How To Draw Manga, Volume 4_ Bodies & Anatomy ( Pdfdrive.com ).pdf

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HCWIODR/W BODIES s ANATOMY Human Body Drawings

for Creating Characters

V>{ASHINGTO,\'

VILLAGE

HOW TO DRAW MANGA:

BODIES & ANATOMY

Manga Techniques

by the Society for the Study of

Copyright Copyright

© 996 the Society for the Study of Manga Techniques © 1996 Graphic-sha Publishing Co., Ltd. 1

designed and published

First

This English edition

in

1996 by Graphic-sha Publishing

was published

Graphic-sha Publishing Co.,

Sansou Kudan BIdg. 4th

in

Co., Ltd.

2001 by

Ltd.

Floor,

1-14-17 Kudankita,

X#

Chiyoda-ku, Tokyo 102-0073 Japan

^\S^ Cover drawing:

Ganma

Suzukii

Photographs: Yasuo Imai English cover design: Shinichi Ishioka

English edition layout: Shinichi Ishioka English translation: Lingua franca, Inc. ([email protected])

Japanese

edition editor:

Motofumi Nakanishi (Graphic-sha Publishing

Foreign language edition project coordinator: Kumiko

All rights

reserved.

No

part of this publication

Co., Ltd.)

Sakamoto (Graphic-sha Publishing

may be reproduced

or used

in

Co., Ltd.)

any form or

by any means, graphic, electronic or mechanical, including photocopying, recording, or information storage and retrieval systems without written permission of the publisher.

Distributed by

Distributed

NIPPON SHUPPAN HANBAI

INC.

Digital

in

Manga

North America by Distribution

4-3 Kanda Surugadai,

1123 Dominguez

Chiyoda-ku, Tokyo

Carson,

101-8710 Japan

Tel:

Tel:

St.,

CA 90746,

Suite "K"

U.S.A.

(310) 604-9701

Fax:(310)604-1134

-1-81(0)3-3233-4083

Fax: -1-81(0)3-3233-4106

E-mail: [email protected]

E-mail: [email protected]

URL:http://www.emanga.com/dmd/

October 2001

First printing:

Second

February 2002

printing:

Third printing:

September 2002

Fourth printing:

November 2002

Fifth printing:

February 2003

Sixth printing:

May 2003

Seventh

September 2003

printing:

ISBN: 4-7661 -1238-5 Printed and

bound

in

China by Everbest Printing Co.,

Ltd.

The Aim of

this

Book This book teaches

Thanks to

xV

all

our readers.

basic body

structures, positions,

^X

and placement of muscles. >'^-

Try maximizing techniques like pen touches to

enhance

the three-dimensional unevenness of muscles.

Use the knowledge of the basics to handle the drawings,

as you This book

will

help you

like.

V

implement necessary information into your designs to create

W

better drawings. The basic structure of the human body is the

same

for everyone;

however, subtle

differences exist

in

the

shape of the muscles from pereon to pereon.

0:^2: When sketching from a

Refer to this book to find

variety of angles, you might

have doubte about how to draw the characters when the shapes of certain body

parte change.

5CRIBBLESCKIBBLE

something similar to what you are looking for.

Table of Contents The Aim

of this

Book

Perspective

5

Improving Your Technique

-

8

Posing

What

is

10 Center of Gravity?

11

Drawing Entwined Characters

12

The Human Skeleton

14

Male and Female Proportions

16

Head Variations

19

Chapter

1 -

Facial Three-dimensionality

20

Facial Expressions

24

Eyes

25

Various Eye Shapes

26

Various Nose Shapes

27

Various Mouth Shapes

28

Various Ear Shapes

29

Construction of the Neck and Shoulders

30

Neck Variations

32

Frontal

View (Female)

Looking Up Tilting the

Looking

/

Head

/

/

Low Angle (Female)

