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    36 views534 pages

    Tenten Anatomy Translated

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    SITA KUMARI
    694741006 Tenten Anatomy Translated

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    © All Rights Reserved
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    Anime Human Body Structure’ Specialized training in performance techniques Pd x Cee the human body Soar ae ean ere) ac See] Shi Tong TC Chen/Editor Cataloging of Books in Publication (CIP) data Spel ainag on nuraton human body suucse expression tsvaque/ Sh Teng ested b TC Chen Bling Peoples Poss and Telecomeranatons Publisher, 2022.6 | BMove... I 8Shi...cT... ll 8Cartoon—figure drawing techniques—teaching materials Chinese Version Library CIP Data Core Word (2021) No. 220748, Edited by Shi Tong TC Chen Responsible printing Ma Zhen Published by People’s Posts and Telecommunications Publishing House [No 17 Chengshows Road, erat ist Beng Posende 100164 Emad 3Sptpes.comen Website https://www.ptpress.com.cn Printing by Beljing Baolong Century Printing Co.,Ltd. ‘olio: 880x1230 lords: }035 thousand words jst edition June 2022 first printing in Beijing in June 2022 Reader Service Hotli Hotline: (010)81055316 Anti-piracy hotline: (01081055315. ‘Advertsing business license: Jingdong City Jianguang Dengzi No. 20170147 Table of contents toward Resoures and Support Chapter 1 Head Special Training 1. Proportion ofthe head 1.1.1 Overall scale analysis of the head 1.1.2 Anaysieof the fatal proportion ofthe +12 The overall shape ofthe head 1.2. Analyse ofthe geomerre shape of the head 11.2.2 The influence of head bones and muscles on body performance 1.2.3 The connection between head and neck 3.1 Eyes 3.2 Eyebrow: Feet | Chanter HeadSpecitTing 1. Posen ea 1.11 overall arabs ofthe ead 12 he or hap of heen 121 apse roe pe en 12 Teac fen tones and ues nbs performs 1.23 conection bewean ea andre ‘steer | 1.33 Nose 3.4 Me 3.5 Ears i i 4 Hair 1.4.1 Cognition of hair Dynamic performance of the head More special training (Ke il i : z 2 Torso Special Training | : z operon ofthese 2.1.2 structure ofthe torso 2.2 Cognition and drawing skills of thoracic cavity 2.2.1 Basi proportions of the ribcage 2.4 Adding muscles tothe ribcage 2.5 Characteristics of female thoracic eaviy Proportion an spatial perception ofthe pes 2i25mtweotteto oe 221 eae pepo of eo 2a nhc gen aver itil ER CE Tum eeREM ene g eee sem eens 5 PE: UE li wk 264 Leftandeght | .6.2 Bending back .6.3 Bend forward : Nk .4.1 Basic twist of the arm Chapter 4 Special Leg Training 2 Influence of leg bones and muscles on body performance 3.2 Connection between legs and feet [wana embers cna asa peroma] Nor spelt Grp aoe eg Tig | 42 ners of egbones and muscles on bot peor | ; 44 Torsion and dynamic performance ofthe 4.4.1 Twisting of the legs 4442 Dynamic performance of legs ‘More special training 5 Specialized Hand Training 5.3.1 Hand and wrist connection '522comectinbetween aim and foes 5:4 Hand twist and dynamic performance 54.1 Hand twist performance 54.2 Dynami hand performance Chapter 6 Special Foot Training 6.1 Proportional structure ofthe fot {6.2.2 Influence of Foot Muses on Body Surface Performance {6.3 The connection of the foot {6.4 Foot twist and dynamic performance 6.4.1 Torsion of the foot Dynamic performance of the foot i i 3 Dynamic Special Training 7.1 Human body size i 7.2 Body mass exercises 172.1 Properion and Spatial Psion of Human Body Mass 1722 hen mssamexendngeattehanan by722 3.1 "Twisting Torso” of Dynamic Core Jon umn body dynamics .3contnstenat amc eran phen 34 eee z 4 Sai Concept of Lie a Shadow 8.2.1 Spatial geometry 2.2L ansho pera of umon de de it se casuigeantnecn neg Tomas 8.32 Pink gi ight nd shadow modeling EEC I amelie HEUTE we eid; AHH | e i ee executive summary Cen iter ett eeateecen erica entree cxainexperarceto learn and consldate he oundation af human body structure nd sohe various problems encountered a day human ody acter pice forewor Do you smal at you ae ot tremens wen your peop nd your unestading of the perpecbve ad sructe f he uma bays vague you svese hat hei oyster hunahbedypracce mee a ge you ely pracice mee? i Yoram anid = ean ere ban be der ee whos wa Many friends are very interested in the animation and game industry, and want to enter this eld, but they are hindered by some factors - there are many kinds of painting tutorials on the market, and