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 PAGE 40:
 
 1: Drawing the Lower Jaw
 2: (right of 1) This is a drawing of an upturned face. Let’s take a look at how the head connects with the neck.
 3: (below 1) Profile
 4: (below 3) Realistic Style
-5: (below 4) The style that defines the shape of the nose and mouth with undulations.
+5: (below 4) The style that defines the shape of the nose and mouth with undulations
-6: (below 2) Outline. The lower jaw is captured.
+6: (below 2) Outline: The lower jaw is captured.
 7: (right of 6) The lower jaw has a cavity in terms of skeletal structure.
 8: (below 7) Point of Notice - Eye Placement
 9: (below 8) Downwards
 10: (right of 9) Upwards
 11: (below 10) By using a line to guide eye placement, you can represent either upturned or downturned faces.
-12: (left of 11) For a more anime look(no undulations), the placement of the eyes can determine the angle or incline of the head.
+12: (left of 11) For a more anime look (no undulations), the placement of the eyes can determine the angle or incline of the head.
 13: (below 5) 45° Angle
 14: (below 13) Realistic Type
 15: (bottom right of 14) Point of Notice
 16: (below 15) Ear Placement
-17: (below 16) The ears are directly located at the jaw’s connection point. By clearly drawing the connection point, you can bring about a stronger sense of dimensionality.
+17: (below 16) The ears are located directly at the jaw’s connection point. By clearly drawing the connection point, you can bring about a stronger sense of dimensionality.
 18: (right of 17) Anime Style
 19: (right of 18) Where the jaw connects
 20: (upper right of 19) Close to the final product
 21: (right of 14) Outline
 22: (right of 21) Capturing the side of the head
 
 PAGE 41:
 
 1: 45° Angle (Lying On Back)
-2: (bottom right of 1) In the case of not adding any shading below the jaw.
+2: (bottom right of 1) In the case of not adding any shading below the jaw
-3: (right of 2) In the case of drawing the eyes with a more deformed look. This is fine, too.
+3: (right of 2) In the case of drawing the eyes with a more deformed look (This is fine, too.)
 4: (below 3) Rough Sketch
 5: (below 4) Clavicle
-6: (below 5) This is a difficult angle to accurately capture body shape from. Pay close attention to the distance between the ears and clavicle while drawing.
+6: (below 5) This is a difficult angle to accurately capture the body shape from. Pay close attention to the distance between the ears and clavicle while drawing.
 7: (left of 6) By adding shading under the jaw, more of the head’s dimensionality can be brought out.
 8: (below 7) In Case of a Straight Upwards Angle
-9: (right of 8) Captured from here.
+9: (right of 8) Captured from here
 10: (below 9) Upwards or Downwards
 11: (below 10) Tip of nose
 12 (below 11) Tip of jaw
 13: (below 12) Back of head
 14: (right of 13) Neck connection
-15: (below 13) The more deformed version. This is fine too, depending on your preference.
+15: (below 13) The more deformed version (This is fine too, depending on your preference.)
-16: (left of 15) Rough sketch. The parts of the head and neck connection that are covered up by the body are drawn too.
+16: (left of 15) Rough sketch: The parts of the head and neck connection that are covered up by the body are drawn too.
-17: (left of 16) In the case of not adding any shading below the jaw.
+17: (left of 16) In the case of not adding any shading below the jaw
 
 PAGE 42:
 