Down

/

Looking

Looking to the Side

Down /

/

Low Angle

at

(Male)/ High Angle (Female)

an Angle

Looking Up at an Angle

Lowering the Head

Chapter 2

-

Upper Body Variations Body Muscles

Illustration of

43

44

Construction of Frontal Body Muscles

46

Balancing the Back Muscles

47

Shoulder Area

48

Basic Construction of the

Arm

51

Twisting the

Arm

54

Variations

in

Forward and Backward Shoulder Movement

57

Forward and Backward Arm Motion Variations

58

Side

Arm Motion

Front

59

Variations

Arm Motion

Variations

Spreading BotfiArms Folding Both

65 71

Arms

81

Construction of the Hand

82

Hand

Variations

84

Torso Variations

87

Chapter 3

-

Leaning Forward (Female)

88

Bending Backward (Male)

91

Twisting (Female)

93

Arm

98

Thrusting Upward (Male)

Standing Variations (Male)

100

Running and Twisting (Male)

102

Looking Up at a

Low Angle

(Male)

106

Bending to the Side (Female)

107

Throwing (Male)

110

Chapter 4

-

Lower Body Variations

115

Construction of the Lower Body

116

Bending the Leg

119

Crotch Variations

120

Buttocks Variations

122

Sitting

Cross-Legged

Sitting at

Ease

123 125

Doing the Splits

126

Standing Splits

128

Construction of the Feet

129

Perspective

-

Improving Your Tectinique

I

Using blocks and circular joints makes expressing the make-up

and three-dimensionality human body easier to understand. Notice

of the

how people

stand on the ground. To further

improve your technique, pay and

attention to the perspective

three-dimensionality of space.

Begin by creating a boxed space for

your characters and extend

lines of perspective in places (e.g. at

8

eye

level).

Draw boxes around and

the figure

build lines of perspective

from there.

A developed sense

must for poses. The lines

of characters is a

drawing cool looking live-action body are the key to this technique. These lines are called curved lines motion and centerlines. They occasionally that flow through the

compose

of

the center of gravity.

Curved of

line

motion

and centerline

It

is

a good idea to use model dolls since the

joints

can be arranged

poses. They

come

female and unisex.

in

in

a wide-range of

three varieties: male,

What

is

Center of Gravity?

This term describes the center point from which weight is

displaced on the body.

When drawing manga,

it

is

keep the center of gravity in mind for each it's a good Idea to learn the concept. This technique can be handy in bringing out the sensation of weight to make natural body positions look even cooler. difficult to

character, so

Center of gravity

rO.

Weight on one leg The center

of gravity is

somewhere of the

in

Weight on the

Weight on the

right leg

left

Side view

Weight on both legs

leg

the middle

body when the

character

Is

standing

The center

still.

of gravity also leans

towards the

direction of the motion.

11

Drawing Entwined Characters! Drawing characters one by one a breeze, but

when your

characters are intertwined battle or love scenes,

in

you may

Have no There's a method to this madness. have

is

difficulties.

fear.

Begin with a basic design. At this stage,

due

what

to too

often

many

happens

drawn, the important

become

is

that

lines being lines

difficult to distinguish, or

balancing the physique of one of the characters

becomes almost

impossible.

You could use an eraser to thin out these unnecessary lines; however, a better method is to use a blue leaded pencil to shape your characters and then use a black leaded pencil to outline a rough sketch.

Once the rough sketch lay

some

is

done,

tracing paper on top of

it.

Then, separate one of the unbalanced characters onto the tracing paper to better balance the picture.

Tracing paper

12

is

thin

and semi-transparent.

Once the rough sketch

is

finished,

place the tracing paper under the drawing. Now, look at these

through a

compose

light

box to better

the picture's balance

Shifting the tracing

paper sometimes helps adjust

the composition.

Also,

when a

part of the shot

is

such cases, after giving shape all of the drawing on the tracing paper, use a light box to In

being used as a close-up, it is quite difficult to maintain the

to

picture's balance.

stabilize the layout of the picture

If

you use tracing

paper,

it

doesn't matter

how much

the drawing

extends outside the frame.

Light boxes are helpful items in

drawing manga. Put studio wish

it

on your

list.

."-^ «^.

