Dynamic Anatomy for Artists - Drawing the Muscles of the Arm | Robert Marzullo | Skillshare

Dynamic Anatomy for Artists - Drawing the Muscles of the Arm

Robert Marzullo, Online instructor of Figure Drawing and Comic Art

Dynamic Anatomy for Artists - Drawing the Muscles of the Arm

Robert Marzullo, Online instructor of Figure Drawing and Comic Art

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16 Lessons (2h 11m)
    • 1. Introduction Video

      1:06
    • 2. L1 Drawing the Arm with the Palm Facing Upward

      9:12
    • 3. L2 Drawing the Arm with the Palm Facing Upward Refinement

      8:33
    • 4. L3 Drawing the back of the Arm Anatomy

      11:08
    • 5. L4 Drawing the back of the Arm Refinement

      6:56
    • 6. L5 Drawing the Side View of the Arm Anatomy

      11:42
    • 7. L6 Drawing the Side View of the Arm Refinement

      8:20
    • 8. L7 Drawing the Under Arm View of the Anatomy

      6:36
    • 9. L8 Drawing the Under Arm View of the Refinement

      5:13
    • 10. L9 Drawing a Dynamic Arm Example 1 P1

      6:19
    • 11. L10 Drawing a Dynamic Arm Example 1 P2

      9:19
    • 12. L11 Drawing a Dynamic Arm Example 1 P3

      9:05
    • 13. L12 Drawing a Dynamic Arm Example 1 P4

      8:38
    • 14. L13 Drawing a Dynamic Arm Example 2 P1

      8:19
    • 15. L14 Drawing a Dynamic Arm Example 2 P2

      8:57
    • 16. L15 Drawing Various Arm Poses Practice Activity

      12:06
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About This Class

Welcome to my class, "Dynamic Anatomy for Artists - Drawing the Muscles of Arm."

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I am extremely excited to bring you these lessons on drawing the muscles.  Learning anatomy isn't easy but it will vastly improve your ability to draw impressive character designs and comic book superheroes.

What You Will Learn in This Class - 

  • How to Draw the Muscles
  • Basic Terminology
  • Visual Patterns
  • Form + Volume
  • Stylizing the Work
  • Efficient Ways to Improve

This class is designed to simplify the process of drawing the arm anatomy.  I will teach you the basic forms that I use to draw the arm from memory and you will get access to all the art files to study along with.  Including diagrams with all the terminology.

Don't beat yourself up though!  Just try to improve a little each day and commit a muscle or two to memory here and there.  Consistency is the most effective way to improve in my opinion.  Rome wasn't built in a day, right?! ;)

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After you work through the anatomy breakdowns I will show you how to implement this into a few examples. We will work on these to help you transition your new skills into your own stylized version.

I am here if you have any questions and I can't wait to see what you come up with.  More lessons on human anatomy are on the way!  Next we will be covering Leg Anatomy so I hope you will join me for that class as well! :)

Sincerely,

Robert A. Marzullo

Ram Studios Comics

www.ramstudioscomics.com

 

Meet Your Teacher

Teacher Profile Image

Robert Marzullo

Online instructor of Figure Drawing and Comic Art

Teacher

I enjoy creating and sharing Video Content of my drawing process. I teach comic book illustration techniques, figure drawing, and digital painting. I use programs such as Adobe Photoshop CC, Clip Studio Paint, Procreate, and Sketchbook Pro 8.

I am the author/illustrator of the book, "Learn to Draw Action Heroes."

I have been teaching online for over 5 years now and love the ability to connect and teach artists all over the world. It is very exciting and rewarding!

