How To Draw The Torso Back View

As promised, I’m back with the second installment of the torso tutorial: that of the rear view. The back view is usually an undiscovered area for comic creators because it isn’t utilized in storytelling nearly as often as the front.

Understanding the anatomy will help ensure that you’re taking the right approach to make your character. Don’t be afraid to stay clear of specific poses that reveal the anatomy behind and, instead, this knowledge can open you to create new designs with figures and poses.

The anatomy of the back is marginally more complex than that of the front part. The major muscles of the back can be identified much more easily and it’s an easier task to learn their locations and their relationships. The flexibility of motion that can be performed, including contortions and wedging forms, is more straightforward.

The most difficult part of this course is learning the way that the scapula or shoulder blade interacts with the muscles. When you finish this course, I can assure you that you’ll be more comfortable drawing figures in the rear view.


As with an anterior view, the skull is the torso’s basic anatomy. The view from the back will be focused on the backside of the bones. Three major structures to keep in mind.

The first is the back portion of ribcage and the shoulders blade. These I lump together and refer to as”the upper back. Then, there’s the pelvis which comprises the tailbone. It has the form of an arrow in its most basic shape. The third part, that is the spine will grow from the arrow-like shape, and then “s” turn upwards to join to the ribcage. The spine’s shape and orientation determine what the lower back, as well as the pelvis, are set up. The line of motion of the spine is similar to the curvature of a question mark.

Drawing complex shapes always begins with sketching them out as simple shapes. For the torso, I believe that tilted cubes are the best method of assessing the proportions and the perspective of these massive masses. Let’s have a look.

Vertically the mid-point in the entire structure is located in the lower part of the ribcage. From there, cut the length again to locate the pelvis’ top.

This is that the length of your pelvis will be one-quarter of the length and the ribcage runs one-half its length entire. The two cubes joined by a line that represents the spine are the foundational building blocks for our view of the back. They can also be twisted away from one another to a certain degree and this is known as”range of motion. This will be explained in greater detail in the next tutorial.

Before we proceed we should note a few things. This line of spine divides cubes into two on backplanes. The cubes are adjusted to show the fundamental stature of the body. 

Here’s an exercise you can perform to get comfortable imagining these torso forms in 3D space. Be sure that the boxes show the backside, so you can learn how the spine connects to the pelvis.

It’s an eye-opening exercise initially, but eventually, you’ll be able to lay these volumes onto the page swiftly and effortlessly to block your body. Always check your proportions after drawing multiple. I suggest that you not take measurements of these proportions while drawing them.

Try using your eye to determine the distance, and then check again following that. Making these measurements by eye can help you improve your speed later on. Remember that speed is the comic creator’s best friend when working to meet deadlines.

Amazing work! The basic forms are likely to remain fresh in your thoughts right now. Let’s review the back muscles.

Back Muscles

The way that the anatomy of the musculature functions is that every muscle has a starting and an end. The forms are tangled with each other, creating an intricate network of muscle mass. Particularly in the back, there is an accumulation of muscles. This is where the shoulder blade and even the deltoid muscle come into the picture. Let me go over these basic layers of muscles and how they are related to their roles and their volumes.

The first step is to look at the major categories of muscles. The group that has the most weight is the latest, as well as the Latissimus Dorsi (in blue). It has a cape-like wrap-around shape that extends into the back area in lower. It is followed by its Trapezius (in Pink). The traps can be seen from the front however, as with an iceberg most significant masses are actually hidden in the back view.

The small section could be further broken down however I believe this size is adequate for most sketches of this figure. The Obliques (in Purple) will also wrap around both sides until they connect at the latest.

It is a great time to address the layers as well as the shoulder blade. The muscles that are located over the spine will be what I call the lower layer. There are many groups beneath the traps and lists but the one I’m going to discuss is called the Erector Spinae (in yellow). These muscles are crucial due to the fact that along the spine, these tubes are what define the back’s shape although they’re not the most prominent muscle group.

The second step is that of the shoulder blade. It is located beneath the Teres and holds muscles. I will go into more detail about how they interact with muscles in a future section, but for now, just take note of these connections.

The third layer is the highest one, and we’ve been discussing it without naming it. It includes the lats, traps, and teres groups. The only other layer that is above this is a pseudo layer which I will show the relationship between both the back of the upper and deltoid shoulder. This is where the deltoid attaches straight to the rear, and more specifically, it is on the top of the Teres group, bringing it directly into the traps.