the quality is uneven, and itis difficult for beginners to choose a complete set, that is suitable for their own learning, It is easy to get confused and cannot find the correct learning direction, so itis very likely that there is a constant learning curve. Detours in ‘entanglement and confusion, and even gradually give up painting. Inresponse tothe above problems we combined many years of rata work and teaching exprece, nd took wo ears ‘jointly compile this human body structure training course. Whether tis he logical sorting of knowledge points, the ‘ym of practice, orthe quality of practice diagrams, his book can meet the actual neds of readers, and lp readers quickly “itt white" in body paetng to: master in body painting, From the perspective of professional painting taining Increase practice time. Tum a 10-minute daily practice into a 30-minute daily practice with an extra. : PES planning and forcing yourself to complete it, because passively doing things are often easy to give up. ily 2021 Resources and Support This book is produced by “Shuyishe’, and the 'Shuyishe" community platform (www. shuyishe.corn) is ‘Supporting resources Get it online Over 1000 body modeling exercises Anatomy training pull-up page. The "Shuyi Design” community platform provides professional educational products for art design practitioners 4 Hit 6 contact us conse eas xys@ptpress com.cn Ifyou hve ay questions or sugesions about tis bok, pleat end ‘an email, and please indicate the book title and ISBN in the subject of the 30 that we can give feedback more efficiently. If you are interested in publishing books, recording teaching courses, or participating in technical review, etc., you can email us. If schools, training institutions or enterprises want to buy this book g z s i z z é =z g z i 2 8 8 & g i you find various forms of piracy of books produced by “Shuyi Design’ on the Interne, including unauthorized issemination of allor part ofthe contents of the books, please send us the lik of suspected infringement by email. This action of yours is to protect the rights of authors, and itis also the source of motivation for us to continue to provide you with valuable content. bout "Digital Art" > People's Posts and Telecommunications Publishing House Co, Lia's brand "Shuy Design’ focuses on the publishing of professional art and design books, providing art and design practitioners with professional books, vdeo e-books, courses ‘and other educational products, The publishing feld involves digital at categories such as graphic, three-dimensional, ‘lm and television, photography and post production, design theory ané application categories such as font design, brand design, color design, UI design e-commerce design, new media design, game design, interaction design, prototype Design {and other Internet design categories, Huany design hanc-painteg,ilustration design hand-painted, industrial design ili i) ill i i 1 : i | i i i 2 hapter 1 Head Special Trai In the process af earning to draw the human body, many people are often used to drawing from the head. A good looking head can be the highlight of the picture. This chapter covers head proportions, head mass, head strvcture, and head bones in detal It includes the cognition of angles, helps readers improve their spatial thinking ability leams to deduce the spatial eatonship ofthe human head onthe basis of body block, and then draws a goodHooking head, 1.1 Proportion of the head Inthe earring proces, tis very important to master the proportion ofthe head, and accurate proportions the foundation of 1.1.1 Overall scale analysis of the head ‘7-8head and body: I belongs to the normal body proportion, sultable for people who express most painting styles 6 head and body: suitable for girls aged 12 to 16, the upper body can be shortened, Peer eane oeeeres eereeeepreer nies eerereny acer corte De 1.1.2 Analysis of the facial proportion of the head Fel icone witeney ee teeeeaten nner? amaervenerten ttertarereteret ie soncept of "Three Courts and Five Eye P are almost equal in height. Upper cout te pat tam beatin teeeiow eh “Five eyes refers to dviding the widest par ofthe head into 5 parts, The with of 5 copes ina realise style painting ‘eu he cer se of pangs such a Japanse de not anessay have be way died nan, to pol should be noted: nee thatthe poston he eyevow ris oly the ont end af the eyebrow, not the tip ofthe eyebrow, ‘After understanding the basic concept of ‘Three Courts and Five Eyes", we wll explain how we should use. this concept in actual painting. oe nese eon epee weecaune nee” Tesperc wi aE [01 Draw the basic outline of the head, the aspect ratio of the head outline is about 2:1. You can draw a circle first, then draw the chin down, and finally adjust the frontal head outline. oz bxaw te "oss neo the foe did the horizontal ‘ss nf the fae no Spat, nd determine he postion af the eyes. De the Se ‘The height ofthe haitine of cifferent people i ferent, andthe position ofthe haitine canbe adjusted appropriately acording tothe standard Properion. 