See full profile

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Transcripts

1. Introduction Video: Hello, everyone. Welcome to my class Dynamic anatomy for artists. I'm Robert Marcelo, and I'll be your instructor for these lessons. It's no secret that anatomy is difficult to understand and draw. My goal for this class is a really simplified things for you, but also, while teaching all the basic anatomy terminology, relationships of the muscles. I also want to teach you how to convert that into your own style and make something more dynamic and expressive. You'll be working alongside me as we draw different views of the arm covering all the anatomy. Then we'll get into doing some stylized representations will talk about form, shape, memorization, line, weight and style izing the work. You also get diagrams off the illustration so you can study the terminology and commit more of that to memory. This class is focused on arm anatomy, but they'll be more content on the way soon to cover other parts of the body. So it's my pleasure to bring you these lessons. I hope you're excited to learn them. I can't wait to see we come up with and, as always, keep drawn. Keep em bond and bye for now, 2. L1 Drawing the Arm with the Palm Facing Upward: Okay, so now we're gonna draw the arm with the basic palm facing up. Eso will start beginning in the shoulder, kind of start pretty primitive with a circle for the shoulder. We wanna work down and find the lengths roughly to where the elbow is. We're just gonna do a primitive skeleton, just toe kind of get to the anatomy, and then we want to bring that arm out just a little bit. I really want to fight the urge to draw things to straight up and down. So another little trick for figuring out the anatomy you can obviously go to cylinder cylinders, I think is more important when you're doing perspective. So probably reiterate that a few times, but essentially one that I like to use the arm right here is the lightning bolt method. Sure there's a better way toe label that, but it's pretty simply this where you do this lightning bolt going back and forth, and you could tell it that wouldn't really resemble a skeleton. In fact, that contradicts even this basic stick man skeleton I've started. But what it does, it makes you think about the anatomy. So the shoulder comes out from the body out from the torso. It kind of hooks down like this. You get the bys up that, you know, comes out of this slight angle like this, kind of like elongated football stretched out, football shape. And then from this view, you know, you might see some of the tricep really depends on the characters, you know, definition and what the orientation of the arm is exactly. But then, from here, you get down here and it's so just basically kind of helps you to envision where the anatomy goes. And then, you know, you gotta still add something at the form the form you can really thinks electrically about it. Uh, and then once you start to cut into it, obviously you're going to get some different things in here. I like to also think about the bony landmarks will come right down into here and get that little bit of the bone that you see right there the oma. And also, if somebody's, you know, again more defined. Or it might be just the orientation of the arm. Your you might see some of the inner tricep here. So the tricep on this side is a lot more, You narrow or it's not as tall. The inner tries up here is more elongated, and I'll make sure we label some of these so that you know, the exact anatomy. And we love you have reference sheets for that. Um, but I don't get too caught up into trying to list. All the names will just kind of continue drawing. So what happens here is you've got the muscle that comes out here and this is pretty large , and then it a lot of these muscles you kind of look at like teardrops. I've heard people referred to him as chicken legs. So you see, this kind of looks like a no extended, stretched out chicken leg or again a teardrop type shape on then what happens here? This is kind of a tricky part of the forum. So when we see form, ah, form of a characters to find you typically don't see a whole lot of separation on the side of the forum. But what's actually happening as you have three muscles, primary muscles, they kind of come like this. And, you know, this one kind of shoots over and hides behind this one which is extra. The break here, really, Alice. But then the pro nater Terry's comes over like this. I guess I will feel the urge to name somebody's as I go, and then this one's kind of on an angle in it. It really kind of hides behind the hand. So it's kind of tricky, because again, these spin out from this point here. But it's getting just the right orientation if you're trying to draw the again. The anatomical breakdown of it and then this next one, which is the Palmeiras long is this one's pretty easy to commit to memory because what it does is it kind of comes right to the middle of the palm, and it webs out, and it's ah connects directly to the poem Palmeiras longest. So? So that was not too bad. In fact, you sometimes might even try to start with this and then work back to this other one, because again it kind of effects that it kind of regulates where you put the other one and then the next one. I guess so. This would be 1/4 from this perspective would be, Ah, it's the flexor Carpi all Nerys and this one. I guess the best way to commit this to memory is that we know that the all knives back here , the side, the bone, that's to the side of a pinky and inside or medial side of arm. So then that comes down here, I contend a bit more So So you kind of see how they all just kind of spend outward from this connection point back here around about from that area, another one that gets overlooked. I would say, you know, from my own opinion, from not really paying attention to it because again drawing characters that have, you know, dynamic and add We are good anatomy, but their skin on them So you