 1: Drawing the Arms and Hands
 2: (right of 1) Let’s take a look at the structure of the shoulders, arms, and hands.
 3: (below 1) Prominent Features of the Arms
 4: (below 3) Arm Length
 5: (bottom right of 4) Head Height
 6: (below 5) The length of an arm is about twice the height of the head.
 7: (right of 3) The arm shape will differ depending on the direction the palm is facing.
 8: (below 7) Arm Shape Differences
 9: (below 8) In the case of the palm being shown
 10: (below 9, arrow) When the wrist is turned inwards
 11: (below 10) bulge
 12: (left of 11) The inner line is rather straight.
 13: (right of 11) bulge
-14: (right of 13) When the wrist is turned inwards, the outer line is more straight instead.
+14: (right of 13) When the wrist is turned inwards, the outer line is straighter instead.
 15: (above 14) In the case of the palm not being shown
 16: (below 6) Bone and Muscle Differences
 17: (right of 16) The bones and muscles also twist when the wrist is turned inwards.
 18: (below 16) Character Skeleton
 19: (below 18) When the wrist is turned, the bone in the back switches sides as well.
 20: (right of 17) Muscles
 21: (below 20) deltoid
 22: (below 21) Tip of the deltoid
 23: (below 22) The outside muscles move inwards.
 24: (right of 23) The tip of the deltoid moves inwards a bit.
 
 PAGE 43:
 
 1: How the Arm Connects
 2: (right of 1) Let’s take a look at how the arm connects to the body depending on the pose. Pay close attention to how the representations of the armpits and shoulders change.
-3: (below 2) We’ll be calling the line that connects the breasts to the armpits the “armpit line”
+3: (below 2) We’ll be calling the line that connects the breasts to the armpits the “armpit line.”
 4: (below 1) How the Arm Connects 1 - In the Case of the Arm Raised to the Side
 5: (below 4) Front Angle
 6: (below 5) When the arms are down
-7: (right of 6) Armpit line. It’s connected to the breasts.
+7: (right of 6) Armpit line: It’s connected to the breasts.
 8: (right of 7) When the arm rises up to the height of the shoulders
 9: (right of 8) The armpit line rises.
 10: (right of 9) The arm line stretches out from under the armpit line.
 11: (below 6) When the upper body is slightly twisted
-12: (below 11) Slightly twisted. It’s an unconscious movement. It looks more natural this way.
+12: (below 11) Slightly twisted: It’s an unconscious movement. It looks more natural this way.
 13: (right of 11) Armpit line
 14: (right of 13) When the upper body is twisted a little, the back line becomes visible, giving the body depth.
 15: (below 13) Back line
 16: (right of 15) The arm line is curved.
 17: (below 12) When the arm is stretched out and the palm is faced down
 18: (below 17) The elbow marks a separation in the arms.
 19: (below 18) The length and representation of the armpit line can differ depending on the artist. Regardless of the style though, the arm line should always extend from beyond the armpit line.
 20: (right of 19) Under the armpit
 21: (below 20) The armpit line extends into the inner side of the arm.
-22: (below 21) The indent of the inner arm(under the armpit) shows up.
+22: (below 21) The indent of the inner arm (under the armpit) shows up.
-23: (left of 22) A smooth curved line with no interruptions.
+23: (left of 22) A smooth, curved line with no interruptions.
 24: (left of 23) When the palm is faced up
 
 PAGE 44:
 
 1: How the Arm Connects 2 - In Case of the Arms Raised Upwards
 2: (below 1) Raising the Arms
 3: (below 2) When the arms are down
 4: (right of 3) Capture the connection between the clavicle and shoulders.
-5: (below 4) Outline. Draw the depth of the body and the shoulder placement.
+5: (below 4) Outline: Draw the depth of the body and the shoulder placement.
-6: (right of 5) Center line(used as a guide).
+6: (right of 5) Center line (used as a guide)
 7: (right of 6) The drawing process often involves drawing the parts of the body that get covered up by the arms.
 8: (below 7) The indent is represented with a triangle shape.
-9: (below 8) A supply line.
+9: (below 8) A supply line
 10: (below 9) Draw the lines around the arm connection.
 11: (below 10) The armpit line is omitted.
 12: (left of 11) The back line extends from between the body and arm’s connection.
 13: (below 12) Similarities to when the arms are lowered
-14: In the case of shading under the armpit. It gives more depth to the arm and body.
+14: In the case of shading under the armpit, it gives more depth to the arm and body.
 15: (below 14) The boundary line of the shading is curved, representing the roundness of the arm.
 16: (right of 15) Let’s take a look at the changes in the placement of the arm connection and shoulder.
 