Desks equipped with

light

boxes used by

animators are also convenient

manga.

when drawing

13

The Human

Skeleton

Knowing a few things about the skeleton is helpful in order to better draw the human body. Common terms are given

in

parenthesis.

Clavicle

(collarbon

Scapula (shoulder blade)

Humerus (upper limb)

Sternum (breastbone)

column

Vertebral

Radius

—

Pelvis

(hipbone)

Pubis (pubicbone)

Sacrum

Greater trochanter

Femur (thighbone)

Patella

(kneecap)

Tibia

(shinbone)

Mbula Simplified Skeletal

Structure Learn the skeletal structure as a simplified illustration.

This

makes

visualization easier

especially for the lower half of the body,

which

twists and carries

weight

the^Xj

of the body.

Cii^;;:^

Draw as

if

you

Standard Yardstick For Arms and Legs

were hanging a circle from here.

The standard hand

size of a just

about

covers the face. Cervical vertebrae

(Seventh)

Be aware

of the

seventh cervical vertebrae giving

when

shape

Thoracic vertebrae (Twelve)

length of

to

1

.5

heads.

the sternum.

Then, draw as

The upper arm is the

if

you were hanging a

Floating

circle

rib;

from there.

Lumbar vertebrae (Five)

When

the

fingers are

extended, the length of the lower

arm is equal to two heads.

15

Male and Female Proportions!

N ^

^

l^.

<~H

r

/

'(.

\

C3

o

o

i\ '

-<

\/

\r

The differences between male and female 'I

proportions are: the female

sternum

is

smaller, the

sides of the male waist are

a

bit longer,

the sides of the

female waist are shorter

and connect roundness

to the

of the hip,

the female pelvis

"V— V

/

is

and

wider.

A

y-

>L>^

A

The female nipples are

positioned slightly

lower.

V

The female pelvis is

positioned slightly

higher.

There are three kinds of model This

is

the definitive reference book for drawing

which can be used,

at

many

levels.

practice your techniques, which

how muscles In

is

I

am

great.

dolls:

male, female and unisex. I

human figures for manga, illustrations, and amine, many of you make use of photographs to

sure that

However, photographs do not give an accurate picture of

are formed on the body.

these situations, this book

will

manifest a great deal of power

in

your drawings. fVlaking use of

model dolls is another great way to improve your skills. If you already have a perfect picture of what the human body looks like in your mind, then you may not need to use models. However, for those of you who are thinking about studying with models, applaud your efforts. Go ahead and give them a try. Just simply moving them around in a playful manner will improve your skills. I

Model

>^

Model

Doll

(Female)

Doll (Male)

^^

A' Model

Doll (Unisex)

Chapter

Head

1

Variations

Facial Three-dimensionality Consider the basic unevenness the face. Refer to these

when

drawing manga characters or adding in shadows.

The eyelids

rise

around

the spherical shape of the eyeball.

The face upward

tilted

illustrates that

the face has very

few

flat

features.

Cheekbon

The shadow mixes with that of the nose.

\

(

Consider the shadow

produced from the nose

20

Consider the shape of the chin.

As cheekbones

rise

when

laughs or gets angry, this

when

lit

the character will

create

from below. The same

is

shadows

true for

Definite

shadows appear

above the mouth when

lit

from below.

characters with high cheekbones.

Position of the eyes

and

nose as seen from the

side.

The human head consists of two parts: the face including the forehead and the jaw.

21

Facial Three-dimensionality

-

Part 2

I

The standard method drawing the space between the eyes is to

for

leave enough room for one more eye to be drawn.

Connection of the cervical vertebrae and the skull.

Centerline

A

line

extended from

the position of the ears

should intersect with

The head resembles a box

when viewed from above.

the centerline at the

summit

of the head.

23

Facial Expressions

Facial expressions are a result of facial

muscle movement. From muscular

movements, the skin expands and contracts creating wrinkles.

wrinkles are not often drawn

From eyebrow movements, the eyelids are

While

stretched creating expressions around the

manga, they can be used between the eyebrows to express anger by bringing out a sense of force in drawings.

eyes.

facial

Wrinkles appear near the

cheekbone when the mouth opened wide to the sides.

is

The muscles are relaxed when the

24

character laughs.

in

Proper positioning

Eyes

Eyes are spherical. Be aware of their

of the pupil

three-dimensionality.