That’s the trick for a brief outline of muscle groups and the way the layers function.

Utilizing Symbols

Anatomy is a difficult task to record in your memory. You could be drawing for hours but not be able to retain all the details.

This is where symbols can be useful. As children trying to translate our world paper with only symbols. However, this method is an excellent method to remember things. It’s even more effective when you tell yourself a story that incorporates the use of these symbols.

The arrowhead is interesting because it doesn’t just translate into the exact shape, but also takes into the connections to the deltoid.

Try to imagine the symbols within an existing story. For instance, “Robin Hood was so skilled that he was able to split an arrow right in the middle using the help of an arrow”.

Great. I’m hoping this technique can help keep the basic shapes in memory.

Then, we’ll examine the specifics for each group of muscles, and follow step-by-step in creating wedges of muscles.

Anatomy Breakdowns

As with all breakdowns, I’ll help you reduce the complexity of the documents, discuss the reasons why they are essential, and then what you can do to help groups feel comfortable.

Erector Spinae

Okay. Let’s begin the breakdown at the bottom according to how I prefer to arrange it. The two muscles that resemble tubes safeguard the spine and provide the best foundational support to the standing erect Apes. It is possible to observe these forms best on the upper and lower sides of the lower back. They should be considered cylindrical shapes.


As I said before that the bulk of the trap’s weight is secure in the back view. This design, too, is reminiscent of an arrowhead that points downwards. The fibers arise from the spine and then curve across the top of Erector Spinae tube-like volumes. These two-mirrored masses are able to run from the spine and join to the collarbone at the front and to the top rear part of the deltoid.


The obliques are one of the sides of the body. They wrap from the abs towards the back and then join with the latest before resting on the glutes on top. Take note that the tendons for muscle are also derived from pelvic bones. From the back they’re not the most widespread, however, they are a part of the silhouette. Based on how the sides are bunched together or stretched out, the silhouette will drastically alter. We’ll discuss the details in a subsequent tutorial.

Latissimus Dorsi

It extends between the spine and pelvis until it reaches an upper arm bone. It is connected to the arm’s underside like a bat’s wings. The bulk of muscle fibers wraps around the body’s cylindrical mass that is visible from the front. The most heroic males will have an impressive collection of lats.

Teres Muscle Group

These tiny bulges of muscle which are located on the shoulders sit right beneath the deltoid. Actually, I believe it is essential to consider the Teres group as a component of the deltoid and vice reverse. Therefore, when drawing the deltoid, make sure you draw it through to show the connection. This is an important method to allow you to think about your human body as a 3D space.

Okay, groovy. Let’s talk about the difference in the anatomy of the back between males and females.

Male vs. Female

The majority of artists agree that the male model is more convincing to draw. The reason behind this is that the female form is more compact and has a natural flow that is simple to fumble. The forms that females have will be obvious if they’re drawn in a incorrect position. That’s why it’s all more reason to dive into the details and begin to recognize the major gender differences in anatomy right away.

The first thing to note is that the female ribcage tends to be smaller and smaller than the male counterpart. In addition, those females’ hips appear broader than males. This results in a different shape, particularly in the back image, the male figure appears to be heavier on top and females are more bottom-heavy.

From the view from the back, the most striking change will be females have more curvaceous figures. It is due to having smaller muscle mass and larger fat deposits on the buttocks, hips, and breasts. Contrarily, males are less fat and have larger muscles, which makes the muscle groups make an impression. In some of the most heroic models, men can be exaggerated due to this type of body.

We’ve covered an of things that could hinder drawing simply because you think about it excessively. To overcome that, let’s take a step at a time and draw in a back comic style.

Step by Step

1. Let’s start with an easy line of motion. The line should be a follower of an “s” contour of the spine.

2. Next, draw the tilted boxes we sketched in the previous drawing exercise. They don’t need to be exact, but you should attempt to draw the proportions as close as possible while keeping the same movement line. Make sure to include an arrow to indicate where the spine connects to the pelvis. An important note: The bottom and top sides of that arch create an angle that forms the back “crack” (There’s nothing better than to express it than that).

