Continuing the tips for become hot, let´s go direct to the front muscles of  a male character.
 
At first, let´s remind everyone that real life is the best model for your drawings. Look at yourself in the mirror, and everyone else. In this case, buy any of bodybuilding magazine to have see some radical or even extaordinary human musculature.

On the left, the front's basic human musculature. In this lesson we will see the body divided by parties. Below the head, there is a group of neck muscles, below that the torso with pectoral muscles, abdominal (abs) and spine. In the arm, we have the muscles of the biceps, forearm and shoulder. And finally the muscles of the leg.




 

On the right, there is one of techniques to draw muscles, which I think well worthwhile: it completely separates the muscle groups, as if they were pieces of armor. Remember that there ain´t an anatomically accurate division or a visible line that separates the muscles They are a whole, where one ends the other begins, with skin overtop, so we can not draw the lines together (see fig. 1 left)

However, beyond the front muscles, when we draw a front body, other details very can´t be forgotten, (remembering that the outline should be smooth, not bypassing the entire muscle), which are the salient bones and back muscles, as shown in Fig. 3. You should draw the trapeze muscle, the side muscle (see below for details fig.10), gluteal, lower spine and scapula (bone above the chest).

 Here is a clearer picture of muscles.  Recalling: the muscles are a whole continuum, however, there are muscles that its mass is in front of the others (Fig. 4). Just take alook at the two orange-coloured muscles of the leg: its format is a little irregular . It´s because of the muscle reddish located up both. Note that this figure, I also included the bone of the spine (light green, below the chest, try to draw it with this form, or see fig. 2) and knee (dark green, below the thigh) to locate them whether is below , or on top of other muscles.





 

Well, now we´ll treat the muscles, group by group, of the front male human. Begining with:

 

Here are displayed in Figures 5, 6 and 7 profile of the muscles of the shoulders, arms and forearm. In the first picture, the arm is extended, so the biceps (front muscle) is distended and triceps (back muscle) is stretched: note how the sequence of motion grows the biceps and scarces the triceps. Remember the fig. 4 to see which muscles are ahead.  The Biceps in the arm in profile, hide their tips behind both the shoulder and the forearm as seen in fig. 4.

 TECHNIQUES:

1. The shoulder is divided basically into three blocks of muscles. Caso o personagem o tensione aparecerão sobras das fibras musculares de sua massa (ver lição sobre peitoral a seguir). If the character tenses the muscle, the surplus of its  muscle fibers will rise (see lesson on chest below).

2. All groups of the shoulder has the same starting point, with the exception of the triceps that is between two of them.

3. The triceps has the format of a paralelogramo as will be seen in the lesson on dorsal muscles. The ligament of the triceps with the elbow is raised and should be drawn.

4. The elbow has fundamental importance in proportion to the arm and forearm. Notice how I draw the three examples and always put it in the same spot (see fig. 21 for details).  The bones of the forearm are ahead and should be drawn.

5. Note that there are many muscles in the forearm (see fig.19 and 20).

6. Finally, the biceps has an oval format, but with muscles stacked on it (see details in fig. 1, fig. 9 and fig 19).

Here is the pectoral muscle in action, attached to the bone of the spine, and related to the muscles of the spine (in group of four, next to the same bone) and in the shoulder. Note, in FIG.  8 that the chest and shoulders keep close relationship in terms of muscle mass. The pectoral muscle and the shoulder are pratically the same an begins at the biceps. There is no line delimiting them. Draw the lines as it is designed in the chest (with some traces in that space). It is a ways of drawing the shadow of the muscles in action. It begins at the junction of the chest, shoulder and biceps. See muscle in action in fig. 9. It follows the movement of the arm.  In this second position, the shoulder is more hard, which leads the muscle to be a little more defined. The larger the muscle tension, more expressive to be the "lines of shadow." These lines should follow the direction of FIBER MUSCLE. Review anatomy books to learn more about the muscles and the muscle fibers, and see also the journals of bodybuilding, where you'll see some pictures of the chest fully stretched with several fibers appearing under the skin. In FIG. 10, note some details: first, the pectoral muscle tends to run out of muscle mass at the bottom. Second, the arm is turned inwards, to have a movement that is possible, showing the triceps, muscle back of the neck (see next lesson). Third, the lateral muscle and the muscles of the spine follows the arm. Finally, the shoulder is in front of the trapeze (see next lesson). TECHNICAL: The pectoral muscle has the shape of a rectangle with rounded tips, but it has certain volume at the bottom, this is raised and is drawn with a curve to the inside (Fig. 8). Second, in the centre of the scapula, between the two breasts, there is the a format of "V" that holds the muscles of the neck (fig. 14 below).