 PAGE 45:
 
-1: Let’s take a look at how to draw the area around the shoulder and below the armpit(arm connection)
+1: Let’s take a look at how to draw the area around the shoulder and below the armpit (arm connection).
 2: (below 1) Armpit slightly open
 3: (below 2) Armpit line
-4: (below 3) Back line extends outwards.
+4: (below 3) The Back line extends outwards.
-5: (right of 3) The arm reaching out to the side and reaching upwards. The outline of the armpit changes.
+5: (right of 3) The arm reaching out to the side and reaching upwards: The outline of the armpit changes.
 6: (right of 5) Draw it with the idea of skin stretching and loosening.
 7: (below 5) A pose involving showing off the armpit
 8: (bottom left of 7) The arm connection from an upwards angle
-9: (bottom right of 8) A curved line that represents the arm’s roundness(tubular shape).
+9: (bottom right of 8) A curved line that represents the arm’s roundness (tubular shape)
-10: (right of 9) The arm is pulled to the back. indents are formed around the neck area(refer to the diagram on the right)
+10: (right of 9) The arm is pulled to the back. Indents are formed around the neck area (refer to the diagram on the right).
 11: (right of 10) Scapula
 12: (below 10) Right here.
 13: (right of 12) Clavicle
 14: (above 11) The arm essentially digs under the deltoid muscle.
 
 PAGE 46:
 
 1: Armpit Poses
 2: (right of 1) The line around the shoulder changes depending on the arm’s angle.
-3: The roundness of the deltoid muscle on top of the arm.
+3: The roundness of the deltoid muscle on top of the arm
 4: (below 3) Deltoid
 5: (below 4) Clavicle
 6: (right of 4) Clavicle
 7: (below 6) Armpit lines
 8: (below 7) Armpit line
 9: (left of 8) Be conscious of the root of the arm.
 10: (above 9) Deltoid
 
 PAGE 47:
 
 1: How the Arm Connects 3 - Backside
 2: Capturing the Armpit Area
 3: (right of 2) Head Width
 4: (left of 3) Armpit Placement
 5: (left of 4) Shoulder Width
 6: Capture the shoulder width and armpit placement.
 7: Throat
 8: Shoulders
 9: Armpits
 10: (right of 3) Throat
 11: Shoulders
 12: Armpits
 13: Armpit Placement
-14: When drawing arms from the back, use the head(like the head size and jaw placement) to figure out where to connect the arm and where to put the armpits.
+14: When drawing arms from the back, use the head (like the head size and jaw placement) to figure out where to connect the arm and where to put the armpits.
 15: The proportions of the shoulder width, throat, shoulders, and armpits all differ depending on the artist. Draw them with the balance you prefer.
-16: (below 2) There are 2 ways the armpits could look like when the arms are down
+16: (below 2) There are 2 variations to the armpits when the arms are down.
-17: The type where the crease turns outwards
+17: The variation where the crease turns outwards
-18: The type where it goes straight down
+18: The variation where it goes straight down
 19: (right of 18) When raising the arm up to shoulder height, the silhouette of the shoulders changes.
 20: (below 17) In the case of a single arm being raised
 21: An indent is formed.
 22: The angle of the scapula line changes.
 23: The scapula’s angle shifts as the elbow goes up.
-24: How the scapula line usually looks when the arm is laid down.
+24: How the scapula line usually looks when the arm is laid down
 25: (below 19) Deltoid
-26: Trapezius. It stretches widely across the back.
+26: Trapezius: It stretches widely across the back.
 
