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 PAGE 61:
 
 1: Legs Closed
 2: The knees make round silhouettes.
 3: Body on the other side
 4: Differences With the M Shape
 5: Legs Closed
 6: M Shape
-7: The upper body ends getting raised a bit, causing the line along the leg connections to be lowered.
+7: The upper body ends up getting raised a bit, causing the line along the leg connections to be lowered.
-8: Lowest part of the upper body.
+8: Lowest part of the upper body
 9: Drawing Process
-10: Outline of the entire body. Start with the idea of the pose.
+10: Outline of the entire body: Start with the idea of the pose.
 11: Draw the upper body.
 12: Roughly draw out the legs.
 13: Finish the linework.
 
 PAGE 62:
 
 1: Squatting, One Knee Up, Kneeling
 2: (right of 1) Focus on the representation of the thighs, calves, and knees.
 3: Squatting - 45° Angle
-4: The curves of the thighs get pronounced.
+4: The curves of the thighs are pronounced.
-5: The roundness of the kneecap. It gives the knees a rough feeling, so it’s often not drawn.
+5: The roundness of the kneecap: It gives the knees a rough feeling, so it’s often not drawn.
 6: The bulge of the calf
 7: Sketch
 8: Lines used to help determine the height of the leg connections
 9: Lines used to help determine the knee placements
 10: Squatting - Side
-11: Makes a round silhouette.
+11: Makes a round silhouette
 12: Make sure you accurately portray the length up to the knee.
 13: Knee Position
 14: The heel reaches to about under the butt.
-15: A sketch. The knees ended up being a bit short, and the thighs ended up being too thick, so they need to be corrected.
+15: A sketch: The knees ended up being a bit short, and the thighs ended up being too thick, so they need to be corrected.
 16: An example of an error. The knee is mostly round when looking at it from the side.
 
 PAGE 63:
 
 1: One Knee Up
 2: The curved line that wraps around the upper thigh
 3: Draw the bone lines that appear on both sides of the knee joint.
 4: Sketch
 5: The outline of the knee should feel like a rectangle with round corners.
 6: Thigh outline
 7: Center of the knee
 8: The shin will appear round.
-9: The thigh resting on the calf. The round line represents the bulge that is produced.
+9: The thigh rests on the calf. The round line represents the bulge that is produced.
-10: Region hidden by thigh.
+10: Region hidden by thigh
 11: Underwear
 12: Kneeling
 13: Curvature of the thigh
 14: The thick region of the knee
 15: Calf
 16: Butt region
 17: The hem of the underwear neatly wraps around the leg joints.
 
 PAGE 64:
 
 1: Bone Structure and Leg Lines
-2: (right of 1) Let’s take a good look at the representation of legs, mainly the knees, shins, and thighs.
+2: (right of 1) Let’s take a good look at the representation of legs: mainly the knees, shins, and thighs.
 3: (below 1) Knee Representation
 4: Femur
-5: Patella. Kneecap.
+5: Patella, Kneecap
-6: Tibia. Also known as shinbone.
+6: Tibia: Also known as the shinbone.
 7: (left of 6) Fibula
-8: (right of 6) The simple type where the femur is represented with just a little crease.
+8: (right of 6) The simple type, where the femur is represented with just a little crease
-9: The type where the side of the bone is drawn.
+9: The type where the side of the bone is drawn
-10: The type where the lower edge is drawn.
+10: The type where the lower edge is drawn
 11: Knee Joint Diagram (below circle in lower left of page)
 12: The patella is right about in the center.
 13: The top of the tibia is mostly flat.
 14: The fibula connects behind it.
-15: The type where the upper and lower surrounding edges are drawn.
+15: The type where the upper and lower surrounding edges are drawn
-16: The type where both sides are clearly drawn in.
+16: The type where both sides are clearly drawn in
-17: The type where the entire bone is encompassed into somewhat of a rectangle shape.
+17: The type where the entire bone is encompassed into somewhat of a rectangle shape
 
 PAGE 65:
 
 1: Relaxed Pose With Both Knees Raised
 2: Top of fibula
 3: X-Ray Diagram of Bent Knee
 4: The dips in the sides of the knee and shin are emphasized.
 5: Character Skeleton X-Ray Diagram
 6: Knees, Shins, and Ankles
 7: Right Leg
 8: Dips in here.
 9: The center portion here juts out.
 10: Fibia
 11: Left Leg
 12: Ankle
 13: Drawing Process
 14: Sketch the overall image, flesh out the body, then flesh out the legs.
 
 PAGE 66:
 
 1: Relaxed Pose With One Knee Raised
 2: Left Side
 3: (below 2) The patella does not move.
 4: (right of 3) Knee
 5: (right of 4) Since the bones are covered with tendons and muscles, there is a gap between the bone outline and the skin.
 6: Ankle
-7: Although the femur had a curved shape, most drawings have the femur going straight down from the hip joint to the knee, with the leg shape being fleshed out later.
+7: Although the femur has a curved shape, most drawings have the femur going straight down from the hip joint to the knee, with the leg shape being fleshed out later.
 8: Character Skeleton X-Ray Diagram
-9: Reference - Use these lines if you want to make the thighs thinner
+9: Reference - Use these lines if you want to make the thighs thinner.
 