 

Here are two situations, to draw the abs. Here in both figures that their tension depends on the position in which the body is (looking up or down). Remember that, in principle, the abdominal muscles are used to bring the body to the front. If you bring the chest toward the legs, there will be more tension when the body is shrunk as in Fig. 12 and higher distension when the body is stretched or even lined back.

TECHNIQUES: See fig. 13 to see how the abs should be drawn in most cases and note  the use of two separate lines to the side of the muscle (the technique serves to draw the majority of muscles that have a larger mass, or certain VOLUME), that will give the feeling of volume and depth to the muscle.  A more curvilinear line in the midst also brings this notion.

Second, note the details that distinguish the bodies of fig. 11 and 12:

1. In FIG. 11,  the muscles are larger because they are held, but seem to have less mass because it is more widespread within the muscle group, and the opposite occurs in fig. 12.

2. Repare onde o peitoral encontra com o omoplata: na fig. Note where the chest meets the scapula: in fig. 11 its curve line is out, while in Fig. 12.  the curve is drawn inside, this means that you are seeing the shoulder of the person over the top.

3. Finally, note that in fig. 12, o peitoral, por estar menos esticado fica com a massa concentrada na sua parte inferior, e esta saliência fica cobrindo parte da espinha e outros músculos. 12, the pectoral muscle is less stretched, and its mass is concentrated at its bottom, and this project a cover to the spine and other muscles.

For another position of the abdominal see fig. 12 of the First Lesson.
 

 The neck should be drawn in a manner, some extent, simplified in terms of quantity of muscles (Fig. 14), with the support of two muscles of the head, right and left, which begin below the ear and go until the merge the of left and right chest, the "v" already mentioned, and with the trapeze muscle behind the neck (see next lesson, back muscles). See fig. 15, com um movimento lateral do pescoço, onde um músculo estica-se mais (linha mais forte) eo outro tensiona (linha mais fraca). 15, with a lateral movement of the neck, where a muscle stretch itself more (stronger line) and the other tenses line (weaker). TECHNICAL: Design always that mark in "V" between the breasts.  Draw small line indicating the existence of the jumped throat.

 Note below the trapeze and beside the muscles, there are small risks giving the idea of a skin stretched and tensioned: these are the "jumped veins" (as I call). In FIG. 16,  we have the most common examples of its drawing. Try to do them in other parts of the body, such as the inside of the forearm, the front of the shoulder and below the biceps. But there are designers who prefer to draw the entire vein, and not use these shadows that is my suggestion. They do, then the outline of the two sides of the vein. I don´tt think that is a well sketch.


 

Here are the front leg muscles. See fig. 4 of the First Lesson to remember which muscles are ahead to the others.  Try to understand what muscle is responsible for which motion of the leg.  TÉCNICAS: Para a perna não há muito mistério , what you see is what you get, ou seja, estes (fig. 17) são os músculos a serem desenhados na perna de uma pessoa forte. Note that the front of shin is, to draw, just one muscle that is outside the shin next to the bone leaving directly from the knee, and even this does not have much muscle mass, often not being drawn. TECHNIQUES: For the leg there is not much mystery, what you see is what you get.  In Fig. 17 are the muscles in the leg designed to be a strong person. Among the groin and the muscle note that there are several muscles, that shoul be drawn like muscle fibers, one ont top of the other..

 See fig. 21  at the end of the lesson to understand the design of the knee and elbow.




 

  The front of the forearm (Fig. 19) are basically two sets of  muscles that makes the wrist close and the  forearm twist.  See fig. 4 to know what muscle is ahead, although this figure shows which of them should be drawn tottaly. TECHNICAL: take the fig. 20 where we can see behind the forearm and despite that, two front muscles are still appearing, marked by the letters "x" and "y". Finally, look in front of the forearm that I design with two or three striped close to the pulse of the ligaments on the muscles.

 

Here in FIG. 21 is how should be drawn  the knee and elbow.  I started imagining this piece of metal (the first drawn) folded in half to get the idea. In the middel is the knee, and in the rigth the elbow.

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