 PAGE 48:
 
 1: Both arms raised
 2: Outline of the deltoid
-3: If the head isn’t tilted down, the shoulders don’t stick to the head very much(sometimes you have to take liberties with this).
+3: If the head isn’t tilted down, the shoulders don’t stick to the head very much (sometimes you have to take liberties with this).
 4: Even with both shoulders raised, there still should be some distance between the shoulders and head.
 5: The shoulder area when the arms are naturally crossed together in the back
-6: There are many different ways you could adjust the sizes of the scapulas and their placements. When fleshing out the drawing, some people prefer to make the scapulas stand out more.
+6: There are many different ways you could adjust the sizes of the scapulae and their placement. When fleshing out the drawing, some people prefer to make the scapulae stand out more.
 7: Throat
 8: Shoulders
 9: Armpits
-10: Use the throat and shoulders as a guide for the armpit placements.
+10: Use the throat and shoulders as a guide for armpit placement.
 
 PAGE 49:
 
 1: Drawing the Elbows
 2: (below 1) How Elbows Are Represented in Various Poses
 3: (right of 2) The elbow joints are composed of bone and tendon. Pay close attention to the hardness of the bone especially when the arm is bent. Let’s take a look at some poses involving elbows.
 4: (below 2) Dull Corner Type (almost round)
 5: Represent the bone outline with curved lines and shadow.
 6: (below 3) Mt Fuji Type
 7: Corner Type
 8: Both of these types use curved lines to represent the bone sticking out.
 9: (below 8) Sharp Corner Type
 10: The outline of part of the bone resembles a horn here.
-11: (left of 10) Inner side of the elbow. Can be represented with a mountain-shaped shadow.
+11: (left of 10) Inner side of the elbow: Can be represented with a mountain-shaped shadow.
 
 PAGE 50:
 
 1: Elbow and Elbow Joint Representation
 2: Elbow thrusted outwards
 3: The round part of the bone jutting out is reflected in the outline.
 4: Dull Corner Type (almost round)
 5: Placing hands on waist
-6: The thumb points downwards
+6: The thumb points downwards.
 7: (below 6) Dull Corner Type (almost round)
 8: (upper right of 7) Thumb
-9: (above 8) The thumb points upwards
+9: (above 8) The thumb points upwards.
 10: Thumb
 11: Corner Type
 12: Add some light lines to represent the hardness.
 
 PAGE 51:
 
 1: Wrist and Elbow Representation
 2: Hand in front of face
-3: The palm faces inwards
+3: The palm faces inwards.
 4: Sharp Corner Type
-5: Bone corner. Add some lines for the bone.
+5: Bone corner: Add some lines for the bone.
-6: The palm faces outwards
+6: The palm faces outwards.
 7: Corner Type
 8: There’s still a bone corner, but no shadow.
 9: Hands down
 10: This is where the indent is formed.
-11: The palm faces inwards
+11: The palm faces inwards.
 12: Indent of inner side of elbow
 13: The other side of the elbow can’t be seen.
-14: The palm faces outwards
+14: The palm faces outwards.
 15: The indent in the elbow is shown with some creases.
-16: Right here
+16: Right here.
 
 PAGE 52:
 
 1: Elbow from the back
 2: Detail this section with the idea that the bone swells out here.
 3: Dull Corner Type (almost round)
 4: Mt Fuji Type
 5: The elbow can be represented with short straight lines.
 6: Mt Fuji Type
 7: Capture the tips of the elbows jutting out.
 8: Corner Type
 
 PAGE 53:
 
 1: Elbow when the arm is raised
-2: Corner Type (It oddly becomes more like the Mt Fuji style when upraised)
+2: Corner Type (It oddly becomes more like the Mt Fuji style when upraised.)
 3: The lines coming out from the elbow change depending on where the hand is facing, so even if you are drawing a pose where the hand is covered up by the face or anything like that, you should still draw the general idea of it to use it as a guide.
 4: This bulging part faces out to the front.
 5: Dull Corner Type (almost round)
 
 PAGE 54:
 
