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 PAGE 115:
 
 1: Chapter 4
 2: Let’s Master Bone Depiction and Flesh Texture
 
 PAGE 116:
 
 1: Drawing Poses With Movement
 2: (below 1) Key Points of Drawings With Movement
-3: (right of 2) When drawing poses with movement, the main areas to focus are on things like the creases around the joints and the bone movement that occurs in the arm and leg bones.
+3: (right of 2) When drawing poses with movement, the main areas to focus on are things like the creases around the joints and the bone movement that occurs in the arm and leg bones.
 4: (below 3)
 Three Elements That Add Movement
 - Tilts and twists of the legs, arms, and head
 - Change in posture
 - Hair movement
 5: (below 2) Back Appeal Pose
 6: (below 5) Elbows jutted out
-7: (bottom left of 4) Pay attention to the posture
+7: (bottom left of 4) Pay attention to the posture.
 8: (below 7) Shoulder and elbow joints
 9: The tilt of the shoulders and waist (representing the twist of the waist)
 10: (below 9) Curved silhouette
-11: (right of 7) Pay attention to the cross-section lines
+11: (right of 7) Pay attention to the cross-section lines.
 12: Where the head connects, trapezius muscle
 13: Where the legs begin
 14: Behind the knees
 15: Under the feet
-16: (below 6) Leg is stretched out behind her
+16: (below 6) The leg is stretched out behind her.
 17: (below 15) The scapula lines remain as is, showing where the arms connect.
 18: Bone - Scapula, elbow
 Flesh - Where the legs begin, the armpits, wrist creases, breasts
 
 PAGE 117:
 
 1: Casually Running
-2: (below 1) Ams moving forward and back
+2: (below 1) Arms moving back and forth
-3: (below 2) Legs moving forward and back
+3: (below 2) Legs moving back and forth
-4: (top right of page) Flesh - Stomach(waist), where the legs begin, crotch, butt
+4: (top right of page) Flesh - Stomach (waist), where the legs begin, crotch, butt
 5: Key Points to the Movement
 6: Tilted head
-7: Upper body is diagonally facing.
+7: The upper body is diagonally facing.
 8: Shoulders and chest are parallel with each other.
 9: Tilted pelvis
-10: Turn of the waist (Everything from the waist and below is facing directly to the front mostly)
+10: Turn of the waist (Everything from the waist and below is mostly facing directly to the front)
 11: Bone - Knees
 Flesh - Thigh lines, ankles
 12: (below 3) Crawling On All Fours
-13: (right of 12) The only parts moving is really the head here, but the downwards angle and the crawling pose are movements in of itself.
+13: (right of 12) The only part moving is really the head here, but the downwards angle and the crawling pose are movements themselves.
 14: (below 13) Bone - Clavicle, elbows
 Flesh - Wrists, stomach, where the legs begin, waist, ankles
 15: (upper right of 14) Upper surface of body
 16: (right of 15) Draw the connection between the torso and waist with round lines.
 17: (below 16) Pelvis
 18: (below 17) Rough Sketch
 19: (left of 18) Upper body
 
 PAGE 118:
 
 1: Facing Front
 2: (below 1) Posing for Camera -> Stretch -> Leaning Forward
 3: (right of 1) Let’s take a look at how the four limbs change depending on posture.
 4: (below 2) Posing for Camera With Arm Forward
 5: (right of 4) Line that appears on neck when head is tilted to the side
-6: (below 5) Tilt of the hand. Character is added by having it tilt the opposite direction of the head.
+6: (below 5) Tilt of the hand: Character is added by having it tilt in the opposite direction of the head.
 7: (below 6) This line shows that she’s slightly leaning forward.
 8: (below 3) Stretch
-9: (below 8) Side of the torso. By making it turn ever so slightly diagonally, dimensionality is added.
+9: (below 8) Side of the torso: By making it turn ever so slightly diagonally, dimensionality is added.
 10: (below 9) These bones lightly show up when both arms are lifted. This shows that the character doesn’t have much fat.
 11: (left of 9) These stretch out vertically when the arms are lifted.
 12: (below 7) Bone - Knees
 Flesh - Waist, inner side of knees, neck crease
 13: (below 10) Bone - Clavicle, elbows, ribs
 Flesh - Wrists, breasts, neck crease
 14: (below 12) Capture the turn of the body using the center line.
 15: (bottom left of page) This is underwear that’s slightly high-legged. The line where the legs begin can be seen.
 16: (bottom right of 14) Diagonal
-17: (below 16) Movement can be produced by having the arms raised in different angles as well.
+17: (below 16) Movement can be produced by having the arms raised at different angles as well.
 18: (right of 17) Arm reaching straight up
 19: (right of 18) Side region
-20: It looks like it’s almost completely facing forward, but it is slightly facing diagonally.
+20: It looks like it’s almost completely facing forward, but it is facing slightly diagonally.
 
