Done is just drawn a head to begin with and this is more or less accurate to real human anatomy. And you can see if you look carefully that the top of the head to the bottom of the head and then to the sides creates the measurement of this initial rectangle. Okay? So what I've done is sort of reproduced that on either side. Now sometimes people want to know what is the actual measurement of this rectangle that I've done. So you know for your guidance it's a what is it almost two and a half inches tall and what do we have here on the width about an initial and a half exactly. If you want to try to draw at this exact same scale but mainly you want to get the proportions of it. Let's go ahead and move on to the next thing which is to talk a little bit about the actual anatomy of the neck. So I'm going to zoom in here so that you can see this a little more closely. Alright so here you see what I feel are the most important muscles to be aware of. These two here and here it's called unfortunately for me the sternoclydomastoidus which is quite a mouthful. Some people I think just call it the sternomastoid for short. In any case these are the muscles that you will see and have to be aware of as an artist. Now here we have these bones, the bone structure called the clavicle. And this also was something to be aware of in the final drawing and finally what we usually just call the atom's apple apparently is called the laringee le promenence. I have to push my glasses back up my nose as I say that one. In any case I found that it was helpful to sort of get some sense of the actual anatomy before moving onto the drawing. Okay so let's set this aside and let's get into the next step of the drawing. Okay so as I said I've drawn these rectangular guidelines and what I'm going to do now in time lapse is add a few more guidelines underneath that are going to help us place the lines of the neck and shoulders. So what I've done here is just drawn three perfect squares right so it's an inch and a half on all sides for all three of these and I should say this is just my technique that I've come up with. Real art teachers may feel that it's a crazy way of teaching how to do this but I found that it was helpful. First of all for figuring out the width of the shoulders how wide are they and then the most tricky thing for me is the angle the slope of the shoulders. Now I'm going to start with the neck and depending on how you know athletic the person is that you're drawing we all are aware that the neck can become quite wide you know like with a football player or someone like that what I'm doing is going for a little I don't know slightly athletic not not overly so and so by looking at that line there you can get sort of a sense of where to move in you could also sort of move down from the ears and just move in just a little as your guideline for where to start that but then watching this box you get a sense of just passing this line that's when you want to start hooking over and beginning to find this slope of the shoulders. Now it might even be helpful to think of this in terms of an actual angle. For me I'm finding that it's coming ever so slightly more in a horizontal direction than a vertical direction and that is really the best that I can do sort of pulling out a protractor or whatever and coming up with the actual angle there but I find that having the box here is going to help me figure out where the end of the shoulders comes and for me I'm finding that it's occurring just outside of that perfect square box. All right now I've kind I'm kind of just simplifying things curving it around here given this guy sort of a round shoulder shape. What we're going to have to do is start to establish the clavicle bone later on and I found in a lot of photographs that I studied that that clavicle was actually interrupting the contour of the shoulder. Now in time lapse to save time I'm going to reproduce this exact same line over here. All right now just to clarify because I think a lot of people will ask do you every time you draw this are you going to draw these boxes and no not every single time I think maybe this is just a way of getting it right the first time so that you can become aware of the relationships between these different things. Now as I said we have the clavicle coming across here and that's what I'm going to start drawing. Have a look at where there's the curve of the shoulder. Just as it's coming up to that slope in a lot again photographs I'm always trying to do a sort of a reality check and look at what this actually looks like in real life. I looked at photographs of you know a guy like out on the beach who's not wearing a shirt and was able to see this actual visible clavicle bone you know kind of showing through the skin at least creating something that was visible enough that you would want to reflect it in a drawing. A lot of times I think the trouble is you become aware of these muscles that are underneath the skin and you're tempted to draw every single one of them but then you look at a photograph and you find hey you know a lot of those muscles are not actually all that visible unless you have someone who has really highly defined muscles. In any case let me go ahead and time lapse through this other line here that more or less echoes the first one. All right so now that we've got the clavicle in place it's time to start getting some indication of the sternum asteroid these two muscles. Now sadly I this is an example of something where I found that in looking at photographs and the way that things show through the skin or don't show through the skin I found that this was an area where I had to be pretty careful about not overdoing it. Again just to remind you of what I'm talking about here these two muscles are coming in quite prominently underneath the surface of the skin but if we've got a light source say coming from the upper left you may get a fair amount of shading over here on this side of the one sternum asteroid that's coming up across the neck. I don't think you're going to get quite so much shading on this one just because of the way you know the surface of the skin is you might get again I looked at a photograph and I found that there was a fair amount of shading coming in right here at the bottom of it not so much anywhere across here. So you know different people may disagree and say hey you really ought to put a line like right across here to finish that off but I'm just going by what I saw in photographs of what happens in real life and limiting myself to that. So let's go ahead and think in terms of where is the Adam's apple going to be the laryngeal prominence and I found that it is quite a bit closer to the chin at least when someone's looking at you dead on like this then it is down towards the clavicle and you know some people I know I'm the guy I have a terribly prominent Adam's apple it shows up awkwardly in photos all over the place. Most people not so visible and I guess famously the key difference between the male neck and the female neck is the degree to which you can see an Adam's apple so I'm told. But let's go across here and start to indicate a shadow that's formed across the neck by the chin. Again this is based on a photograph I saw that that gave me a sense of at least where the sun was you know in that particular photo it was creating an area of shading or shadow that just fell right across here keeping this kind of a shape. And you can sort of take advantage of that to maybe you know reveal the sternum asteroid as it's you know I don't want to say coming up through the skin sounds like a horror movie but visible through the skin above the skin in the skin. You can see it man. Anyway you can see that the shading is helping to reveal the structure underneath but I would say actually you know 90% of the job for me is just getting these initial lines in the right place and I would say a lot of times over the years as I was just winging it. I wasn't getting these lines. I wasn't getting the slope of the shoulders. I wasn't getting the width of the shoulders right the width of the neck and so forth and so that's what I really wanted to focus on with this video. But let's go ahead and move on to final lines with my trusty black prism color and maybe I can come back and say a word or two to finish off the video. All right well that's pretty much it. I did want to add one last thing and that is that this area of vertical shading here it seems to me is related to the secondary part of the sternum mastoid you know this v-shaped thing very clear but behind it it seems to be a secondary part of that muscle and that can sometimes show up a little bit here and here. But I want to thank everyone who has supported me by getting any of my books. We've got Mickey Falls. We've got Brody's Ghost. We've mastering manga. You guys have been so great about ordering these books and I really do want to thank you from the bottom of my heart though I think I do also need to apologize. No blushes this time and that is the way it will remain. I don't have to draw blushes every time people. I don't know it just doesn't seem right with this drawing. What's the guy got a blush about? I don't know. You are welcome to add them in your own drawings if you please but I just don't feel like this is one of those blushes drawings but maybe it's time for me to lay down the pencil. Thank you one more time for watching this video. I hope you enjoyed it.