03 Determine the poston ofthe hating vie the area from the hatin othe chi nt thre equal pats, representing ‘tree ‘According othe drawing method ofthe front head the side head canbe drawn. you find thatthe head is po dawn 1, you can follow the steps above to check where the propertions are not accurate. ‘ep at we Din Curate tar sys fp su as wosdmensional element ca apeepty agus he pose of ha Meus The scaling calculation method of "Three Courts and Five Eyes" hemdeot the lover cour fhe characters he eas pang maha the Botlomofthelawerp of heb he ip rearing cre te cia vp of ee i er oy rn he pen ; The reason why we choose to use a cube instead o cuboid is because the exde can easiy become the quantification ‘standard after rotation, and itis not convenient to calculate the perspective rato after the cuboid i rotated. Looking atthe picture below, we ean se fom the “ee cours and fe yes” that he height ofthe strum C1 12 twice ashigh as that of A210 C2, and the aunlary ne Bis used to vide C0 2, and A (he postin ofthe eye B. 1/2 of . After determining this proportional relationship, even ifthe cube is arbitrary rotated, we can quickly Cont] Co) om Inathar perspective args, ths math ca so be used to determine he aston fhe fac etree of the head ad to check te the roporons fhe faci features ae core Ifyou cantt draw the perspective effect of the cube, you can practice according to the following jgure, and draw the shape e* the cube every 15° of rotation. 5 Limitations of "Three Courts and Five Eyes" Fer Ee SCR ny Seng ET Se Take the following sets of exaggerated comic-style avatars as examples to observe the changes in the characters’ “three courts and five eyes” and facial features. Generally speaking, except for the realistic style head, 1.2 The overall shape of the head 1.2.1 Analysis of the geometric shape of the head In actual painting the head can be analyzed from simple geometric modeling, in order to understand he basic structure of the head like a whistle, ‘On the basis ofthe whistle, the squares representing the facial features are added to obtain a relatively complex geometric head, so that the oientaton ofeach block can be determined wen dawng ight and shadow. Pere eee nee ee ane eee eee he fow of exressig header sree slows tetion tothe combination and interspersed relationship between the Blocks o2 cut out he shape of a whistle onthe Bass of the cube drawn in the previous step pay attention to the cuvatur of the face Em: Cutout forehead and cheeks inne step and then add the ears. Perper tenin natepees neon tere oe esos apes nen ea eytinder Inaeatsthe mouth fos Fre separate more faces, suchas the upper eyelid and lower evel inthe eye pat, ad the upper eyelid inthe mouth pat | lips and lower lip ete. 1.2.2 Influence of head bones and muscles on body surface performance Mastering the geometry of the head can solve basic problems such as perspective, space, and angle. See ae ene fare rene ait nee ene meena ER emcee cored oes nneeeg ett reread Determine the overall proportions ofthe fatra and frontal sll (yellow area i the site tothe sll se area) ihaitline 02 Determine he poston of Thre Cours an Five yes inthe square. 4 skull with the correct proportions. ‘Summarizing sul fom eferent anges into blocks more helpful to understand the ferent shapes ofthe hea inp ie influence of the skull on facial features “The shape ofthe skull drecty affects a persons appearance After mastering the basic shape of the skull, you normal character head orc head night elf head troll head Dark creature undead head Se head muscles 1.2.3 The connection between the head and the neck ee re ener erent eee ‘Where the bottom of the jaw joins the neck will form the red triangle area shown below. 