Improper positioning of the pupil

It

projects out a

due

little

to the

cornea.

utilize reflections

to

show

the three-

The shape of the eyes changes depending on the angle they are viewed.

Keeping this in mind when drawing your characters might be fun, but it could cause lots of headaches. It takes a highly developed drawing sense to pull this off and could cause

dimensionality.

^f^^r^

i

characters to

literally fall

apart. Thus, the easiest

method

is

to position the

eyeball well and use reflecting light instead of

changing the

shape when bringing out three-dimensionality.

4 Frontal

View

"IJ'IIIIHW »^

Even eye

I

if

the

is

closed, this line

shows

Consider the position of the

the shape

pupil to bring out the three-

of the eye.

dimensionality of the cornea.

25

i

i "

Various Eye Shapes

'^»V M<<<<*^^ l

k 26

1/arious

Nose Shapes |

Positioning of the nostrils

and wings

of the

nose

27

II

Various Mouth Shapes |

Consider the thickness of the

corners of the

mouth.

•^--^'^^Tfi-iiinrr'"-'

28

Various Ear Shapes High Angle View

(

)

Basic Ear Lines

(

Low Angle View

)

(

Eye Level View

j

^

Viewed Directly From Below

From Behind Earlobe

29

Construction of the Neck and Shoulders

For manga, while the sternocleidomastoid

muscle, collarbone and shoulder blades are all

you need

to pull off the construction of

about the make-up yield more reality in your

this area, learning

muscles

will

drawings.

Collarbone (clavicle)

The connection between the collarbone and shoulder blade can be seen a the shoulder

sternocleidomastoid muscle (tilts and turns the head)

Trapezius muscle (maintai shoulder position) Clavicle (collarbone)

30

bit off

of the

Please Note The connection of the trapezius muscle flows the deltoideus muscle.

Trapezius muscle (maintains

shoulder position)

Cervical vertebrae

(Seventh) Deltoideus muscle (lifts

the arm)

31

into

Neck Variations Frontal

View (Female) |

32

Low Angle (Female) |

33

Low Angle

(Male)

While sometimes you

cannot see

all

of the

always be aware presence.

34

neck

lit

High Angle (Female) |

36

Looking

Down

Looking

Down

at

an AngleHj

Notice the balance between the

neck and the head.

Tilting

the

Head]

Looking to the Side

In real life, bit;

40

wrinkles appear quite a

however,

made

]

in

manga, they are

less prominent.

Looking Up at an Angle

]

Lowering the Head |

42

Chapter 2

Upper Body Variations

^

I

i

Body Muscles

Illustration of

Men and women have

the

same

muscular structure. Muscle Is abbreviated as "M". Common terms and the muscle functions are in parenthesis.

N(^

M. trapezius

C7

M. deltoideu

/^>.-^s\^

M. biceps (rotates and bends the forearm) M. external abdominal oblique (facilitates

movement

of the

abdomen)

M. biceps (rotates and bends the forearm)

VllllHf hlgu

M. gluteus medius walking)

1|lll|ik4k*

(facilitates

M.

jliacus

M. tensor fasciae latae

/ M. pectineus --

.<

M. adductor longus

M. sartorius (bends the

leg)

M. gracilis (bends

and twists the

leg)

M. rectus femoris

Quadriceps femoris tendon (straightens the leg) Patella (kneecap]

h

M. gastrocnemius

Tibia (shinbone)

M.

tibialis anterior

M. peroneus longus

M. soleus

44

Male

Female

\

V

M. trapezius

M. infraspinatus

M. pectoralis major (moves the shoulder and involved

in

deep

breathing)

IVI.

teres

major M. triceps the arm)

M. serratus

(lifts

anterioris (supports

the shoulder)

M. latissimus dorsi

(moves

the shoulder

and involved in

coughing)

M. rectus abdominis

—

M. latissimus dorsi

(moves the shoulder

(strengthens the

and involved

abdominal wall)

coughing)

in

1. M. gracilis (bends and twists the leg)

M. gluteus

maximus (facilitates

standing up and climbing)

Tractus

iliotibialis

M. semltendinosus

(moves hips and knees)

M. biceps femoris

M. gastrocnemius (walking and

jumping)

M. soleus (standing)

Achilles tendon

(connects

gastrocnemius to the heel bone)

45

Construction of Frontal Body Musclesl

latissimus dorsi

The latissimus dorsi expands and become visible when the body

is

viewed from the

with the

arms

raised.