 PAGE 67:
 
 1: Right Side
 2: Character Skeleton X-Ray Diagram
-3: The connection between the thighs(femurs), knees(kneecaps), and shin areas.
+3: The connection between the thighs (femurs), knees (kneecaps), and shin areas.
 4: Femur
 5: The end of the femur makes up the general framework of the knee.
 6: Kneecap
 7: The bone stretching down from the knee makes a protrusion down at the ankle.
 
 PAGE 68:
 
 1: Kneeling With Knees Spread Out
 2: Character Skeleton X-Ray Diagram
 3: Draw the knee outline while keeping the edges of the bone and kneecap in mind.
 4: How the bones look when the knee is bended
 5: Normal position
 6: Bent position
 7: Side view
-8: Guidelines for leg shape(curved surface) and knee placement
+8: Guidelines for leg shape (curved surface) and knee placement
 9: Thigh region
 10: Knee region
 11: (right of 8) Leg connections
 12: Ellipses meant for capturing dimensionality of thighs
 13: Ellipses meant for capturing knee joint placement
 
 PAGE 69:
 
 1: Kneeling
 2: Character Skeleton X-Ray Diagram
 3: From a 45° angle, the knee will have more of a rectangular silhouette.
 4: Rounding out the corners
 5: Side view of bones
 6: Bend
 7: The knee has a round silhouette from the side.
 
 PAGE 70:
 
 1: Drawing Ankles and Feet
 2: (right of 1) Draw while taking a good look at how the feet connect with the body and legs in various poses.
 3: (below 2) Think of the feet as triangular building blocks.
 4: (below 1) Defining Characteristics of Feet
 5: (below 4) 1. The silhouette of the toes changes.
 6: (below 5) Top of foot
 7: Heel
 8: Sole
 9: Toes
 10: When looking at the toes of someone in front of you
-11: (below 3) A mountain shape with the index toe being the summit.
+11: (below 3) A mountain shape with the index toe being the summit
 12: The toe joints will form a curved line.
 13: Sole
 14: Heel
 15: When looking down at your own feet
 16: Bottom of foot
-17: 2. The ankle position while the foot is on the ground will change depending on which side the angle is from
+17: 2. The ankle position while the foot is on the ground will change depending on the viewing angle.
 18: High position
-19: Arch of foot. It caves in.
+19: Arch of foot: It caves in.
 20: Inner side of body
 21: Outer side of body
-22: Lies flat alongside the floor.
+22: It lies flat alongside the floor.
 23: Low position
-24: 3. The body’s height will change when standing on the tip of the toes
+24: 3. The body’s height will change when standing on the tip of the toes.
 25: The character’s legs will appear longer.
 26: Right leg, inner side
 27: (below 26) One would actually literally stand on the tip of their toes when performing ballet, but most people would stand on their toes like this.
 28: Region that makes contact with ground
 29: Rises
 30: From behind
 31: (Right foot)
 32: Clearly draw the little gap that shows up in the region that touches the ground.
 
 PAGE 71:
 
 1: Drawing Feet and Ankles in Various Poses
 2: (right of 1) Let’s look at the process of drawing a character’s feet.
 3: (below 1) Standing Pose
 4: Front
-5: (below 2) Rough sketch. Roughly draw out the general idea of the ankle shape.
+5: (below 2) Rough sketch: Roughly draw out the general idea of the ankle shape.
 6: Draw the feet by combining shapes together, the connection part should feel like a hook.
 7: Reference - Form Model
 8: Roughly draw out the toes.
 9: The heels are slightly raised. The feet are in a diagonal direction as well, so fine-tune the ankles while keeping in mind the feet aren’t completely straight up.
 10: (bottom left of 9) The area from the ankle down is facing straight forward.
 11: (left of 10) 2. Finish up the outline by filling in things like the hair and face.
-12: (left of 11) 1. Rough sketch. Draw the general idea of the entire body’s pose.
+12: (left of 11) 1. Rough sketch: Draw the general idea of the entire body’s pose.
 13: 45° Angle
 14: (right of 13) Draw the silhouette of the feet while trying to keep it in line with the overall image of the body.
 15: Roughly draw in the toes.
 16: Detail the toes and finish up by drawing the ankle lines.
 17: (bottom left of page) The ankles tilt upwards towards the inner side, so remember not to make them line up perfectly when the feet are lined up together.
 
 PAGE 72:
 
 1: Drawing Legs From Various Angles
 2: Standing Pose (slightly upturned angle)
 3: Walking (side angle)
 4: (below 2) The character will look like it has more of a stable footing if the feet are drawn a bit bigger.
 5: (right of 4) Standing Pose (downwards angle)
 6: (bottom left of page) Try to make sure both feet are the same size.
 7: (below 3) Walking (backside)
 8: (left of 7) It’s important to make sure the heels jut out from behind the ankles.
 9: (below 7) Achilles Tendon
 10: (below 8) Put a shadow under the heel.
 11: A line representing the underside of the foot.