1.3 facial features and expressions eis. on ofthe eportat organs of unenbeegs, nits also a par that needs tobe emphasized. In order to draw the eyes wl tisneessay to haves cata understanangof the struct ofthe ees «The structure of the eye ‘When drawing the structure ofthe ey, it is necessary to understand thatthe eyeballs embedded inthe eye socket, so thatthe ups and downs ofthe eye structure can be better grasped. At the same time the movements of the two eyeballs are basically the same. the eyes cant focus, the eyes wil appear slack. ean focus cant focus Objects that are too close to people's eyes will easily cause people to form ‘cross-eyed". In order to avoid the situation of ‘cross-eyed" or distracted eyes, the eyeballs should be represented as rotatable spheres. Eyes parallel, in a daze [cone In terms of appearance, the eyeball is a sphere wrapped under the eyelid, s0 we usually cannot see ‘the whole of the eyeball when we look at the human eye, but only a part of the eyeball, and the part of the In addition, highighting the eye structure can make the picture look more realistic, while weakening the eye structure can make the picture look more two-dimensional. fo draw the eye structure, we can start with the basic structure, and finaly draw a complex ee structure, Let's take a look at the spatial perspective structure of the eye. ‘Because the lft an right eyes of human beings are on the sae perspective horizontal lin, when expressing the spatial perspective structure ofthe eyes tho eyes canbe placed ina rectanga erspectv and then the perspective changes ofthe ees at various snges canbe splayed. The drawing proces i 5 flows. for First draw a perspective surface, draw the bisector inthe middle, and then draw a line to indicate thatthe face is facing direction arc, fos br the eyeballs, he eyeballs under the influence of perspective ae no longer round, but become sight at, and ight eyebrows according tothe perspective, [04 Draw a triangle according to the width ofthe eyes, and draw the position ofthe nose (for the second dimension Ria esgG sda is cyer ell propecia We ebire er ean ects crea eve - Drawing process of eyes and surrounding structures es an srg seus 5 follows, ezPay atensonto me elatonaipbetnen ne eyetow bones ate eel ee snow shape of Peet et -Eye expressions in different styles and angles the shape of their eyes changes. 1.3.2 Eyebrows ee eee er eee re SS ere ‘should be noted thatthe eyebrows walinevtably pate tvoughthe temporal ine when they af tached tothe bone. The empoaline ‘sthe tuingtine onthe sul othe tuning walls oceur athe peak ofthe eyebrow. “Temporal line: extending from the brow bone tothe top itis an important turing ine between the two planes om the forehead tothe temple ‘The above-mentioned content also applies when showing some stylized characters. ‘The drawing method of eyebrows isrelatvel simple, and the erawing process of eyebrows wilt be explained In detal here For the drawing of eyebrows, tis ony necessary to show the eyebrow shapes of diferent styles and angles on the basis of understanding its basic structure. + Different styles and angles of brow expression ‘The eyebrows are attached to the brow bone, and there are many types of eyebrows. The eyebrows of the corresponding shape can be drawn according to the character's ‘The cespon of eebrows manly fom telenth.heknes. 2 wel as than of he eprom, prow pak end ew as. 1.3.3 Nose “The noses located inthe middle of the face, soit should be emphasized in realistic painting, When drawing characters in twoimensional styl, n order to highlight the eyes, the nose canbe drawn simple ‘The structure of the nose “The nose is mainly composed of nasal ti, nasal columella, nostrils, nasal root, nasal bridge, nasal dorsum, gob fold and nasal ‘The nose as a whole is like a three-dimensional trapezoid with a clear facing face. Continue to Fefine the trapezoid to get a more precise nose shape. ry = = cad = TE IEEE + nose drawing process [Esme rc tron sgt pemer an [erztne nos wn ne ofthe nose at diferent angles (ay attention to the perspective laonsip) according to the pe drawn — ‘Then follow the same method to draw more forms and styles of the nase. + Different styles and angles of nose performance | you want to draw a nose from all angles, you must master the perspective relationship ofthe nose. First observe the position ofthe nose base ofthe nose at sl angles, and shape it yough the outline ofthe nostls oF the wings of the nose. Then Aescribe the shape ad size of the nose and the futuaton and length