don't see see this stuff. But right here is the, uh, breaking Alice muscle. What kind of comes down here under the bias up? And it might even spend more this way, but just say like that, and then the deltoid right here. This one's really tricky as well. So what happens with the deltoid, I think is it's easy to confuse because there's three main heads will talk about these individually, but for now, we'll just kind of work into this. But the deltoid comes across here and it connects. Kind of does this Little did it right there. And that's really where the trip. Easiest woman, sir. But But it's right next to that pectoral. It's major. So what happens with the pectorals, major? We won't get too far into this, but kind of hard not to explain it. Since they connect the pectorals, Major spends out from here and comes out like this and you get an actual Ah, an opening right here. So you got the clavicle or collarbone appear again? I won't get too far in those, but you actually have. Ah, gap right there and you'll see that and very defined individuals that are very lean. You'll see that that we don't see a gap sleeping. You'll see it a bit of a temple there, and, uh, you know, and then you've got the three heads to the the deltoid, which are the medial post area and interior. But again, we're getting to that as we approach the deltoid in a specific lesson and you also get ah, a little bit of the medial head to the tricep. It's not very evidence, so we'll probably have to explain that in a different viewpoint. And let's attach the hand just so there's a reference point, but we will be addressing hands and an individual lesson as well. So our Siris of lessons, his hands are pretty pretty tricky, right? So but just remember that Palmeiras longest comes right up there and webs out connects to the poem, and we'll just get a portion of the hand. And here, just a quick tip for the hand until we actually get there. But just for open hand poses, the palm portion of the hand is roughly the same size of the fingers. And you know the fingers. Obviously, if there is a close hand, they're gonna kind of look like a little bit of like a mitten. We're gonna kind of pressed together. But again remember that the distance from the fingers was roughly the rest of the distance of the hand. But we'll get into these in more detail, makes you draw on it where it looks like I'm missing a knuckle there in the come. Okay, so now this gives us our basic starting point. So this is our, you know, our primitive version of anatomy. You know, you've got a separation in the bicep two, but again, not something you see real dramatically. You could just kind of draw a line to the top and bottom like that. Obviously bias up by meaning to. So that's pretty easy, Teoh. Commit to memory. Um, you also have a little separation here in blue. That's the cortical breaking Alice. But I will double check that. And again when we do the arm where we're seeing the underneath, I'll make sure to confirm that. But just like that, So again, it's It's pretty basic, but it gets those muscles in place to where you can see him a little bit more clearly. Um, and then we're gonna obviously stylized this as we go further, because this isn't really the way I would draw character, right? This is just studying and trying to learn anatomy so that when I go to draw character, I could do it more confidently. So let's go and conclude here. We'll head over to the next lesson and will render this a bit further, and we don't stylized it a bit, so I'll show you how I kind of transform this way of thinking into the character work from the more dynamic anatomy. So what? That let's head on to our next lesson. 3. L2 Drawing the Arm with the Palm Facing Upward Refinement: Okay, so let's go and soft to raise this and clean it up. Alright, Tighten up on the work here and let's start with forum case. We have the break here. Radio Alice right here since the big one, that really just kind of rides along this side of the arm. And this is the one. I kind of picture is a drumstick. Looks like an elongated drumstick or turkey leg like toe. Try to memorize these shapes with whatever association I can make. And then we have the breaking Alice. It comes through here, and then the pro nater Terry's So again, these all orient, um, they'll kind of start from this point right here, which we know this is the all knock that the, you know, the side with the pinky there. And they spent out from that spot. Next, when we get is the flexor Carpi radio. Alice, this is gonna come over. What kind of crosses over. And then we can remember this from pretty easily the Palmeiras longest, because again it comes up and attaches to the poem. So I really like that when there's certain parts of the anatomy that air just easy to cut to memory more for these simplification of it. Eso a lot of this is Latin and land derivatives or something. Pandit's easy to really get confused by then we have the flexor carpi all Nerys and again, this is easier to remember for me. Anyways, hopefully for you as well is because we know the all night is on the side with the pinkies of obviously the muscle riding alongside their is the flexor carpi L Nerys just like that. These were a little bit easier to discern. Now we also have if you're looking three to another muscle back here. And so with the poem here and you also get that, remember from the other side, we'll see from the other side. This muscle wraps around here, and the other thing I want to talk to you about as you're studying these lessons, just remember that it doesn't happen. All one So anatomy is an ongoing thing. I've been studying anatomy for over 20 years. Now, admit in the beginning I went a lot more for just what I thought anatomy looked like. But I was still paying attention to the world around me in tow, different styles I admired, so I was still studying anatomy as often as I could. But then once I finally started picking up books and reading through it and really trying toe pay attention to