 PAGE 119:
 
 1: Leaning Forward
-2: (right of 1) Sharp lines that reflect the shape of the scapulas.
+2: (right of 1) Sharp lines that reflect the shape of the scapulae
 3: (right of 2) The underwear line clearly defines where the side of the leg is.
-4: (right of 3) Important guidance lines. Leg connection points, knee joints, and ankles
+4: (right of 3) Important guidance lines: Leg connection points, knee joints, and ankles
-5: (below 2) Breasts squeezed against each other by both arms. “I” line.
+5: (below 2) Breasts squeezed against each other by both arms: “I” line.
 6: (below 5) Creases on the abdomen and around the waist
 7: (bottom right of 6) Dynamically Leaning Forward
 8: (right of 7) The shoulder muscles and leg connection points are emphasized.
 9: (below 7) Bone - Clavicle, knees
 Flesh - Shoulders, leg connection points, stomach, ankles, wrists
 10: (below 9) Guidance lines that capture the waist
 11: (bottom left of page) Bone - Shoulders, clavicle, knees
 Flesh - Breasts, elbows, wrists, stomach, leg connection points
 12: (bottom right of 10) The crease on the stomach is a curved line with the belly button as the center.
 13: The butt can’t be seen.
 
 PAGE 120:
 
 1: Facing Diagonally
 2: (below 1) Torso Turned Away -> Turned
-3: (right of 1) Let’s pay close to attention to how the lines for the clavicle and where the legs begin(external oblique muscle) change.
+3: (right of 1) Let’s pay close to attention to how the lines for the clavicle and where the legs begin (external oblique muscle) change.
 4: (below 2) Standing Pose (Back Straight Up)
 5: (right of 4) The shoulder bones are drawn with a bit of stiffness to portray a neat, refined image.
 6: (below 4) Pelvis jutting out
 7: (below 6) Draw the lower torso with curved, supple lines representative of the external oblique muscle.
 8: (below 5) Edge of where the leg connects (external oblique muscle)
 9: (below 8) Bone - Shoulders, clavicle, pelvis, knees, ankles
 Flesh - Where the legs begin, stomach, neck crease
 10: (below 3, right side) Stretching Out Body Against Wall
-11: (below 10) Highlight the armpit region using shading
+11: (below 10) Highlight the armpit region using shading.
 12: (left of 11) The roundness of the breasts is pronounced due to being lifted up by the arms.
 13: (below 12) Capture how the legs overlap with each other.
 14: (bottom right of 13) Roundness of lower body
 15: (bottom right of 14) Since one leg is pressing against the wall and the other is supporting most of the weight of the body, the ankles should be more heavily defined to show that strength is being used.
-16: (below 15) The centerline should be curved like a bow in order to show that the body is bent.
+16: (below 15) The center line should be curved like a bow in order to show that the body is bent.
 17: (below 16) Bone - Elbows, clavicle, knees, ankles
 Flesh - Armpits, breasts, where the legs begin, abdomen
 18: (right of 17) Diagonal posture
-19: (left of 17) The lines representing where the legs begin change depending on how the legs move. The abdomen’s round surface is emphasized.
+19: (left of 17) The lines that represent where the legs begin change depending on how the legs move. The abdomen’s round surface is emphasized.
 