ofthe bridge ofthe nose. Fnaly draw the shadow for rawing the head ofa character in a two-dimensional styl, n order to highlight the eyes, the structure ofthe nose generaly weakened making the nose appear small. ‘eThe structure of the mouth Ifyou want to dew a mouth thet des ot appear fat then younced to understand and egress the structure ofthe mouth The suc of ne mou can penal be én upp ard lows ip beads, roth comes people = For the structural representation of the ips, raw a curve along the teeth thicker toward the center, wth he upper ip onthe owerlip. So the lower ip ie narower han the unperlip and not as prominent as the upper lp. Also, thee wil be shadows atthe comers the mouth. The bulge the me ofthe upper ip isthe Ip beads, and he ades of the ip beads wlslobuige sgh The lower pis ent sghty bulged in thee andright places, and the mide slighty sunken ‘The mouth i aay sot par. pay attentonto the vertia ups ed downs ofthe mouth and pay ation othe tee densiona a: S ‘The coss-sectionofthemeuthis anal so pay tenon to showing It when droning sd py attetonto the coma of he mouth change at turning point. |When drawing the mouth, the lips are rarely drawn, and more general expressions of the mouth are drawn. Shapes (except for drawing realistic mouths). Think of the mouth as a sphere, the mouth is drawn on the sphere, and the angle of the sphere will vary Se [03 Draw structures such as teeth and tongue to make the mouth more complete. + Mouth expressions in different styles and angles ‘When most people express the mouth, they usually use a simple ine to represent i. Only when the mouth ‘open will they draw the intemal structure of the mouth, In the two-dimensional style of the mouth, the upper ‘and lower lips are rarely drawn. “The ear is composed of the ier and outer helix, the anthels, the tragus, the antitragus andthe eariobe. Except {for the eariobe, which is fat, other parts are cartilage tissue. The ears are generally wide atthe top and narrow The structure of the ear RN cmnccicn rato tn rr erees nan Hevnin te eect beet id For those who are just learning to draw portraits, the structure of the ear is relatively complex. In order to facilitate memory, the er can be divided into several simple block to understand, Ss 4 ‘ar performance of different styles and angles | ¢ ok ~ oS le a ; oy: When people ae sing, the faces wil stretch out. Therefore, when drawing such expressions tis necessary tonerease ‘Anger When a person is angry, the main feature ofthe face Ie that the distance between the eyebrows and the eyes is relatively ose the eyebrows are upumed, showing a tense state andthe pup are consrited and appear relatively smal ee SEP TE en ee eet eet eee eee eer a eee ere ———— Disgust (contempt): When people have this type of expression, they often show @ feeling of disdain, the eyes are slanted to one side the mouth is povted, and the eyebrows generally change in height. ES OOo PHY apey vO 4 Ha ‘A.good character should be memorable. The shape of the hairis very critical when shaping the character, and the shape of the hair is even as important as the portrayal of the face. 1.4.1 Cognition of hair coo In ation itis necessary to understand concepts such as haitne, spin and midline of har o oo ‘When expressing hairstyles, the midline ofthe hair can be adjusted in design. o999 Inadiion tothe ctferet shape ofthe haitine wil havea geaterimpact onthe characte, the ference inthe postin ofthe hatin wi alo have an impact onthe chracter. Fr example, the haine of clren andthe elder higher, a the hakine of oxnary yun pel gy one ‘iThe effect of hairstyle on the character When expressing cifferent characters, if you have no idea about the characters hairstyle you might as well start with the characters areca match he character wih he poops ase ccrdngtothe characters character ae temperaent © % Generally speaking, short-haired gir's are more lively and cheerful, while long-haired girls wil appear ore quiet nd nt, 28 ‘The length of male hat can slo reflec the different personalities ofthe characters, Men wth shor ai sppest more unny and tsight forward, wile men with og hair appear more quiet and calm. ~ \ | In addition tothe length of the har that wil affect the characters image styl, diferent style of hair wil aso ~~ Change the character's image style. For example, a girl with a high ponytail will look younger and more energetic, while Other hairstyles may give people a relatively