terminology and things like that, I would say that my anatomy got better, but it also got more confusing. So the thing I want to hopefully ease your mind with is that when you study these lessons, remember that it's not gonna happen all at once. Also, if you don't necessarily need to learn the terminology, that's fine. That's OK. And if you want to do a more stylized version of anatomy, that's fine as well. I think that ultimately you have to not stress yourself out too much because it'll hinder your you know, your thinking, your creativity, and maybe even make you less inspired to keep studying in the first place. So taking him bits and pieces implement your own style, have fun with it and hopefully that will keep you excited to keep coming back to the drawing board because anatomy is tough and there's a lot to it. So if you get too caught up in all the complexities and trying to make everything just perfect and everything just right. It might slow you down more than it'll help me. That's definitely what I saw with myself. So what I tend to do is pay attention to it. I look for relationships that stick out to me is is pretty much interesting or something that I haven't really incorporated into my own art yet that I think might be beneficial. And then again, as faras terminology, I don't think every artist needs to know it, but I personally have challenged myself to learn more and more of it, and I challenge you to do the same if you're up for that challenge. But remember that it's not going to stop you from being an amazing artists are an amazing artists at drawing anatomy. Terminologies just gonna kind of be another level of education for you, which is great, but I found plenty of artists have admitted to not knowing as much about as an add me as people might think. It's just they've gotten really good at illustrating, so just keep that in mind. You could be a very visual person and draw great anatomy and still not know all the names and even all the relationships and hopefully to this course, you'll learn as much as possible. So now let's get back to this part of the illustration. Okay, so now the trying steps can be really tricky. The main thing way to pay attention to is that it's very asymmetrical from the inside to the outside. The inside is a lot taller. Okay, so just remember when drawing the triceps, the one on the outside, the arm is referred to as the lateral head or the short head, and then the tricep on the inner part of the arm is actually called the long head on and then below the long head. You get these two little pieces that you see from this angle. So this long one is the one right there. That's long head. But just below that is the medial head, and the medial had actually occurs on both sides to get the media had right here and then also over here. You're really not going to see it a whole lot from an angle like this. But I just want to point it out. And then, as we illustrated from other angles, will make it more evident. Um, but the triceps could be tricky in that way. Again, it's It's really just a noticeable difference from the inside of the outside. So I would generally call the one on the outside the short head, but it is often referred to as the lateral head. And this is long head and again, medial head here and here. Okay, so what? The deltoid again? There's three heads here. You've got the anterior head the medial had, which we're going to see some of this from a side right here. That's what it comes down here. And then the post terror had which we want will not see from this view, something that when you get this little opening here and between the deltoid and the pectorals major, the door will be drawn, the chest and more detail as well as we get to the torso, because there's a lot of neat little things to pay attention to and drawn the chest. But this is a big one, right here is just the way it kind of spends and overlaps into this area. It's also why, when you flex the chest muscle, you'll get kind of a pocket right about there from all those muscles that air tensing up their overlapping. So they kind of bunch out. Uh, that's pretty neat. Easy to remember. And then there's the bias up in the divide of the bicep. Remember? That's two muscles. Okay, so now that gives us our refined version of this, the center of that on the page here. And we will now move over to our next lesson and continue on with another polls. So with that, let's move on. 4. L3 Drawing the back of the Arm Anatomy: Okay, so now we're going to draw the arm from a back view. And when I say back, I mean, you're going to see more of the triceps in plain view the elbow. We're also gonna tilt the hand toe where you see the back of the hand from this view. So as we know, the forum can rotate very independently on does a good range of rotation. Now the thing to remember is when the thumb is towards body. So So you put your hand out in front of you and your thumb is towards your body. That is pro nation when you rotate your form and your hand is now palm facing up, thumb away from the body. That's supper nation or super nation have heard it pronounced both ways, but we'll say Supper Nation. So So what happens is you just have to think about that as you draw the arm because it changes the anatomy, but it pulls the anatomy different ways. So right now we're starting with the deltoid, and the deltoid attaches to the spine of scapula and the deltoids. Very triangular eso. Let's just take this and scale it down. We got more room, so you see kind of that triangular shape, but we'll talk about some other shape. Memorization, I think, is important. One drawn the body. So then the other thing, I think is really important from an angle like this is that. Remember that lightning bolt? I told you about what's important here as well. So it comes down, back, over and back out. Some, like vestige. But But again, remember, this is just for the anatomy, but I think the main thing is the starting point, where it's under the deltoid like this, where