 1: Drawing Hands
 2: (below 1) Measuring the Size
 3: (right of 1) Let’s draw the hand using the size of the head as a guide.
 4: (below 3) Fingers
 5: (below 4) Palm
-6: (below 5) The finger and palm regions should be rough the same length. Use this as the standard for finger length and width.
+6: (below 5) The finger and palm regions should be roughly the same length. Use this as the standard for finger length and width.
 7: First joint
 8: Second joint
 9: Third joint
 10: (bottom left of page) It’s recommended to figure out hand size and shape by drawing poses with hands touching various places. The size can grow smaller or larger depending on the place, so keep in mind the theme you want to go for while drawing them.
 11: Length
 12: Center
 13: (below 11) The fingers are longer on the side opposite the palm.
 14: (right of 13) Palm side
 15: *Sometimes the first joint is called the third joint and vice versa.
 
 PAGE 55:
 
 1: Hand Poses
 2: Both hands outstretched
-3: (below 2) When the fingers are rigidly spread out, the creases at the finger connection are smaller and are more straight.
+3: (below 2) When the fingers are rigidly spread out, the creases at the finger connection are smaller and straighter.
 4: (right of 3) By drawing the finger connections with rounder lines, you can give them the feeling that they are spread out in a more relaxed way.
 5: (right of 4) A pose where the hand expresses surprise
 6: (right of 5) For a loose grip, the lines of the finger joints will somewhat extend from the finger lines.
 7: (above 6) Use a small line extending from the center of the finger for the third joint.
 8: Hands on hips
 9: The hand should curve along the waist’s outline.
 10: Arms crossed
-11: The index finger’s curve will make it look more like it’s resting against the arm.
+11: The index finger’s curve will make it look like it’s resting against the arm.
 12: Since the fingers are just resting on the arm, there’s no need to make them perfectly match the arm’s curvature. Draw them with natural curves.
 
 PAGE 56:
 
 1: Drawing Legs
 2: (below 1) The Important Features of the Leg Lines
 3: (right of 1) The hardness of the bones in the knees and ankles, as well as the softness of the meat in the thighs and calves, are all important parts of representing the legs. Let’s learn how to draw legs while looking at various standing and sitting poses.
 4: ( below 3) Let’s take a look at the leg lines from the front, side, and 45° angle.
 5: (below 2) Front
 6: Thighs
-7: While the thigh widths might stay the same as each other from the front, the thigh lines will change depending on how far the legs are spread and the pose being made from the knee down.
+7: While the thigh widths might be the same as one another from the front, the thigh lines will change depending on how far the legs are spread and the pose being made from the knee down.
 8: Knees
 9: Calves
 10: Shin
 11: (right of 5) Side
 12: Knee thickness
 13: Where the calve bulges
 14: (below 13) 45° Angle
 15: The thigh thickness differs.
 16: Emphasize the line where the knee joint dips inwards. It makes it feel like there is strength put into it.
 17: (left of 16) The knee joint juts out here.
 18: (below 16) The lines coming down from the knees to the bottom of the calves will differ from each other as well.
 19: Ankles
 20: Bones to pay attention to: knees and ankles
 21: Flesh to pay attention to: thighs and calves
 22: Front
 23: Side
 24: 45° Angle
 
 PAGE 57:
 
 1: Bones and Muscle
 2: (right of 1) Bones are important to capturing the knee and ankle joints. The muscles in the leg area wrap around the bones to make a tubular shape.
 3: (right of 2) The bones that are important to the representation
 4: (below 1) Character Skeleton
 5: Front
 6: Hip joint
 7: Kneecap
 8: Knee
 9: Shin
 10: Ankle
 11: Side
 12: Back
 13: (below 2) X-Ray Diagram
 14: Front
 15: Side
 16: Back
 17: The bones in the knees and ankles are close to the skin.
 18: Simplified Muscle Diagram
 19: The grey areas are muscles that appear on the outline from the side angle.
 20: Front section
 21: (right of 20) Back section
 22: (below 20) Calves
 23: (below 22) The shins have hardly any muscle.
 24: (below 23) Side
 25: (left of 24) Front
 26: (below 21) Calves
 27: (below 26) Back
 28: This entire region here is the calf.
 