mature and demure feeling 1.4.2 Basic morphological performance of The basic shape of hair is explained below. Drawing of a single strand of hair: [single bundle of hairis@ small unit that makes up sharsye, and the shape of the hair bundles composed of dtferent hisylesis also different. When drawing a single stend of hai, pay attention not onl tothe erentaton ofthe hair but elo to the changes theta ane unatueof eal HIS \Wnen arranging and combining a single bundle of ha, tis necessary to grasp the relationship beteen the root andthe ha Especiay whan drawn exaggerated hasty, xpress the eationship Between the ets an strands can mak the hairs ok more « Drawing of different shapes of hair ‘Here, we mainly take fying hair as an example to show the performance of efferent shapes of ha When 5 Dynamic performance of the head a Ce ‘On the basic model ofthe head, continue to subdivide the face block to get a more specific head movement “The stat ofthe head canbe more deeply understood bythe dynam changes ofthe head > In addition to some more conventional heads, when drawing some two-dimensional style character heads also, Forthe above headmodel template, the author usee the fom ofa square to assist the shape, avoing the stuation that the peapective he fang the face cannot be found by det un the round shape. Same head shape. Inthe specie paining performance, ferent head models can be appedin combination with ferent painting syes by “The tree head models below can basicaly meet the head performance of most ofthe characters inthe current styl. ‘When applying the model, you can make some changes as needed, suchas _ eyes, down Personalized shaping of important parts such as bar and nose. After determining your favorite modeling style you can practice drawing character heads from differen angles phoenix hurricane Dandan pho phoe Phoenix Phoenix ‘The same method can be used when drawing the heads of beasts. Sete es 1g ow More special training Do a set of design idea derivation exercises, which demonstrate the flow of ols ftom design to completion diagram [EE set the character's head skeleton (troll skull warthog and human skull combined tomoke). [02 Draw the trols head shape according to the skeleton. (03 Sethe ight source. Set the ight source atthe upper right, according tothe ight source use black and wht dco to layout ight and shadow tones forthe character gant Note that shouldbe dvd it wo yest draw. one th bottom ayer ae the ote the ght (ecehaom a, os cording othe structure the ight and shadow structure of he characteris refed onthe basis of height and shedow tones s thatit foxmstweelevl of one f back, white ad ray the changes of lh and shadow toes wale specifica expand in thea chapter [0S Select the coloring ayer, open the "Hue/Saturation’ property panel, check the "Coloring option, and adjust the hue and ‘saturation ofthe coloring layer (here, adjust the hue to a warmer color, but the saturation should not be too high), make the picture produce the contrast effect of cool and warm on the hue. according othe shape of bitrarly. Then open the light and shadow layer and check the effect ofthe picture. ‘After determining the color, add a bluish sky light layer on top of the coloring layer, and further enrich the color ofthe picture inthis layer, and the final refinement is completed. Do a set of head twist dynamic exercises. @ @) GW | 4c) ie s¥e" =) Aq Kah at ae HK a Inthe process of leaming to draw the human body, the twisting ofthe torso often affects the Beauty of the entire Chapter 2 Torso Special Training human body. Explain the proportional structure ofthe tors, the spatial cognition of the rb cage and pelvis, and the bones ‘and muscles ofthe torso. At the same time this chapter also analyzes the sate of various torso twisting, and deeply explains the changes of bones and muscles formed by the trunk under diferent twisting situation. 