The chest muscles cross here and attach to the humerus.

Think of the chest

muscles as simply hanging

off the shoulder.

M. latissimus dorsi

46

front

Balancing the Back Muscles

Muscles are constructed on the foundation of the skeletal framework. Start by drawing a simplified skeleton. Then, draw the key muscles.

Think of the latissimus dorsi as flowing

down

the ribs and

hanging a

bit off

the shoulder

blade.

Pay attention to the external abdominal

oblique muscles on the sides.

Consider the hipbone as a standard for establishing the area around the buttocks.

Once the key muscles are done, draw

Cervical vertebrae

Pay attention to the

(Seventh)

flow of the trapezius to

more

detailed

ones.

the deltoideus.

Pay attention

to the

flow of the muscles

down from

the shoulder

blade.

The positioning

of the

trapezius should look like this illustration.

47

Shoulder Area When

constructing the shoulder area

from the frontal position, draw the chest muscles as if they were hanging off the shoulders. Draw the muscles in the rear position in a similar manner. The infraspinatus and teres major muscles hang down from the shoulder.

Hang the muscles The infraspinatus and teres major muscles

start at the

off

the shoulders.

shoulder blade

and connect.

The muscles below The muscles expand and contract when the body bends and the arms are

K

The latissimus

the surface are

dorsi also

stretched.

stretches

the shoulder

raised.

moves.

The shoulder

pulls

the muscles. The

shoulder blade also gets pulled.

The symmetry

of the right

sides should be

and

like that of

Learn to draw this area the

left

a face.

same way

you would draw a face.

Eyebrow

Do you

Mouth

think this

resembles the face of

an

48

when

alien or

monster?

The teres major and latissimus dorsi

muscles extend towards the armpit like this.

M. latissimus dorsi

49

Shoulder Area

The infraspinatus

-

Part 2

is

connected from the shoulder blade to the

humerus.

Shoulder blade (scapula)

The serratus Be

careful of anterioris

the in

movement

is

hidden

by the latissimus

the

dorsi

latissimus

and

is

connected

dorsi.

to the

shoulder blade.

The chest stretches the pectoralis major.

When

the

arms are

brought backward, the latissimus dorsi

is

stretched behind the

body and the hidden serratus anterioris revealed.

is

Basic Construction of the

Arm

Learn the basic movements of the

muscles and

their positioning.

Biceps muscle

The connection between the brachialis and deltoideus can be

seen when viewed from the side.

Supinator muscle

The three long muscles are flexor muscles, which are designed to bend the wrist

and

fingers.

The pronator and supinator muscles tilt the hand around.

51

Basic Construction of the

Arm

-

Part 2

The triceps muscle extends and lifts the arm.

Flexor

muscles on the side of the back of the hand.

There are also three extensor muscles on the

Used

and

for extending the wrist

fingers.

hand

back

of the

palm

of the hand.

like in

the

These are

designed to open the hand

The supinator longus and extensor

and work

radialis

in

conjunction

with the flexor muscles.

index finger triceps

52

longus muscle connected to the

and

come

out between the

brachialis.

M. flexor

M. pronator M. brachialis

M. infraspinatus

M. flexor

Elbow bone

53

Variations in Twisting the ^

Arm

1 I

^^^^ ^ the

/^

'j^//

I

K

54

'°°'^ ^^

first

^^^ changes

in

the muscles using

drawing as benchmark.

