Hey, everyone.
Sinix here.
It's time for another another
anatomy quick tips.
Today, we'll be focusing on
the beacon of honesty
that is the hips.
Yes, that will include some butts,
and some thighs, and all
sorts of salacious curves.
Don't get too mesmerized, though,
hips are actually the
most important cornerstone
for making good poses and gestures.
As always, if you're new
to anatomy quicktips,
these videos are designed to offer
a shorthand anatomy for design
and illustration purposes,
more so than fine art.
So, bare in mind,
there will be a focus
on simplification and stylization.
In that spirit, every single thing
you'll see in this video
was done without ever
looking at reference,
so, please, excuse any
wobbles inaccuracy.
Alright, let's get in there
and bake some cakes.
Starting off with structure--
the skeletal side of things
can seem fairly complex.
The pelvic bones have all sorts
of movements and shapes,
but, luckily, most of
that is fairly hidden.
So, we can skip to just
the important parts.
The overall feeling can be looked
at as something like a bowl
that holds a bunch of your
lower internal organs.
The large upper
sides of that bowl
are what I might commonly
refer to as the hip bone,
technically, the iliac crest.
While the connection of
the femur into the pelvis,
and, specifically, that part
sticking out to the side--
the greater trochanter,
is what I will commonly
just call the hip joint.
So, hip bone and hip joint,
AKA iliac crest and
greater trochanter.
That's all we really care
about for our purposes,
and, for even greater simplicity,
we're really just going to be using
the most forward angle
of the iliac crest
as our de facto hip bone.
Moving on to muscles,
we don't need to stress out
over too many names,
but we can fill in
that gap on the side
between our hip
bones and hip joints
with some tensor fasciae muscles.
Of course, the quad muscles
are quite important;
some connect straight to the femur,
but the most superficial
parts of the rectus femoris
come all the way up to
that front of the hip bone.
And, don't stress out over
these complex names,
you don't need to know them,
they're just for reference purposes.
Now, on the inner thigh area,
we have some other
muscles and adductors
that form a different
flow of movement
toward the center of the pelvis.
These can be more
visible or less visible
depending on angles and movements.
Altogether, these give
us enough substance
to draw what we need to draw.
On the back side of things,
of course, we mostly have
to worry about the butt.
You might be aware of
the gluteus maximus
as the main muscle
that makes up the butt,
but let's not forget about the
gluteus medius at the top,
which does swoop in and
add a lot of subtle shape
toward the top of the butt.
Back to the gluteus maximus,
you can notice how
it swings outward
towards the lateral
muscles on the legs
and, stretching downward
from under that muscle,
you get the hamstrings and
some other minor muscle groups.
We can also take note of how
the gluteus maximus
and medius muscles
can be flexed in order
to form a dimple shape
on the side of the butt.
Overall, that might feel like a lot
of anatomical stuff
to keep track of,
but, luckily, I'm
going to break down
some very simple reductions
that will make it all a lot easier.
The starting point for everything
will be the classic
Superman underwear.
These undies will represent
our hip structure
in most situations.
Practice drawing them comfortably
from various subtle angles.
The hip joints are
actually just going
to be visualized
as two floating dots,
level with the
bottom of our undies,
but even further off to each side.
Now, translating this into
a side view can be tricky.
If we just do a pure
side view of the undies,
it gives us some useful information,
but still feels a bit lacking.
How can we make this more useful
and have it include the butt?
Well, we're going to introduce
another shape for this side view.
Looks a bit like a stubby cannon,
but we're going to call
it the "tilted pot."
The flat front side of that pot
will represent the hip bone,
and, of course, the
rounded side is the butt.
Using both the undies and
the tilted pot together
will give us everything
we need to build
all sorts of good poses.
Anyway, let's focus on just
the front view a bit more.
You should try to develop
a comfortable sense
of subtle variety
with the pentagonal undies shape.
You can have a set baseline that you like,
and then try to make a slightly
more narrow one or wider one.
Notice how the wider version tends
to slope more outward from the top.
That sloping can continue outward
to get wider set hip
joint indicators as well.
Those floating dots.
If I add some more
underwear shapes below this,
we can also talk about
the variety in waistlines.
This doesn't require you to do
anything different with the hips,
but it's worth practicing different
sizes of waistlines as well.
Starting from a simple one
that is basically the
same width as the hips,
you can exaggerate how
the obliques are shaped
in relationship to the hips
by adding some quick
inward curving lines
that make the whole abdominal area
feel like it's resting
on the hip structure.
