So, now we're gonna talk about landmarks.
And, what landmarks give us is, if we were
looking for a buried treasure chest,
landmarks would be the map that enable us
to guide us to see,
and find where that chest would be
So, the more you understand where your
landmarks are in perspective,
the more you're going to be able to get
through a drawing with ease.
So, let's look at some landmarks from the
and then we'll look at some landmarks from
And, this will really, really help us,
help navigate us through a drawing.
So, as you can see the skeleton up there,
you see the,
the shape of the rib cage.
And, what you see there is, you see the
pit of the neck,
and I will go over that, the pit of the
neck right here.
Then you see right here, a straight line
down, dig dig dig dig dig dig, dig.
And, you see the sides
of those ribs right here, and right here.
So, these three points are all landmarks,
this point, this point, and this point.
And actually, if we make.
A circle around it, we have a peace sign.
So, you could kinda remember this from
just thinking about a peace sign.
And, that would be something that you
use as a symbolic interpretation of a rib
cage, right here.
This is the, this is the ribcage, and
these are all really important points.
Now, let's look at some other points.
Let's go to the model and check it out.
So here, once again, we have the pit of
the neck, which is really important.
Here we have the pit of the neck, we have
the clavicles right here.
That's where it's attaching to the
And, then following it down here from the
then you have these points of the ribs,
Then you have the belly button.
Now the belly button is really important,
cuz that's really gonna tell you not only
where the center of the front figure is,
but what direction the figure is moving.
So, check this out.
So here you could see that the belly
button is actually pulling up,
belly button is pulling up.
And, that's the center, and then here on
the edge you have the ribs.
Now, right here, you will have a tilt.
You, you have her tilting kinda like that,
and that's the front of the iliac crest.
You could see those bones.
So, we're really looking for practical
Things we can see, and things we can
Then we can use those as we draw the
So, we see that the ileum the iliac crest.
We see the belly button, we see the
ribcage, we see the clavicle.
And, most importantly, the pit of the
Pit in the neck is really, really, really,
really important, crazy important.
So the pit in the neck is going to really
guide us as the center of the line.
The pit of the neck is going to go all the
way down to the belly button.
So, let's take that same pose, and kind of
explore, explore our landmarks.
So, first of all, she is at an angle.
So, we're going to do the longest line,
like we always do.
Which, I feel's from the top of
that head all the way down to her heel.
It's like all the way down on that heel,
right around there.
And, we're going to see the pelvis,
which is moving this direction, like that.
Of course, shoulders are moving this
we're gonna have that, the pin side here.
And, this, the opening here of the stretch
side, like that.
Now, we're gonna extend that a little
You know, if you're going to error with
the legs, don't make them too short,
make them longer.
It's more beautiful.
It's more elegant.
It's more romantic.
So, the important thing is to really,
if you're going to emphasize anything, or
caricature anything, or stylize, error
on the side of being a little bit more
romantic, a little bit more classical.
So, here we have the pinch side.
Here we have the stretch side.
And watch, we follow the in,
the interior of the pit of that neck which
is right here, right?
We follow that down and bam, that's where
the belly button is.
And, see the belly button is kind of
pulling, it's pulling up.
It's like a little arrow pointing up.
The little arrow pointing up takes us down
to the pubis,
right here, and we see her bikini here.
Out, then it goes dropped back, okay,
and this wraps up and around.
And, you can see as her bikini is wrapping
around, we see right here,
is the top of her iliac crest.
So, here's the belly button.
Here's the top of her iliac crest.
Here's the other side.
So you could see how, how much this is
The leg's coming out that way.
Then we're finding the pit of the neck,
and then the sternum's right around here.
So, this is one continuous line going down
all the way to the pubis like that.
In fact, all the way to the neck because
the neck is curving.
The neck's a beautiful C curve.
So, those are some really good
And also the clavicle, I mean look at that
It's really moving that direction.
It's moving that direction.
The arm is going down.
are just some
And of course, the nose, finding the nose,
just dropping it down to see where the
The nose is right around here, and it goes
all the way down.
at the back of the figure we're looking
for a couple of things.
We're looking for the scapulas.
So the scapulas are free floating right
We have that landmark.
We have the seventh vertebrae, which is
right around here,
which is protruding right here.
We have right here the back of the iliac
of course, the sacrum, where it goes in.
And then obviously in the back of the
We have right here and a bunch of other
So we have to use as many landmarks as we
In order to get through a drawing.
So let's do kind of some kind of a pose
It's a little bit more dynamic.
Okay, so, here, just quickly,
we could see the back of the scapula here.
First of all, look for the direction of
Look for the direction of those hips, this
way, this way.
And then, think about also the most
important landmark for
the back is the spine.
Look at the spine.
So the spine we can see is curving like
It's curving down this direction, all the
So we have the spine as one indication of
Because if we use that, we can see the
direction of the figure.
The spine is clearly moving this way.
And then the figure is going this
this leg is coming out and down that way.
Her head is a little bit off to this side.
Little bit of the neck, and the arms are
over, back that way, over.
Getting the armature, like that.
So, I look for the spine first from the
Then I look for the scapula.
And then,of course,
we're looking for the pinch side here.
The strap is wrapping around, and
around, and up, and over, and back.
And the spine is going this way.
And then, here is the sacrum right here,
where I drew that arrow, ironically.
So right here is another indication.
So we've got scapula.
We've got spine.
We've got sacrum.
We've got a couple of really good
And sometimes, you know, when you're
drawing a clothed figure, like she is.
You really wanna, kind of experience and
use the clothes to guide you.
So, I'm letting this guide me, cuz I know
that this is a form that's coming up,
over, and down.
This is coming up, over, and down, all the
way around there.
It's not lining up straight.
It's on a diagonal.
Which shows me how the pelvis is, the
pelvis is on a diagonal.
This buttocks is lower here, and this
attatches right here.
This is higher here, so this is higher,
this shows you how the weight is this.
And this hand is sitting here.
This comes out.
See where the skeleton is, where the great
How that bone comes all the way out and
That's what's happening right here.
Drops down, rolling this direction,
rolling this direction.
This part's lower.
This curves in, curves out.
It's so beautiful, you don't wanna miss
if you do you feel like you failed.
But I don't, because I'm having fun.
Just curving in.
So, let's continue moving.
And let's actually start to.
Let's incorporate doing some quick dynamic
Using longest line, using pin side stretch
side, and using landmarks.
And let's try to be a little more dynamic
and quick about it