it shouldn't be connected right to the side. Now, by the time we get done with the anatomy, it'll probably look that way. But what I mean to say is that you really want to think about the shoulder coming out and over the arm, the arm sitting under it, and then the arm coming at an angle or bend and in the form coming out that abandoned. But really, like I said, the lightning bolt kind of makes more sense is just a staggering of the masses of the arm is what I'm getting at, and you're going to see this evidence all through the body. Nothing is straight. Nothing's parallel. It's all kind of tipping back and forth for balance and for, you know, the muscles to pull against the skeleton. So so we want to do is think about that as we go to get this in so that we don't draw stacked components of arms and legs. So that's probably the biggest thing I see with art that would otherwise be really well done. You can have this great rendering is great style. But if you're not getting this kind of, um, alignment thing going on or, you know, making sure have kind of misaligned things in a sense it doesn't it doesn't breed as a body . It doesn't read as anatomy. So what want to do here is is think about that toe again. A good way to kind of see it is where you get down to the owner here and then it starts to come out this way. Okay, so it's not exactly a lightning bolt, but again, this is this Ah, little bit of a device toe. Help you think differently about the arms and legs that you're not stacking the components so evenly, and then we'll come out here again. We can think about the form Very cylindrical e. And I always tend to run out of space on the skillet, down even a little bit more, and we'll leave some room for the hand here. We're just going to a basic hand again. We were gonna get in the hands, and that's gonna be a whole nother section and hands a pretty tricky in and of themselves. So, Mike bad just to get a basic hand in place. Okay, Alright. So back up to the top here, we'll get rid of the sign. So remember, deltoid is a triangular shape. So Delta is the fifth letter from the Greek alphabet. Triangle it as a triangle. So just remember, that triangular shape for the deltoid on that should be a little bit easier to draw that now, as far as the tricep. A lot of times I've seen people illustrate to try separate Looks like the third head is up the middle, so try meaning, you know, three tricep. But the third is actually not up the middle. The divide of the tricep is roughly up the middle. I'm not quite center, but it's at a bit of a slam, but it's right about there. But the tricky part of this is that the head that's on the inside or medial side, closer to the body is the long head. Okay, and then the head that is on the outside, uh, away from the body on the thumb side, is actually the lateral head or short head. I've heard it referred to his boat, but it's usually defined. It's the lateral head. So this is where it becomes a little bit tricky because the smaller portions that you see at the bottom of each tricep is actually the medial head. Okay, I'll label this and will be very apparent diagrams, but that's where it gets us a little bit trickier. And keep in mind there's a very noticeable asymmetrical value from one head to the other, so the outside had being the lateral head or short head looks noticeably shorter, so you get kind of this asymmetrical, almost diamond shape or pyramid shape on the back of the arm so you could see from this point it actually looks like there's foreheads. But the two bottom pieces of the medial heads the one on the outside or the side with the thumb would be the lateral head. And then the one on the inside or medial side towards the body would be the long head. So just practices and obviously studied the diagram. I will supply to you. Okay, so now we've got the all know right here. Let's bring this down. And so on the side here, you might get a little bit of the bias up. You might see the Breaking Alice muscle, and then here's where it gets. Ah, I want to say interesting, but confusing again. So what happens is the muscles from here spin out and they pretty much inserted behind the tricep here alongside of it is what it looks like. But eso they come over like this in the point to the inside of a thumb. So just kind of use that is your placeholder that come from the tricep. They point to the thumb, and there's a separation right here that again, you're not going to see in most people. But it's there when you do your anatomical reference. And so the top section is the break. Your radio Alice in this bottom piece is extensive. Carpi radio list longest. I know it's quite a mouthful, but once you get those into place and you have them wrapping around the forum, it becomes easier to find the next one. Which is the extent, Sir Digital or, um, which were drawn right here. And this one's pretty easy to commit to memory because it comes to the back of the hand. It's large. It's kind of like the big, the biggest, most noticeable muscle in the back of farm here from this angle, and it spends out and goes to each of the digits. So digital room digits or fingers. And, uh, I guess everyone except the thumb so that's gonna be controlled by is to the pop power here . What? That And it's always kind of interesting to figure this out, because once you start to pay attention, these muscles just look down at your form and you can move. You know each finger and see what happens there on the back. Your form. Move your thumb, rhino. So you start to kind of test yourself, like I only see this in action. Uh, at least I do anyway, So then you have this next one, and these spent out right from this insertion point right here. So we'll just bring these right out to the back of a hand in one kind of coincides rides along the side of this that goes out to the the pinky. And in fact, I want to say they both do assaults to them and then on the back of the owner here to get this other muscle. It's pretty evident, and you