 PAGE 121:
 
 1: Light Bow
 2: (below 1) Curve of the waist
 3: (below 2) Roundness of abdomen
 4: (right of 3) A crease extends into the stomach from the curve of the waist.
 5: (right of 4) Center of the side surface
-6: (right of 5) Leaning forward posture. The chest line curves straight into the belly button, creating the stomach/waist region.
+6: (right of 5) Leaning forward posture: The chest line curves straight into the belly button, creating the stomach/waist region.
 7: (below 4) Bone - Clavicle, elbows, knees, ankles
 Flesh - Breasts, stomach, where the legs begin
 8: (below 6) Waist Lowered (In the Process of Sitting)
-9: (below 7) Since both legs are facing inwardly and weight is being put on the legs from the body leaning forward, the bones on the knees and ankles should be more clearly defined.
+9: (below 7) Since both legs are facing inward and weight is being placed on the legs from the body leaning forward, the bones on the knees and ankles should be more clearly defined.
 10: (right of 9) The breasts are hanging a bit.
 11: (below 9) The clavicle should be more visible since the upper surface of the body is being shown.
-12: (bottom left of 11) The curved surface of the torso leaning forward.
+12: (bottom left of 11) The curved surface of the torso leaning forward
-13: (right of 12) This centerline captures the posture. Think about how it’ll be representing where the upper torso and lower torso are facing.
+13: (right of 12) This center line captures the posture. Think about how it’ll be representing where the upper torso and lower torso are facing.
 14: (bottom right of page) Bone - Clavicle, elbows, knees, ankles
 Flesh - Breasts, stomach, where the legs begin, wrists
 
 PAGE 122:
 
 1: Upper Body Leaned Forward -> Curved
 2: (below 1) Clavicle depression
 3: (right of 1) Crease formed at the side of the waist
 4: (below 3) Curve of waist
 5: (left of 4) Crease on stomach
-7: (right of 4) Captures the upper and lower torso.
+7: (right of 4) Captures the upper and lower torso
 8: (bottom left of 5) The lines representing where the legs begin are deeply drawn in.
-9: (left of 8) Drooping breasts. Both breasts are hanging down almost parallel to each other.
+9: (left of 8) Drooping breasts: Both breasts are hanging down almost parallel to each other.
 10: (below 7) Curved (Energetically Zooming Around)
 11: (below 9) Upper Body Leaning Forward (Bowing)
 12: (below 11) Bone - Clavicle, elbows, knees, ankles
 Flesh - Neck, trapezius muscle, armpits, breasts, wrists
 13: (below 10) Arm connection
 14: (right of 13) Arm firmly stretched out
-15: (left of 13) The nipples are pointing outwards from the jutting out breasts
+15: (left of 13) The nipples are pointing outwards from the breasts jutting out.
 16: (below 15) Pay attention to the neck angle when the face is slightly facing upwards.
 17 :(right of 16) Bone - Clavicle, elbows, knees, ankles
 Flesh - Neck, trapezius muscle, armpits, breasts, stomach, wrists
 18: (below 12) Guidance line that captures the waist
-19: (below 18) The lines at where the legs begin reflect the roundness of the thighs.
+19: (below 18) The lines where the legs begin reflect the roundness of the thighs.
 20: (bottom right of page) The hem of the underwear should reflect the roundness of the torso.
 
 PAGE 123:
 
 1: Facing to the Side
 2: (below 1) Body Tilting -> Bending
 3: (right of 1) Let’s focus on how the external oblique muscle is represented in the stomach and leg connection points when it comes to drawing poses that involve facing to the side.
 4: (below 3) Slightly leaning forward
 5: (bottom right of 2) Bent Back (Kicking)
 6: (bottom left of 5) Slight twist
 7: (bottom right of 5) The curve of the waist isn’t as prominent.
 8: (below 6) Movement borne from the body slightly leaning forward and the upper body slightly twisted
 9: (below 8) Bone - Clavicle, knees, ankles
 Flesh - Stomach, behind knees(depressions)
 10: (right of 7) External oblique muscle
 11: (below 10) Arched Back (Deep Bow)
 12: (below 11) Straight line
 13: (right of 12) Waist
 14: (below 13) The legs extend out from the roundness of the butt. The thickness of the thighs can be adjusted accordingly.
-15: (below 12) Bone - Scapulas, ankles
+15: (below 12) Bone - Scapulae, ankles
 Flesh - Armpits, breasts, stomach
 16: (below 15) In the case of adding creases to the stomach
 17: (left of 15) The pelvis and where the legs begin
 18: (left of 17) Waist
-19: (bottom left of page) Reference: Outline of a pose facing to the side
+19: (bottom left of page) Reference: Outline of a pose facing to the side.
 
