Blades (Backside)
 8: (bottom right of 6) By drawing the distinct shape of the shoulder blades, you can give the back a more realistic impression.
 9: (below 8) Hands and Wrists
-10: (below 9) A hard yet supple feeling.
+10: (below 9) A hard yet supple feeling
-11: (below 10) The round bone of the wrist joint will appear on the wrist’s outline(pinky side).
+11: (below 10) The round bone of the wrist joint will appear on the wrist’s outline (pinky side).
 12: (below 7) Deltoid
 13: (below 12) Shoulder Joint
-14: (below 13) The shoulders can be considered to be one of the most important elements of a character, seeing as how the shoulder width and shape can do a lot to change a character’s image and impression. The shoulder is covered with the deltoid muscle, but try to represent it like a bone by giving the outline a hard yet supple feeling.
+14: (below 13) The shoulders are considered to be one of the most important elements of a character, seeing as how the shoulder width and shape can do a lot to change a character’s image and impression. The shoulder is covered with the deltoid muscle, but try to represent it like a bone by giving the outline a hard yet supple feeling.
 
 PAGE 28:
 
 1: (top left) Drawing the Head and Shoulders
 2: (below 1) The Head and How it Connects to the Body
 3: (right of 1) Let’s take a look at how the head, neck, and body all connect to each other.
 4: (below 3) The head connects to the neck via the skull connecting to the spine, and the neck connects to the body via the spine connecting to the ribcage.
 5: (below 2) 45° Angle Front
 6: (bottom right of 5) Connects to the back of the head.
 7: (below 6) The protrusion of the clavicle bone is represented.
 8: (right of 7) The rib cage connects to the spine.
 9: (below 5) Side
 10: (right of 9) Center
 11: (bottom right of 10) Jaw Joint
 12: (below 11) The neck bone is located more towards the rear than the center.
-13: (right of 12) The protrusion of the clavicle.
+13: (right of 12) The protrusion of the clavicle
 14: (right of 13) The neck is made with diagonal lines.
 15: (right of 14) When drawing an angle from the side, having the neck made with lines going straight down can look strange.
 16: (below 10) Back
 17: (below 16) Draw the head while keeping in mind the jawline that you can’t see from this angle.
 18: (right of 17) This neck connection doesn’t actually exist, but it can prove to be useful during the drawing process.
 19: (upper right of 18) 45° Angle Back
 20: (bottom right of page) When drawing the neck lines straight down in this angle, you can really give the impression of the character looking straight forward.
 
 PAGE 29:
 
 1: (top left of page) Bird’s Eye View
 2: (right of 1) Bird’s Eye View Diagram
 3: (below 2) Front
 4: (below 3) Back
 5: (right of 4) Neck
 6: (right of 5) Spine
 7: (right of 7) Shoulder Blades
 8: (above 7) Clavicle
 9: (below 1) Face Length
 10: (below 9) Shoulder Length
 11: (right of 10) Back
 12: (above 11) The back of the head extends a bit farther back than the spine does.
 13: (right of 11) See-Through View
 14: (top right of 13) Top of the Head
 15: (below 10) Capturing the Connections Between the Head, Neck, and Body
 16: (below 15) Bottom-Up Angle
 17: (below 16) Outline
 18 (right of 17) Body
 19: (right of 18) Spine
 20: (above 19) Neck
 21: (above 20) Draw the head-neck connection with an ellipse.
 22: (right of 21) Rough Sketch
 23: (right of 22) The jawline is omitted.
 24: (right of 23) Adjust the neck length and width depending on what kind of character you want to portray.
 
 PAGE 30:
 
 1: (top left) Top-Down Angle
 2: (right of 1) Start with roughly drawing everything down to the waist. Take care in maintaining the balance between the head and shoulder width.
 3: (below 1) Front Side
 4: (bottom right of 3) Use the clavicle as a guide for drawing the upper body’s outline.
 5: (below 4) Draw the outline with a general grasp of the image.
-6: (below 5) This is the line where the breasts start coming out.
+6: (below 5) This line is where the breasts start coming out.
 7: (below 6) Center Line
-8: (right of 5) An outline of the connection between the neck and body.
+8: (right of 5) An outline of the connection between the neck and body
 9: (top right of page) Refine the neck line to have a more elastic feel.
 10: (below 9) The thinness of the neck depends on the character you want.
 11: (below 10) Refine the neck line placement to make it feel more natural.
 12: (below 11) Thin necks might not look weird anymore after adding hair or facial features.
 13: (below 5) Back Side
 14: (right of 13) This line represents the center line of the back of the head.
 15: (below 14) Draw the top part of the body with an ellipse.
 16: (below 15) Spine
 17: (bottom left of 16) Side of Body
 18: (right of 16) Draw these using ellipses.
 19: (below 18) Trapezius muscle lines
 20: (right of 18) The trapezius muscle lines are drawn digging into the neck.
 21: (below 20) Finished product
 22: (left of 21) You can start out with just drawing a rough feeling of the image you want, too.
 