also get one. We're here, spends out from this point tattoos right here. So you see, it gets a bit confusing. There's a lot going on here, a zai, clean it up and refine it. Um, you'll see it a little bit better, but it does get a bit confusing. And if you were to draw the deltoid and a bit more focus or clarity, you're gonna see more separations like this. But again, I think the most important thing is to remember that attaches to the spine of scapula, and then it comes out and around and down. It really encompasses the arm. It doesn't doesn't just connects parallel to it. So I think that's a big part of getting any anatomy to look right. Is that that needs to flow and and around sometimes through. But there's an interconnectivity. The best way I like to think about it is if you take your fingers and you like your your knuckles, your fingers together, you know, kind of grip your fingers and, uh, you block him together, you intertwine your fingers and that we've pattern that you get is pretty much how I think of muscles there. In fact, you'll see in the Delta will probably touch on it. But the delta it actually, you know, kind of has this interlocking been going on with the muscles. So, uh, you know, kind like that m r w shape, but you're not going to see it so clearly from this angle. But it's just kind of the way the muscles work there, there, not parallel than out side by side. The way I also heard it referred to made a lot of sense is, you know, you try to draw this stuff with rope drawing. So you try. Teoh almost use a continuous line to connect it all, but you have to make it look like they flow, you know, underneath and over top of one another. If not, They're not. You know, they're not gonna look like muscles. That's what they really do. They they don't just all run parallel. Always ones right here, kind of parallel right there. But that's about it. You see these ones here? Go right under. So you might even get a little bit of shading in there. Yeah, so, just like that, we've got a representation of the back of the arm. And so now what we'll do is head over to the next lesson, will continue, Teoh refined. This will actually stylized this one. So we'll keep. This is our rough sketch. I'll refine these and labelling for you like I've already mentioned. And that will give you, ah, reference point that you can download and having your leisure so that you can learn the terminology from each one of these angles. But right now, I just want you to be able to draw this visually and get these shapes and these ideas in your mind s O that obviously you go to redrum, your characters make more sense. So let's head over to our next lesson and refine this 5. L4 Drawing the back of the Arm Refinement: Okay, so let's go ahead and clean this up because it's pretty hard to kind of read everything, especially the forum there. That's why I think drawing the form is so tricky because there is a lot going on there as far as understanding the anatomy anyways. So it's kind of zoom into here, tighten up a bed, and if I can make this make more sense, I got these two that come over down. Remember, they kind of point to the thumb, kind of insert right there, use your line, wait and show some of separation. And again, I really like to get this one and pretty quickly because I feel like it's a kind of a nice anchor point for drawing the rest of the anatomy. It's so big on the back of the Forum there, and it's Ah, it's easy to pinpoint it because since we know it's the digital, um, um, it basically controls all the digits, so it's easy to place, and what's gonna happen is actually separates through here. But don't get too critical for that. I just want to understand the larger broad strokes of it. I like them and then again, these two over here, I have spent around. They answered under there it's been around and point and go to the thumb, all right. And then, like I said about the insertion point back here, this is probably the the main point to keep toe to memorize for the Forum, its's the most prevalent, like even when somebody's not very sculpted. Arlene, you generally conceive this these muscles right there, especially if they work with their hands because these air obviously muscles that react to the hands. So if it's a carpenter or something like that, then this is all gonna be very noticeable. Very easy toe to see. It doesn't even matter if the person's larger. You potentially, uh, overweight or something like that. It just it just tends to be, since I use it more, all this starts to be more defined. You know there's never every time scenario, but just something you tend to see and pick up on. When you when you know about these muscles, when you're actually aware of them, then you'll actually look around and see things a little differently to pay attention to things a little bit differently. So this one comes back here. So hopefully now you can see with a bit more clarity how this separation occurs and this goes to the pinky again. You got the all know that somewhat visible from the spot here and get this other muscle. That tach is here, and then this larger, You know, just larger muscle group right here. So just like that, we've got a bit mawr explained. And really, these air gonna come down offices not opening right there is we're gonna come down kind of fill in that area. Um, it was actually another muscle back here is well, but it's kind of hidden. Okay, so now let's go to the top of the arm and find that a little bit. Okay? So, again, main thing here, I just really want to keep reiterating the deltoids attachment to the spine of scrap it. I think that that's one of the things when you start to draw body. It just it's almost always It's very evident in the body. So what happens is you can put that in place, work from it, and you at least know that you've got that right. So I kind of think of it like small wins that whenever you can memorize a certain part, it's a small when you're like you Look at that and you go, Oh, I really remember