55

Variations in Twisting

56

ttie

Arm

-

Part 2

Forward and Backward Shoulder Movement

The shoulders move to the front and back depending on the pose. When the shoulders are stretched, the chest

expands and the shoulders move closer together In the back. When the back is rounded, the chest contracts and the shoulders move towards the front.

The shoulders move

to the

back when the chest expands.

When

the back

is

rounded,

the chest contracts and the

shoulders

move

forward.

When weight

is

distributed

on the shoulders, they move forward even

if

the chest

is

stretched.

J

Forward and Backward Arm Motion Variations While the pectoralis major and back

muscles don't change much when the arm moved forward and backward, there is a slight change in how the muscles are is

stretched.

The back muscles bulge

when

the arm

position.

is in

the rear

The chest muscles bulge

when

the

arm

is in

forward position.

the

Side

Arm Motion

Variations

The trapezius muscle contracts when the arm

is

raised.

The deltoideus bulges conceals the collarbone

when

the

arm

is

59

L-wta

Side

Arm Motion

Variations

-

Part 2 |

The collarbone

rises

and the

latissimus dorsi contracts

the shoulder

is

when

raised.

collarbone rises.

The latissimus dorsi

becomes

visible.

The pectoralis major

is

also

stretched.

60

61

Side

Arm Motion

Variations

-

Part 3

]

t

L

63

J

Side

Arm Motion

Variations

-

Part 4

stretching ,

^'

ttie lifts

teres major

the

collart)one.

64

in

Front

Check

to

Arm Motion

make

changes occur

Variations

sure that in

the

deltoideus of the shoulder

when the arm

is

raised.

65

Front

66

Arm Motion

Variations

-

Part 2

]

67

Front

Arm Motion

Variations

-

Part 3~j

69

Front

Arm Motion

Variations

( Viewed from above )

70

-

Part 4

I

Spreading Both Arms

71

Spreading Both Arms

72

-

Part 2

Ik

^

73

Spreading Both Arms

-

Part 3 |

The stomach sinks is

in

(

when

Lying do^;^;^

because there

no support from the bones when

the character

When

force

is

is

lying

down.

applied to the

the stomach rises

arms

slightly.

Think of the basic upper arm muscles as being constructed by the deltoideus, biceps and triceps muscles.

When

the arms are raised, the coracobrachialis and

latissimus dorsi muscles

become

M. latissimus dorsi

M. triceps

visible at the side.

Scapula (shoulder blade)

Spreading Both Arms (Variations

in

the

-

Part 4

Back Muscles)

oving towards the back

The deltoideus

in

the shoulder

acts as a central point of

movement

for the center of the

collarbone and shoulder blade.

When

the shoulder

is

moved

backward, the collarbone and shoulder blade also

backward.

76

move

77

^

spreading Both Arms

-

Part 5 The deltoideus

is

connected to the collarbone and shoulder blade.

The chest muscles stretch

and change

shape when

the

arms

are raised

Watch the

direction of

the deltoideus to the

78

in

regard

arm movement.

The seven

cervical

vertebrae are visible,

The bones move forward and backward

depending on the force Clavicle (collarbone)

Deltoideus ;y

The area

of the

the deltoideus

an axis

arm

off

moves as

for the

connection of the collarbone and shoulder blade.

Scapula (shoulder

When

the shoulders are

^

moved backward towards the spine, the muscles

contract and distort.

The

most obvious changes occur

in

the trapezius

muscle.

79

Spreading Both Arms

-

Part 6

The shoulder moves forward and totally

shadows.

80

is

hidden

almost

in

the

Folding Both

Arms

Note the differences

men and their

women

arms.

when

fold

Construction of the Hand

82 .1

83

Hand Variations

Keep

in

mind the web between

the fingers

hands your

well.

if

you want

to

draw

Take a good look at

own hands and

learn from

them.

Note the

/

/

/

web between

the

fingers and avoid drawing in

a V

them

p,attern.

This area

moves

in particular.

Spread

When

the fingers are

opened, changes also occur

in

the bones

inside the hand.

84

Just spreading the fingers looks unnatural.

Be aware changes

of the

in this

part

85

!