 PAGE 31:
 
 1: (top left of page) The Trapezius Muscles That Make Up the Area Around the Neck
 2: (right of 1) The trapezius muscles are what make up the gentle slopes around the neck.
 3: (bottom right of 1) Shoulder Line
 4: (right of 3) Trapezius Muscles
 5: (below 3) Neck Line
 6: (below 1) Diagram View
 7: (below 6) Head - Ellipse
 8: Neck - Cylinder
 9: Trapezius Muscles - Triangles
 10: Shoulders - Circles
 11: (right of 7) Small triangle shape
-12: (below 11) In the case of the shoulders slightly being scrunched up. The size of the trapezius muscles can differ depending on the character design.
+12: (below 11) In the case of the shoulders slightly being scrunched up, the size of the trapezius muscles can differ depending on the character design.
-13: (right of 12) In the case of no trapezius muscles.
+13: (right of 12) In the case of no trapezius muscles
 14: The Two Types of Normal Angles
-15: (right of 14) When characters are drawn in “normal angles,” they’re usually drawn with a slightly top-down view or slightly bottom-up view. Even with the same characters in the same posture, the depictions of the clavicle and trapezius muscles will differ with each angle.
+15: (right of 14) When characters are drawn at “normal angles,” they’re usually drawn with a slightly top-down view or slightly bottom-up view. Even with the same characters in the same posture, the depictions of the clavicle and trapezius muscles will differ with each angle.
 16: (below 14) Slightly Top-Down
 17: (below 16) The trapezius muscles are in clear view. The clavicle is distinctly defined.
 18: (below 15) Slightly Bottom-Up
 19: (below 18) Both the trapezius muscles and clavicle aren’t in view as much.
 
 PAGE 32:
 
 1: (top left of page) Neck Muscles and Clavicle
 2: (right of 1) Let’s take a look at the lines that make up the neck and clavicle, as well as how they can change through movement.
 3: (bottom right of 1) Neck Muscle Line
 4: (below 3) Clavicle
 5: (below 2) Clavicle
 6: (bottom right of 5) Shoulder
-7: (below 6) Top of the rib cage and where the clavicle connects.
+7: (below 6) Top of the rib cage and where the clavicle connects
 8: (below 5) Rib Cage
-9: The thickness and curvature of the clavicle can widely vary, so the lines that show up on the surface will differ depending on the character. Draw while keeping in mind the bones leading from the top of the rib cage to the shoulders.
+9: The thickness and curvature of the clavicle can vary widely, so the lines that show up on the surface will differ depending on the character. Draw while keeping in mind the bones leading from the top of the rib cage to the shoulders.
 10: (below 1) Neck Muscles
 11: (right of 10) The lines that show up on the neck are from the neck muscles.
 12: (below 11) Where the clavicle connects
 13: (below 12) Rib Cage
 14: Draw the lines while keeping in mind that the muscles stretch out from behind the ears.
 15: (bottom left of 14) Where the clavicle connects
 16: (right of 14) Connects to the center of the clavicle.
 17: (right of 16) They connect to the ears from behind them.
 18: (above 17) Where they connect to the ears
 19: Regarding Neck Muscles
-20: (below 19) An example of omitting the neck muscle lines
+20: (below 19) An example of omitting the neck muscle lines.
-21: (right of 20) When turning the head, the neck muscle lines usually show up(although you can omit them in this case as well).
+21: (right of 20) When turning the head, the neck muscle lines usually show up (although you can omit them in this case as well).
 22: (right of 19) Representing the Clavicle
-23: (right of 22) An example of slightly drawing the clavicle
+23: (right of 22) An example of slightly drawing the clavicle.
-24: (below 23) An example of drawing the clavicle as a cavity
+24: (below 23) An example of drawing the clavicle as a cavity.
-25: (below 24) An example of not drawing the clavicle at all
+25: (below 24) An example of not drawing the clavicle at all.
 
 PAGE 33:
 
 1: How the Clavicle Is Represented as the Shoulders Move
 2: Front
 3: When the shoulders are at a neutral position
 4: (right of 3) Clavicle is lightly represented with no neck muscles shown.
-5: (right of 4) The part of the clavicle that can’t be seen. A straight line is drawn here, but in reality it’s more curved.
+5: (right of 4) The part of the clavicle that can’t be seen: A straight line is drawn here, but in reality it’s more curved.
 6: (above 5) Trapezius
 7: Shoulder
 8: (below 5) The trapezius line is left as is.
 9: (below 8) The curved line of the clavicle shows up.
 10: (below 9) *It’s not that the clavicle bends, but rather that the curvature is now manifesting itself on the surface.
 11: (left of 10) The neck muscle lines will show up when the head moves, for example the head tilting down or turning to the side.
 12: (left of 11) When the arms are raised
 13: (below 12) 45° Angle
 14: When the shoulders are at a neutral position
 15: (right of 14) When the arms are raised
 16: By adding light lines around here, you can give more presence to the thickness and dimensionality of the clavicle. It’s useful for giving a more strong and sturdy impression.
 