 PAGE 124:
 
 1: Back Side
 2: (below 1) Static to Dynamic
 3: (right of 1) Pay close attention to where exactly the limbs begin.
 4: (below 2) Shoulders Slightly Raised
-5: (right of 4) Body slightly tilted.
+5: (right of 4) Body slightly tilted
 6: (bottom right of 5) Arms Stretched Out
 7: (below 6) Where the legs begin
 8: (below 4) Where the legs begin
-9: The but connects to the thighs while retaining its shape.
+9: The butt connects to the thighs while retaining its shape.
 10: (below 9) Bone - Elbows, knees, ankles
 Flesh - Legs, where the legs begin, behind the knees
 11: (bottom left of page) Bone - Elbows, ankles
 Flesh - Armpits, behind the knees
 12: (right of 11) The curved line of the hem changes when the legs are raised.
 13: (bottom right of page) Capture where the arms begin while you draw the overall shape of the torso.
 14: (above 3) Where the neck connects
 
 PAGE 125:
 
 1: Arms Raised
 2: (right of 1) Arms Stretched Out to the Sides
 3: (right of 2) Bone - Elbows
 Flesh - Armpits, where the legs begin
 4: ( below 2) Arms Stretched Slightly Behind
 5: (below 4) Curve
 6: (below 5) Bone - Elbows
 Flesh - Armpits, Shoulders
-7: (bottom left of page0 Bone - Elbows, scapulas, pelvis, ankles
+7: (bottom left of page) Bone - Elbows, scapulae, pelvis, ankles
 Flesh - Armpits, shoulders behind the knees
 8: (right of 7) The spine line reaching from the back to the butt should be one single line.
 9: (bottom right of page) In the case of drawing underwear
 
 PAGE 126:
 
 1: Upper Body Leaning Forward -> Upper Body Rising Up
 2: (right of 1) Let’s take a look at how the back line and waist shape changes.
 3: (below 1) 1 - Leaning Forward in a Way That Arches the Back
 4: (below 3) The spine along the upper torso is emphasized.
 5: 2 - Leaning Forward in a Way That Accentuates the Curve of the Waist and Butt
 6: (below 5) The entire spine along the body is emphasized. The line especially gets thicker towards the waist.
 7: (bottom right of 6) No crease is shown on the stomach.
 8: (bottom right of 4) Creases can be seen on the stomach.
 9: (below 8) This line represents the side of the pelvis.
 10: (below 9) The roundness of the butt is pronounced.
 11: (below 10) Bone - Elbows, spine
 Flesh - Where the legs begin
 12: (left of 9) The roundness of the butt is not very pronounced.
 13: (below 12) Bone - Scapula, elbows
 Flesh - Shoulder region, stomach, where the legs begin
 14: (below 13) The spine line represents the roundness of the back.
-15: (bottom right of 14) Captures the curved surface of the torso.
+15: (bottom right of 14) Captures the curved surface of the torso
-16: (right of 15) Guidance line that captures the upper torso
+16: (right of 15) Guidance line that captures the upper torso.
 17: (upper right of 16) Change in angle of underwear hem
 
 PAGE 127:
 
 1: 3 - Upper Body Rising With Knee Kicking Up
-2: (top right of page) Captures the turn of the shoulders.
+2: (top right of page) Captures the turn of the shoulders
-3: (below 2) Captures the roundness of the butt.
+3: (below 2) Captures the roundness of the butt
 4: (below 3) Change in the scapula lines
 5: (left of 4) Bone - Knees, elbows, ankles
 Flesh - Where the legs begin, behind the knees, sides of heels