Alternately, if we want to
have a very slim waistline,
we can lead from the
hips upward and inward
with a sloping line that connects
towards a narrower ribcage.
For a larger gut, we can
just allow the obliques
to rest with a lot
more mass and weight
on top of those hips.
A classic muffin-top formation.
The big thing you
might start realizing
is that our underwear shape
is not going to be
visible in the end.
What does that mean?
It means we are actually
doing something
I almost never do
in these videos--
construction.
Yes, you might know I
generally hate construction.
Why?
Because it usually leads to less
creative and stylized drawings.
But, in this case, I've always
found that starting poses
with a quick indication
of ribs and hips
actually leads to more
stylized and fun shapes
that you might not try otherwise.
This will be very important
when we get to poses
in a future video.
Alright, so we can hopefully add
abdominal areas to our hips,
but what about on the other
side with the thighs?
Let's do a few more quick mockups.
We'll try to make one of
them a bit thicker,
one a bit more muscular,
and one a bit more neutral.
We can even add some contour lines
to really help express
the forms of the thighs.
On our thicker version,
we're going to store a lot more
fat deposits around the hips,
which means less muscle definition
and a stronger rounding
of all the shapes.
The muscles that
drive the inner thigh
up towards the center of the pelvis
are going to feel less noticeable,
and even the quad muscles
will take a backseat
to the buildup of fat around
the hip joints and upper thighs.
Notice how small that
little "S" curve movement gets.
The muscular version is going
to play off the quads a lot.
The muscle body of the quads
is much lower on the thigh.
And, without many fat deposits,
this is going to make everything
around the hip joints
feel much more narrow and angular.
This will lead you toward
a much more stronger
and noticeable "S" curve that
goes further down the leg.
Finally, on our
neutral test subject,
we can just keep the
mass low everywhere.
Not much muscle and not much fat.
This just leads to less
movement on both sides
and a very subtle and
simplified curve in the thighs.
Let's through in some more
practice from the side view.
We can start will
all of our tilted pots--
some bigger and
some a little narrower.
Adding in the side view of
our undies shape next,
the key is to make
sure it sticks out
further forward
than our tilted pot.
Obviously, with a bigger tilted pot,
aka a bigger butt,
you can just let that carry a bit
more weight behind the hips.
Of course, we're supposed to
be mentioning the thighs,
so make sure the thighs feel like
they're flowing naturally
off the front corner
of the tilted pot and the
lower back of it as well.
Getting good at making quick
little "S" curve movements
will be essential to making all
of your anatomy
drawings look better,
so practice leading
into them quickly
and getting a smooth curve out.
I feel like I'm making
everyone far too caked up,
so let's chill out a bit,
and make a couple
smaller butts for variety.
Generally, a smaller
butt can have more
of an obvious dimple
formed by the muscles.
You can also go full pancake mode,
and make everything
much more angular,
maybe an extra crease
or two under the butt
for maximum sag.
You're really trying to be
more down-to-earth.
Before I ever did
anatomy quick tips,
I did have a video on
drawing butts specifically,
so I'll sum that up best I can.
We'll go for a baseline
butt on the left,
an exaggeratedly small hank
hill butt in the middle,
and full on Pixar
mom on the right.
Most of this is just
giving a different view
on what I mentioned moments ago:
small butts having more
angles, dimples, and creases,
while a larger butt is just
more simplified and round.
Do, however, pay
attention to the fact
that the butt mass is
not the widest part,
and they should
always feel like they
are resolving themselves
long before the hip
joints on the outer sides.
You probably won't see the clear
outer edge of the butt, though,
because the crease under the butt
tends to taper off relatively fast
as the gluteus maximus
connects downward
and outward toward
the side of the leg.
But, I think it can be helpful
to draw in the muscle body
as the shape that is inside
of that wider hip structure.
Anyway, the crease under the butt
does move and change
a lot with weight;
it will certainly never
extend all the way
out towards the sides,
but it will become a
lot notable and longer
as weight is shifted onto
that side of the body.
It will even feel like a
much flatter line
that will just follow the
contour of the leg
as it carries more weight.
I'll just throw in a silly little chart
of butt cheek creases over
here on the left side.
I think that's enough of our
reductions and simplifications,
so let's mention some of
the main types of movement
you may have to demonstrate
with the hip area.
The main one, and by far the most
important one for
your entire art journey,
is going to be pelvic tilt.
Understanding pelvic
tilt is essential
for making stylized poses
and dynamic characters.
Going back to our tilted pot shape,
the more tilted that pot is,
the more pelvic tilt you will have.
And, generally, this is how
you hyper stylize
the more masculine
or more feminine traits
of any character.