 PAGE 34:
 
 1: The Skeletal Structure of the Head and Shoulders
 2: (below 1) Normal Angle - Slightly Upturned
 3: (right of 1) Let’s take a look at how the head, neck, and shoulders are connected together.
-4: (below 2) The head area from a slightly bottom-up angle. This angle lets you see a bit of the lower jaw.
+4: (below 2) The head area from a slightly bottom-up angle: This angle lets you see a bit of the lower jaw.
 5: (below 3) Underside of back of skull
-6: (left of 5) Lower jaw. you can make out the other side of it from here.
+6: (left of 5) Lower jaw: You can make out the other side of it from here.
 7: (below 6) Clavicle
 8: (bottom right of 7) Rib cage
 9: (below 4) Reference - Waist Shot
 10: (right of 9) Character Skeleton
 11: (right of 10) Character Skeleton X-Ray Diagram
 12: (below 11) Outline of the torso
 13: (below 12) Center line
-14: (bottom left of page) Everything from the neck down is drawn in a normal angle.
+14: (bottom left of page) Everything from the neck down is drawn at a normal angle.
 
 PAGE 35:
 
 1: Bottom-Up Angle
 2: Side View
 3: (right of 2) The clavicle makes up some of the linework.
 4: (right of 3) Where the neck connects with the skull
 5: (below 3) Character Skeleton X-Ray Diagram
 6: (below 4) Character Skeleton
 7: (right of 6) The ribs, shoulder joint, and scapula are hidden under the arm.
 8: (below 2) Front View
-9: (below 8) Where the neck connects to the head. The line is curved.
+9: (below 8) Where the neck connects to the head: The line is curved.
 10: (right of 9) Character Skeleton
 11: (right of 10) The connection between the neck and skull can’t be seen.
 12: (right of 11) Character Skeleton X-Ray Diagram
 13: (below 12) The shoulders can’t be seen if the breasts are large enough. When drawing the shoulders, it’s recommended to draw circles for the shoulder joints as a guide.
 14: (left of 13) Rough Sketch
-15: (left of 14) The lines at the base of the neck makes up the clavicle.
+15: (left of 14) The lines at the base of the neck make up the clavicle.
 16: (left of 15) The lines dip down above the rib cage.
 
 PAGE 36:
 
 1: Front View With the Breasts Not Being as Large
 2: (below 1) You can somewhat see the armpits.
-3: (right of 1) The line that makes up the outline of the upper torso.
+3: (right of 1) The line that makes up the outline of the upper torso
 4: (right of 3) Character Skeleton
 5: (below 4) The shoulder extends out from beyond the width of the torso.
 6: (below 5) The clavicle makes up the outline of the upper torso.
 7: (below 2) Character Skeleton X-Ray Diagram
 8: (bottom left of 7) Only part of the clavicle can be seen when the breasts are large enough.
 9: (below 8) 45° Angle Back
 10: (right of 9) Character Skeleton (Arms are omitted)
 11: (below 10) Lower Jaw
 12: (right of 11) Where the neck connects with the skull
-13: (below 12) Scapulas
+13: (below 12) Scapulae
 14: (top right of 12) The area around the shoulders is covered with muscle, which also covers part of the lower jaw.
 15: (below 14) Rough Sketch
 16: (right of 15) Drawing ellipses in the neck-torso connection and torso can help with establishing dimensionality.
 17: (bottom left of page) Capture the head-neck connection with a curved line.
 18: (right of 17) How the shoulders and arms connect
 
 PAGE 37:
 
 1: Top-Down Angle
 2: Side View
 3: Character Skeleton X-Ray Diagram
 4: Character Skeleton (Rib cage omitted)
 5: (above 4, left to right) Rib cage, Clavicle, Shoulder
 6: (above 5) Scapula
 7: 45° Angle
 8: Character Skeleton
 9: (right of 8) Scapula
 10: (below 9) Shoulder
 11: (below 10) Bone that juts out from the scapula
 12: (left of 11) Clavicle
 13: (right of 9) Character Skeleton X-Ray Diagram
 14: (below 7) 45° Angle Back
 15: Character Skeleton
 16: Shoulder
 17: Character Skeleton X-Ray Diagram
 18: The clavicle makes up the outline of the front body.
 
 PAGE 38:
 
 1: Head Presentation
-2: (right of 1) The tilt of the head, the area round the neck, and the shoulders can all add a lot to a character’s movement and expression.
+2: (right of 1) The tilt of the head, the area around the neck, and the shoulders can all add a lot to a character’s movement and expression.
-3: (bottom left of 2) Front angle, with the head slightly tilted
+3: (bottom left of 2) Front angle, with the head slightly tilted.
-4: (right of 3) Changing the tilt of both the face and shoulders
+4: (right of 3) Changing the tilt of both the face and shoulders.
 5: (bottom left of page) Tilt + shoulders lifted
 6: Slightly upturned
 
 PAGE 39:
 
 1: 45° angle + slightly downturned
 2: Front angle + slightly downturned + shoulders slightly lifted
 3: 45° angle + jaw lifted + tilt