 PAGE 58:
 
 1: Representing the Legs’ Bones and Texture
 2: (right of 1) Let’s take a look at sitting poses, focusing on the thighs, calves, and knees.
 3: (below 1) Legs Spread
 4: Sitting with the knees spread wide apart
 5: Knee
 6: Calf
 7: (below 2) Points of Notice
 8: - How the legs are attached
 9: - How the thighs, calves, and knees are represented
-10: (below 9) In the case of drawing underwear, the top hem should be represented wrapping around the abdomen.
+10: (below 9) In the case of drawing underwear, the top hem should be represented as wrapping around the abdomen.
 11: (below 10) This slight difference is enough to create quite a few differences in the appearances of the calf and knee representations.
 12: (below 11) Round silhouette
 13: (left of 12) Butt meat
-14: (left of 13) The calf should get smooshed out due to the pressure being put down from the thigh.
+14: (left of 13) The calf should get smooshed out due to the pressure being exerted from the thigh.
 15: (left of 14) Corner silhouette
 16: (above 15) In this example, the right leg is spread outwards slightly more than the left leg.
 17: (below 15) Drawing Process
 18: Sketch
 19: Sketch the underwear to help visualize how the legs connect to the body.
 20: (bottom right of 19) Butt outline
 21: (right of 20) Thigh connection. Drawn with a curved line.
 22: (above 21) Draw the crotch with a round shape.
 23: (right of 21) Thigh meat
 24: (right of 23) Butt meat
 
 PAGE 59:
 
 1: When the waist is thrusted forward
-2: A strong and profound curved line.
+2: A strong and profound curved line
 3: (below 2) The corner silhouette reaches closer to a right angle, giving it height.
 4: (right of 3) The region of the calf that can be seen grows wider.
 5: (right of 4) Butt meat
 6: (right of 5) The kneecap’s roundness shows up.
-7: (above 6) The center of the bottom region of the body.
+7: (above 6) The center of the bottom region of the body
 8: (below 3) Comparing the Thigh Lines and Knees
-9: Smooth curved line.
+9: Smooth curved line
-10: (below 9) The spread legs from the previous page were more from a downwards angle. When the waist is thrusted forward, the angle becomes more upward.
+10: (below 9) The spread legs from the previous page were from a more downwards angle. When the waist is thrust forward, the angle becomes more upward.
 11: (right of 10) Shin
 12: (above 11) Thigh
 13: (right of 11) The thigh parts are more pronounced when you pay attention to how the knee connects to the shin.
 14: (below 10) Representing the Underwear (around the crotch)
-15: Edge of the external oblique muscle. Groin line
+15: Edge of the external oblique muscle, Groin line
 16: (right of 15) Leg connection line
 17: Leaving the groin line as is
 18: Omitting the gron line and only using the leg connection line
 
 PAGE 60:
 
 1: Bent Legs
-2: (right of 1) The way the knees are bent differ from the left and right leg here. The differences show up in the curvature of the knees and shins.
+2: (right of 1) Here, the way the knees are bent differ between the left and right leg. The differences show up in the curvature of the knees and shins.
 3: (below 2) A curve that feels like a corner
 4: (below 3) The shin line is straight.
-5: (below 4) Angled slightly more outwards compared to the right leg.
+5: (below 4) Angled slightly more outwards compared to the right leg
 6: (below 2) The knee bulge can be represented with a vertical ellipse shape.
 7: (below 6) The line is slightly curved.
 8: Ankle joint
-9: (below 8) X-ray diagram of legs. Underwear on
+9: (below 8) X-ray diagram of legs, underwear on.
 10: (right of 9) The very bottom of the body faces to the front.
 11: (right of 10) Leg connection line
 12: (below 9) Drawing Process
-13: Outline. Draw the overall silhouette while capturing the joints.
+13: Outline: Draw the overall silhouette while capturing the joints.
 14: Draw the parts of the body that are covered by the legs.
 15: Where the legs are connected
 16: Butt region