1 Torso proportional structure Fo learng the human body ry mportant to master the proportional structure ofthe torso, andthe human body dan thot understanding he sce of the toro on mace 2.1.1 The proportions of the torso ‘Ther etree main dfererces in thera ofthe tors between men and women The frst thatthe beage of menis wider han that of women. The second point sthat womerispelises are wider than men. These two points esutinan inverted angle shape for ‘men and an equilateral ange shape for women. The third eins that the ants of men ae sight larger than these of women, and the cstbution is sigh wider, which leads to the fact hat mens shoulder are wider than women shoulders. ‘The struetcl lation ofthe mate oa shown blow 2.2 Cognition and drawing skills of thoracic cavity s an important part ofthe human torso, the thoracic cavity plays a linking role, so its proportional structure and the accuracy of perspective are particularly important. Ths section will analyze the basic proportions ofthe thoracic cavity, but the proportions of the human body in actual painting are diferent for diferent genders and different painting 2.2.1 Basic proportions of the ribcage cording tothe bones ofthe horace ev. can be seen thatthe ont ofthe horace cay le nova eg, nthe seis ge out half an oval less than the front. As can be ‘seen from the igure below, ifthe height ofthe ribcage is about 10, then the width is about 8, the width of the cle connecting the neck above is about the slopes about 4" the length ofthe stemum s abou Sand the “under the ribcage” fs about §. The srt ie about in wcth. 2.2.2 Structure and perspective ofthe thoracic cavity bicycle handlebar, the two triangular scapulae on the back and the clavicle in front form a ring, wrapping the entire =) fs) Pe ern erent ereeere aor Pracie method: Sent raw the thoracic structure from diferent angles a strengthen spatial cognition. The Tene oe ee [02 Draw a simplified rip cage in a cube. The approximate egg-shaped outline and calculated proportions were used to determine the spatial position of the ribcage in the cube. “The above exercises can greatly enhance our contol over the sense of space and help us establish spatial coordinate system in our consciousne ity ifthe am joint connects othe ibeage andi about the siz ofthe detox muscle, ‘The joint ball is movable and can be moved forward, backward, upward or downward through we can clearly feel it when we reach out, shrug, or stretcl 10 the joint ballin motion. ve porn whch laa era fh sole wie of me and ween 2.2.4 Adding muscles to the ribcage ‘combine with toraie brackets of cliere DP o 5 z < 2 a o a) 2.2.5 Characteristics of female thoracic cavity ‘There is no need to draw too much muscle structure when drawing a female ribcage, but you can add a volume representing the breast as needed. Compare to male braces, the joint ball structure on female braces Is smaller and the neck SIDPODPOY GABEPOO? 8G ADPSOSES sagnnpr ial perception of the pelvis Tepes lave coplehuman boy stuctte ac the deence beween mala anal pais also reae lage There, (natn to understanding he ato of male an female pelvis ncestary to enpy the structure ofthe plist facet understanding 2.3.1 Proportion of the pelvis Cbseve epicure bw to ungastand he awnce ne prpertons of male a emalepeisThe spt ato of mle pais ast ‘hen vews tet wile tr lnc lation enews om th In cote wore pies we ier amar nln neal cotemae iota eed wih. ae 7S ad owitet nthe actus pining process, he ference between male nd female pets canbe expressed by asin the nth thane rt of reco. he plu low hows the cuba bloks epesenng te ps om fret ares ‘Structural simplification and spatial cognition of the pelvis, SUE Sere cid muscles to the peli gles, using knowledge of anatomy to perform hip twi ‘With the aid ofthe cuboid, and adding the muscle structure, you can get the desired human body structur Inthe above drawing process, the most important thing ist frst establih acubsi representing the peli, nd then use {he spatial perspective coordinates ofthe cuboid to draw the mutle ofthe coesponding part 2.3.3 Influence of pelvis on buttock drawing coro ‘ofthe female femurs slightly wider than that of the male. Rene ol ec er tt ro ec er ee Influence of scapula and muscle groups on body surface performance Think of the scapula, clavicle, and arm as a whole, and both move accordingly The scapula and clavicle are connected and enccle herbage, appearing clamp the ribcage when viewed fom above Letslook atthe attachment ofthe muscles above the scapua. The nfaspiatus rotates the arm ateraly and acts to stabilize he shuier ont and humeral head. The teres major and minor muscles sandwich the am sd wit each oter when the hares frat, wth ‘he eres major attached 1 the medial ee ofthe humus andthe tees ino tached tothe lateral ide | = 2.4.2 influence of sternacleidomastold muscle on body surface performance ‘The stemocleidomastoid muscle is located on both sides ofthe neck, most of which are covered by the platysma, The