that. That goes right here. That's huge for anatomy drawing because there's so many things going on. So you know those little landmarks that you can finally say, You know, you've committed that to memory, uh, certain to make the, you know, the puzzle a lot easier to put together. Um and then that, coupled with some reference than your you're pretty good to go. But at first it just seems so daunting. It seems like you know, my ever gonna figure this out am I ever gonna start toe? See how this stuff all fits together? And it's an ongoing thing, and I don't want to pretend like I have it all figured out. It's ah, you know, I'm constantly studying, always referencing my books, and you will be too, for some time. You know, if you hear learning, then you're on the right track, so you just have to take solace and that keep on going. So there's our tricep. There's a separation of the heads. Remember the medial heads on the side, the lower sides here, which I just think it's kind of weird, but that's what it is. And the interior had, um this had right here. Culture to the body is much larger. So just remember that, and then you get the breakouts here and you might see some of the bicep from an angle like this. I think you kind of wood, but sometimes you're not going to, so you're gonna be careful. There are no mitt, some of that. And then, you know, you're probably going to see the Let's see the back head of the deltoid is the posterior head. Yes, of ah, medial head would be here. So we're gonna get some of that, and then we're not going to see the anterior head because that's the head that's on the front. We're not going to see that from this angle. So just like that, we've got it a bit more refined, minus the hand, obviously, But like I said, we will be getting into a bunch of lessons on just the hand, so we will just use a basic hand illustration for now. All right, So what? That we're gonna finish up here, we'll head over to our next lesson and work on another pose. Eso Let's move forward 6. L5 Drawing the Side View of the Arm Anatomy: All right, So now let's talk about the side view of the arm and some of the things that you can pay attention to here. So again, starting with the deltoid, remember that spine of scapula? So is gonna be the back of the arm, and then we'll just kind of bring this down a little bit of a teardrop or triangular like shape. You could start the circle and then sculpt into this. I'm kind of going right toe angles again. Angles kind of helped me find the overall based form. And then I'll work into that sit on the back of the arm, and again we can establish our lengths. That helps you to first. Ah, you figure out proportions. My guess. Another way to look at is the form is roughly the distance from the elbow to the top of the shoulder. And they had the hand. Obviously, proportions come very greatly with different people as far as the length of the arm and then skinny nous, things like that pull keenness. We'll talk more about that as we do. Some stylized representations is you just get a base hand in there. Okay? So now, as we work into the forum again, you could start a little bit more cylindrical like this. I think the important thing is when you come down into the upper part of the armed with the deltoid is really the insertion point. So a lot of times you'll see the deltoid represented where the medial had comes down and it just comes down somewhere in between. You know, the tricep in the bicep, so we'll start there. Ghannam, sir. A little bit more angular like So we've got to try step over here by step over here. But the thing that really happens is it's right in front of the breaking Alice muscles. What comes like this. This comes over here and a reason why I think this is helpful because there's a staggering they've got a look at. So the deltoid in surgery they're breaking Alice comes over here, and then the extensive carpet radio authentic center carpi radios Trump's are the break here already. Alice and extensive carpi radios longest come right here. So these two, you know, lined up side by side to the breaking Alice. So I guess the best way to think about it is breaking. Alice break your radio, Alice. And then you come down to the extent, sir Carpi Radio Alice longest. And I know it's a mouth full of its confusing. But again, I'm gonna supply you with all of these labeled his diagrams, which you can study study from. So it will be in a pdf that you can resource. And also, I could tell you there is You just have to look at a little bit every day. I look at a little bit every day and I still stumble upon some of the terminology is just so tricky. Um, and then some days your memory just kicks in and you remember parts they weren't even trying to remember. So it's pretty funny. There's a lot of complexity there, but look at that flow where again it inserts. Here, this one flows over. And just remember this pattern and that will help you work down into the arm this way. No, from the tricep you want to work down here. And then again, it gets tricky with the tricep because the heads were different. Okay, so you got this head right here, which is, um you see, this would be the short head and you've got the long head on the back, so or on the medial side in inner side of the arm. So what happens is it needs toe. Maybe not never illustration, because again, people vary, but it's gonna be regardless, this is gonna be lower, uh, than than this. So just you can kind of think of it like Short had long head. So the long head is the one on the inside of the arm, the side closest to the body and then decide on the exterior of the arm is the short head or the actual term is the lateral head. And then just remember, the medial head sits. What looks like almost it looks like it sits below this. Okay, so it's on both sides of the arm and below this, but really, because it's underneath both of these mostly groups. So we're really just focusing on the superficial anatomy to teach out a better illustrate arms and