86

Chapter 3 Torso Variations

Leaning Forward (Female) L

Consider also the hidden

abdomen when drawing.

89

Leaning Forward (Female)

-

Part 2

i

90

Bending Backward (Male)

The center falls in

of gravity

the center of the

body.

91

Bending Backward (Male)

92

-

Part 2

Twisting (Female)

Give shape to the centerline of the body.

These centerlines also connect the upper and lower body.

93

Twisting (Female)

94

-

Part 2

t

95

Twisting (Female)

96

-

Part 3

Check the perspective when viewing characters from above.

Be sure and pay attention to the twisting of the body when on its

side.

Arm

98

Thrusting Upward (Male)

The latissimus

dorsi

lifts

up the shoulder blade.

99

standing Variations (MaleT^

100

Be aware

of the

and consider the

ground figure.

101

Running and Twisting (Male) Center of gravity

102

Curved

line of

motion

103

Running and Twisting (Male)

104

-

Part 2

Looking Up at a Low Angle (Male)

When viewed from

the chest and sides as the front.

106

below, be aware of the differences

compared

to

when viewed from

ir

Bending to the Side (Female)

107

Bending to the Side (Female)

108

-

Part 2

The weight

is

on the

shoulder, moving

it

upward.

109

Throwing (Male) 1

110

I

111

Throwing (Male)

112

-

Part 2

When viewed from

below, be sure to

check the shoulders and

sides.

113

Throwing (Male)

-

Part 3

]

X

-y

\'/,

)\ %

\:

X \-

I

114

Chapter 4

Lower Body Variations

m

Construction of the Lower Body

]

Pelvis (tiipbone)

M. iliacus M. gluteus medius M. pectineus

M

Pubis (pubic bone)

adductor

„. tensor fasciae

longus latae

M. sartorius

M. adductor

magnus M. rectus femoris

—

M. gracilis M. vastus lateralis

M. semimembranosus

Femur

(ttiighbone)

M. pronator rectus

Patella ligament

Patella (kneecap)

,

M. gastrocnemius M. peroneus longus Fibula

M.

tibialis

anterior

I'

1

\ M. extensor digitorum longus

116

Tibia (shinbone)

M. adductor longus

,\V

M. gluteus maximus

,J§

Sn,

M. gracilis

M. satorlus I

f .

Tractus

M. biceps femoris iliotibialis

IVI.

semitendinosu:

M. rectus femoris

.:^ M, semimembranosus

y^\

M. biceps

M. pronator rectus

femoris

»

w

.semimembranosus

Patella ligament

-M. gastrocnemius

'.I

:

II

M. soleus

Achilles tendon

PI

117

Construction of the Lower Body -Part

2^ M. gluteus medius

118

Bending the Leg

Thighbone (femur)

Shinbone

Applying force on the

back

of the legs stiffens

the biceps femoris and the tendon projects out the area behind the

knee.

119

in

Crotch VariationsH

The crotch should be

drawn as a gap. Please avoid drawings

one below.

120

like

the

I 121

Center of gravity

Buttocks Variations

The muscles contract

when

force

is

exerted

in

the buttocks.

Weight on the

right leg

Weight practically on both legs

The wrinkles disappear when

Wrinkles appear

the buttocks are expanded.

buttocks are contracted.

when

Weight on the

left

leg

the

Wrinkles appear on the buttocks due to expansion and contraction of the muscles.

122

Sitting

Cross-Legged |

Hipbone (pelvis)

When

the legs are bent,

wrinkles appear

in

the fold

between the legs and torso (upper pelvis area).

123

Sitting

124

Cross-Legged

-

Part 2

Sitting at

Ease

125

Doing the Splits

126

127

standing Splits^

128

Construction of the Feet

The projecting bone on the is

leg

positioned lower on the

outside than on the inside.

Achilles tendon

Big toe side .

Little

toe side

129

130

Consider the

human

of the

body, and then simply

illustrate

\

makeup

it.

131

Break

all

the parts into

blocks and build from there when you draw.

The toes bend upward beginning from this point.

132

/l

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PUTTING THINGS

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