Since I didn't visually
demonstrate it as clearly earlier,
first, let's make sure that the
front of our legs and thighs
connects to to the front
corner of our tilted pot.
Once again, a very controlled
"S" curve is great for this.
Next, we can do an "S" curve
for the back of the leg,
either shallower or curvier
depending on our goals.
And, after adding a
clear line for the butt,
we can also follow our
imaginary underwear shape
to round out both the waist
and the lower abdomen.
For the record, we're
keeping everything all ages,
so there won't be any genitalia,
but it is still important to have
some level of a pubic mound
in both male and female anatomy.
How visible that may be is going
to be affected by pelvic tilt,
so keep that in mind.
Of course, the spinal
curvature in the lower back
is also greatly affected
by the pelvic tilt
as the spine still needs to flow
into the pelvic tailbone.
So, pelvic tilt plays a big part
in this side view of the body.
But, sometimes, people
forget how important
it is for the front view as well.
I'm going to try and make
the same exact hips twice:
one with no pelvic tilt in the pose
and one with extreme pelvic tilt.
As things tilt forward,
the pentagonal
undies is going to be
much more squished vertically,
which will result in it
feeling much more
widened horizontally by comparison.
Pelvic tilt is, therefore, going
to give the whole pose
a much more feminine feel
by making the hips look curvier.
The "S" curve on the inner thighs
also gets tucked up
behind the pelvis,
making any gap between the thighs
feel widest at the top
instead of lower down.
From the back view,
it's the exact same effect--
everything will look
wider and curvier,
resulting in an
exaggerated feminine look.
With this all in mind,
you should feel much more
capable of exaggerating
the gender expression
of any character pose.
To move on from this,
we can also explore
some other types
of movements that involve the legs.
While legs might might move a lot,
the hip structures won't
be doing too much.
And that's great
because it gives us
a good structure to work off of.
So, even if I lift up a leg,
the tilted pot will
basically stay the same.
And, I can use the front angle of it
to, once again, build a
sharp "S" curve off of.
Same thing for the back side of
the leg connecting to the butt,
but, now, I can have
the mass of the leg
drag that curve downward
from the butt with gravity,
giving the whole thigh
a greater feeling of mass.
If we saw this from the other side,
it would be fairly similar,
although, I'm a big fan
of using a single line
on the inner thigh to
imply some insertion point
for the adductor muscles.
Speaking of those adductor muscles,
we can get a much
clearer look at them
if we put the legs in
a much wider stance.
The curves on both
sides of the thighs
are still based on the same
connections as the side views,
but a quick tapering
line for the adductors
makes it very readable.
Any pose we can think of now
will just be a combination
of all the information
already given in this video.
We can draw from the back
three-fourths with a leg being raised,
and all the connections
should hold up.
In this case, we also
need to make sure
to implement what we learned
about showing how
weight distribution
affects the crease under the butt.
Even in a more extreme pose
where the leg is
being lifted behind,
this just requires angling
our tilted pot so far
that it would be spilling its
contents on the ground,
but all of the other
connections and concepts
are, once again, the same.
I think we're almost ready;
all information has been
distilled and delivered.
Let's just make sure we avoid some
of the most common mistakes.
We definitely don't
want to draw cheeks
that have lines going
upward on the sides,
as they will appear
saggy and awkward
with our knowledge of
how the gluteus maximus
resolves itself toward
the outside side of the leg.
We also want to make sure we don't
forget any important structures,
such as the abdomen
actually having mass
or the hip bones being the highest
connection point for the legs.
Speaking of highest connections,
let's make sure our butts don't slide
they way up to our lower back.
But, really, a lot of these mistakes
usually just come from having
some childish iconography
of round butts stored
in our brains,
so try to let 3D form become
your new iconography.
Alright, now you're set and can
have as much fun as you want
drawing hips from all sorts of
angles and all sorts of poses.
I've already drawn so many hips
from imagination in this video,
but it hasn't become any less fun,
so let's do one more page of
various poses and angles.
This part is more for
fun than education,
so I'm just focused on my
tempo and line energy.
Some of these are
definitely exploring
the more stylized side of things,
and you probably
won't see references
quite like these in real life,
but, with enough of our
sprinkles of knowledge,
we can have fun with anatomy
that feels somewhat believable,
but is pretty wild in the
actual proportions.
i know I tend to stylize
the legs very widely set,
so these thigh gaps
are a bit ridiculous,
but it does make it more
fun to balance the poses
and see more crazy
silhouette shapes.
Alright, I did fiddle around with
the actual layout and actual
positioning of this page,
but I think we're ready to paint.