sternocleidomastoid muscle on one side contracts to flex the head to the same side and the face turns to the opposite side; the sternocleidomastoid muscle on both sides contracts at the same time 2.4.3 Influence of trapezius muscle on body surface performance a ee ee “The trapezius carries the movement of the head, neck and shoulders. As the scapulae on both sides ‘come closer together, the trapezius muscle contracts and bulges. When the scapula is extended forward, the trapezius becomes thinner and pulls the lower rib. $45 4" +42 f origin: lateral half of clavicle, acromion and spine of scapula. iewed from the side, the deltoid is shaped ike an inverted triangle, and the deltoid is also triangular when ‘The dynamic structure ofthe deltoid isa follows, 2.4.5 Influence of pectoralis major on body surface performance ‘ish, so that we can better understand the structure ofthe pectoral major and the relationship Between the ‘muscles, As the rmisrased the rotational contraction ad sretching othe pectoral majors shown below. ‘When drawing women's breasts, many people mistake the breast and the pectoral major as one part. Infact, two are separate, and the breasts grow above the pectoralis major. Muscle changes are shown below. 2.4.6 Influence of extemal oblique muscle on body surface performance Origin The lateral surface ofthe Sth to 12th be Inston pat ac est pune bate nines aba, adits pore paipaes fom He ata wale erectus sheath 2.4.7 Influence of rectus abdominis on body surface performance Bend he spine fo the same side 2.4.8 Influence of erector spinae on body surface performance a ee eee ee renee eieeererteeeeeel =e 2.4.9 The effect of latissimus dorsi on body surface performance ‘We can associate the atissimus dors with the trapezius muscle the trapezius muscle isthe sword and helatissimus ovis the shel. When drawing the atissimus dorsi note that wraps around the ibeage Ss * oriingents tothe anterior and of the humerus from the sith thoracic vertebra andthe acces “Think ofthe ltissimus dorsi asa triangle that wraps around the ribcage, with the tips on both sides of the triangle ‘The diferent styles of latissimus dorsi are shown below. hint ‘The teres majors surrounded theltsimus dos, 2.4.10 Influence of gluteus maximus on body surface performance ‘egies masmares teasquntite cn whence ownnrt anon avrg heen acute andrestng thee cette 2.4.11 Influence of serratus anterior on body surface performance Origin: Lateral surface of upper 8-9 ribs. Function: nthe near fization the scapula is extended forward in the fr xation the contraction ofthe lower muscle fibers connate sop csr pn ‘Simply the seatusantrortothe shape of a saloped shell and embrace the ribcage like ahand, which ismore convenient 2.5 Simplified torso mass and muscles Peg eb Fer pace scnen teen TEE 2.5.1 Simplify the torso block structure ink of the human body as some simple structures, and then breakit down. After disassembly, each part ‘can be clearly seen, and the parts are generally connected by a sphere structure. Connect the split blocs, ay attention othe iterspersed relationship between the locks. 2.5.2 Simplified trunk muscle structure Torsion and dynamic performance of the torso ESSE 2.6.1 Left and right bending “hen eavng he let anit cme ro. py atten the changes nthe etal obque ae tus borin. 2.6.3 Bend forward 2.6.4 Left and right twist, sac of We exten equ muse on both sds, an eg sch change eres abennis When twisting the rBeage and pelisin ferent rections not thatthe amount of twisting ofthe ribcage and pelvis is ited of Tkethefollwmng pcre as an exe. he wisi range ofthe cage and pes shoud ot xced "therm wl spear Map More special training Refer to some photos to analyze the torso blocks ofthe characters, experience the dynamic laws of the torso, ‘and then do a set of trunk performance exercises together with the head blocks. When practicing, you can try to ‘change the proportions ofthe rib cage, pelvis, and head, and describe the human torso of different ages. Also try 0 draw human torso in ferent poses and angles. Unt 444, 1x by s ee Ty to refine the structure on the volume, here is how to draw the torso of a ‘lolita’ gi Do another set of exercises. The twisting ofthe torso combined with the coordinated movements of the lm Chapter 3 Special Arm Traini The= is one ofthe feitesin drawing, Noves often canna gue out the regula fs movement changes, otis

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