How to Draw Female Bodies Ch 4 Part 1

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.
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
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
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
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
3: (below 2) Legs moving forward and back
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.
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)
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.
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.
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.
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.
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.

PAGE 119:

1: Leaning Forward
2: (right of 1) Sharp lines that reflect the shape of the scapulas.
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
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.
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
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.
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.

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.
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.
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.
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.
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.
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.
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
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.
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
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

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.
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.
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
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.
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.
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