Our normal starting
point still applies,
so I will be lightening
the line art
into a more orange-ish tone
and setting it to multiply.
The background continues to have
that iconic chalkboard color,
which will help us pick more
balanced colors for this skin tones.
Filling in the solid tones
cleanly on a new layer
is a boring step, but saves
tons of time in the long run
by letting you lock transparency
and never have to worry
about edges until the very end.
By far, the biggest
decision I had to make
was how to handle
rendering the pelvic area.
Just having skin tones
alone can make this
feel very lewd very fast.
Just adding black
modesty underwear
can feel very lewd
if it's too skimpy.
So, figuring out the right
balance in this was a bit tricky.
I think what I got should work, though.
Hopefully, it strikes the
right educational balance
and keeps the Demon of
"Itize" from attacking.
The next step is a subtle amount
of airbrush gradiation
on each skin tone,
lightening areas that seldom
get exposed to the sun
and potentially adding
more reddish tones
to various other parts.
At this point, things
will be deviating
from previous paintings a bit.
I decided to go
with a hyper-smooth
and more cleaner
rendering style this time.
All of the earliest anatomy
quick tips were very painterly,
so this offers a bit
of contrast to that.
The easiest way to go about this
is to rely on our
lock transparency
and establish a simple
cylindrical shading
on both the torso and each leg.
Heavy airbrushing
around all of the edges
with a slightly deeper and,
once again, reddish tone
will make the forms feel
like they're turning away
from the light source.
Next, you can hit the
tops of these forms
with a bit more highlight.
Usually, I establish this with
just a minimal amount of strokes
with a big hard-edged round brush,
and then a bit more
airbrushing when needed.
Next comes the hard edges,
so if they are any cast shadows,
you can just add those in,
potentially darkening up
the edge of the shadow
to imply some bounced light
hitting inside of the shadow.
All of these additional anatomical
details and plane changes
can be hinted at by
using hard edges
where any of those
planes run into one another,
and then just softly gradiate
away from that edge.
It's always nicer if your light
source leans a little bit more
a little bit more toward one side
of the drawing or the other.
Lastly, the underwear does
need a bit of form as well,
but we'll imply that it's slightly less
reflected material than skin
and just shrink the
contrast range of values
down to be more subtle.
This painting technique
is definitely more suited
toward pinup aesthetics
and stylized anime,
as it gives everything a
very silky, smooth appearance.
In other styles, I would disregard
the line art much sooner,
but with this technique,
you can mostly leave it in
and still get a presentable look.
One important thing to remember
is that you will need to be
adding the edges and details
into areas of heavy gradiation,
which means that you'll need
to selectively pick your colors
for anatomical colors based
on the specific location
you're at in the overall gradiation.
You don't want to use the
same color for form light
in a brighter area as
you do in a darker area.
Luckily, the large sweeping
form gradiations
that you do at the start
will give you enough of a palette
to constantly pick from,
so avoid picking
values that fall outside
of that initially
established gradiation.
Everything is pretty
straightforward from here.
Try to notice how often
I seek to do form details
and as few strokes as possible.
Sometimes, just a single
softening stroke of the stylus
is all you need to
define an entire form.
Of course, the darkest skin tone
is probably the most to paint,
as you get to bring in
more focus on the color
of the primary light
and the bounced light.
It's really too bad that most
of the world's indoor spaces
are dominated by just
Eurocentric lighting.
I think we would all
be better painters
if indoor lighting was
a bit less standardized.
Anyway, as things wind down,
I did decide to paint out
the line work a bit
so I can be a bit more
painterly with the strokes.
I do enjoy playing around
with that overall ratio
of smooth rendering versus
painterly rendering.
If you can do both comfortably,
it opens up a lot of freedom
for deciding the
mixture you want to use
in any specific painting.
It's just going to be a bit of minor
touch ups from here on out,
so I'm just going to skip
ahead to the finished result.
It's pretty good, but I can't resist
having just a bit of fun
with rim lighting as well,
so I'll pop that on,
and, voila, I'd say we're done.
Another anatomy quick
tips in the archives.
Now, you can always
get more in depth
with your anatomical details,
but as far as hips go,
this should all be enough
to get you into
the thrust of things.
So, hopefully,
you enjoyed this video
and learned something fun.
I do want to thank you all
for watching this video.
The positivity of this community
has always been great.
And, finally, one last big thank
you to the Patreon supporters
that allow me to do these videos
without having to waste any
time on boring sponsors or ads.
You guys are wonderful.
Alright, see you, everyone.