3. To finish the underdrawing, we’ll draw the muscle groups with stretched ovals. Start with the principal symbols that we used to represent the back, the arrowhead that is snagged into the wishbone. Because we’re in a tilted view that means this side is going to be larger.

Then you should sprout the deltoids off of the Teres portion of the wishbone. Add other pieces of the shape: two tubes that are parallel to the lower back, and the oblique contour. Notice the way I use the line-of-action arrow to locate the slope of the Obliques that wrap around.

4. Now, erase gently to reveal only the outline. If you are working with digital, simply lower the layer’s transparency before moving on to a different layer.

5. Great! Now comes this is the part that’s exciting. Utilize your underdrawing (and the reference) to draw cleanly the lines of the body’s entire contours. Next, draw only the most prominent parts of the anatomy of the muscles. If the light comes directly from the top, those areas are the lower side of the latter, the principal line of the spine, and the connections between the arm and those of the Teres muscles. Then, lightly draw the areas of weddings that occur where the muscles meet. Do not mark too many lines in this area. It’s easy to see what’s been the lines you’ve drawn.

6 Last, we will also add more shadows and line weights for the rear of the body with more volume and 3D. Make sure to add a harsher, more textured light source to contours that are a little off from light sources.

Amazing work! The back isn’t an easy job to do right, and I’m sure that you’ve made great steps here. Stupid Simple Method For Drawing Eyes

The Art Journey

Back anatomy can be an excellent way to learn about how to understand the body. It’s not an area that people are drawn to therefore learning it can help you build your 3D library of visual information you’re building for the body.

As I stated in the introduction, each muscle has both a beginning and an end. If you’re not missing one of these bookends, then you’re not likely to have the “complete” knowledge you’re talking about. That will lead me to a good guideline for anyone embarking on an anatomy-based mastery journey To know the place where each muscle starts and where it ends.

This might sound like a “no duh” type of phrase, but think about it, you’ll realize that it’s not so simple. If you’re aware of these connections, then the interconnected ones are much simpler to identify.

It requires determination, passion, and determination to show up every day and improve your weak points. When it comes to physical fitness, the obstacles are clear and obvious.

This is to say, nobody is expecting to be a superstar athlete within the first years of training. Your body is bound by limitations that no amount of wishing can overcome.

However, for some reason, with art and creativity, you can make the obstacles that stand in your path seem to be manageable or even manageable. When you are at your desk for hours slogging through the same sketch, trying to perfect it Do you realize that art isn’t easy; the same as becoming a star athletic athlete or creating a best-selling product for the business.

The main difference between them lies in framing. In terms of not being apprehensive about becoming an overnight star Being realistic can help in staying positive during the times when your efforts do not seem to make sense.

Comic Book Challenge Comic Book Challenge

To take the challenge more, comic art demands much more than the typical art job. Explore every aspect of visual arts. As an artist, you must be able to master the subject. You must first master all the basics: perspective and composition, gestures anatomy, lighting, and rendering. Then you can look at all the design categories like character vehicles, environment prop graphics, and page/layout. The list could continue.

Learning to master numerous things can be a challenge and is a process that will develop over the course of time. That’s why joining a college or atelier or a community of artists is vital. Luckily is here to help you get your “back”. (Sorry for that pun). Be part of the group on the website as well as on Facebook to receive feedback, critiques as well as tips and tricks in all aspects of your comic art. Join a community and all aspects of this adventure are more enjoyable. It’s risky to be on your own.

Thanks for being with me and for completing the second part of the tutorial for the torso. For this tutorial, I’ve utilized a variety of techniques from the masters of old, and also, concepts from the most recent masters working in the field. This includes Will Weston, George Bridgeman, Michael Hampton, Andrew Loomis, and Carlos Gomez, as well as a variety of unnamed references on Pinterest and other sites. You’ve done a great job in getting to this point.

Before You Leave

Have you heard of my racing, cyberpunk comic known as STAR CIRCUIT? It’s about a street racer who is struggling to discover his purpose in a science-fiction world where the top racers are robots.

I’ve written a lengthy guide on how to make your own comic, known as “Making” Comics that includes my experience with creating the STAR CIRCUIT.

Visit to sign up today! Joining before the campaign launches means that you’ll receive a complimentary trading card once the book is fully funded.

If you’re looking for help with your artwork, you can connect with me via DM or follow me on Instagram as well as Twitter.

Thank you for your time and continue drawing!

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