legs in the body and stuff like that. But again, if you were to dissect it further, you would see that it actually goes below these muscles, and that's why you see it on both sides in these little tips that you see here that actually make it look like there's maybe four different muscles toe the tricep are really just the same medial head. It just it happens to occur on both sides there. So again we tend to think of medial being middle. So it appears different to me anyways. Like if you go up to the deltoid here, the medial head is right there in the middle. It's pretty easy to discern and call it a medial head. I think the tricep gets a little bit more confusing, but drawing a few times really practice it. You'll start to memorize it, and it'll just become second nature. And then you've got a bit of divide on the back that you'll sometimes see. And then you can pretty much isolate this area below the tricep, and then you have the tricep tendon that comes down and it comes down below here, leads to the elbow my bad, and then back up here to the deltoid the medial had here. The poll steer had here and the anterior had here. Now the thing to pay attention to here is that the interior head is bigger than the post here ahead. So the post here heads less defined. And remember, this all coincides with the spine of scapula. Like this is slant, Really Get this looking a a lot too much like series of heart. You definitely want to see a little bit of that heart shape in there, but not not as much as I have there. Really? It comes into when you sculpt the deltoid. I think the Delta is that one of the toughest parts of the arm to get right on, which is why we're gonna really get specific on it. And I want to show you some techniques for that as you render it. Because I know that from dealing with a lot of students and myself included the deltoids. Really tricky. You gotta You got to spend some a little bit of time in there, but for now, we just want to kind of illustrate each part of the anatomy. So obviously bicep here I tend to draw this a little bit too elongated from all my stylized drawings. And obviously when you draw the bicep flex, it becomes quite different, right? It bulges up like this. So we're gonna have to talk about flex ation of somebody's muscles because again, a lot of this can change, Really. The That's what makes one of the the trickiest things about the forum is that it changes so much as we move the hand around as we flax and, you know, like good stuff. So so back to the area under here we know that the 1st 1 under the extent, Sir Carpi radio its longest, which is this one that's, you know, spanning around the farm, spinning around the next one is extensive. Er, carpi. Really Alice Bree vis So its longest previous. So you kind of attached that in there. It's pretty small right there, uh, again. Kind of my favorite one to illustrate is extensive digital warm because it's it's bigger, and it's easier for me to, you know, it goes to the digits, the back of the hand on, and since it is bigger, it's easier for me to kind of start there and then work out to the smaller pieces. Now the other thing. It's not as evident yet, and I'll make sure to make it more evident as we refine this. But another good thing to remember is that the tricep comes down like this and all these other muscles kind of their their origins kind of start from here and spent outwards. So look at all that good reference point right through there. So just really pay attention to that, That you got the tricep coming down like this. It actually meets. Actually comes back this way, curve that back about. But then all of these start from here and spent out from there. So after you get this determined place, you can get in the extent, sir, digital from digital. I'm in m I, um And then also the extensive carpi all Maris. So And they start from the same spot in a easy way toe. Memorize this. The minimum I is think of the most. The smallest digit, right? So it's the extent, sir, digit or more digit digit time minimize eso digital arms of the fingers. And then it goes to that smallest finger the pinky eso That's pretty easy to remember, even though it's still complex. That kind of se And remember, I guess as far as old terminology And then the extent sir, carpi old mirrors is obviously it's gonna go with the alma. The Allman is the bone. From here to the pinky or the vote of the pinky is the illness. So, uh, Teoh, it's it's tricky. But, you know, you can kind of figure it out as you start to piece, piece together the puzzle, Uh, get this other muscle in back here and then right here. We've got these two that come from the thumb. So they spent around like this, and these other ones come down right through here. So as a refined this, you'll see this a bit better. But, um, and we'll just do a quick representation of the hand again. We're gonna address this and other lessons hands or in a whole nother bola wags a lot of complexity of their hands, and we're gonna need to do some SIM poses. And keep in mind, we're not just gonna do all boring poses like this. This is simply to get you up and running with knowing a little bit better about where all the muscles start, where they go, how to draw them. But then we're gonna take this and we're gonna we're gonna draw some dynamic versions because I think that's really the best part that I can teach you as faras. You know, you can goto anatomy books and you could stare. It diagrams all day. But until you make it work in action and motion and in a dynamic way, it's still just kind of flat. And so again, this is just the preliminary part where you're learning some of the terminology and, you know, insertion points. You know what? They coincide with things like that. So let's go and conclude here. We'll clean this up a bit and do some refinement, and with that, let's move on to our next lesson. 7. L6 Drawing the Side View of the Arm Refinement: All right, So let's go ahead and refine this now and hopefully make this even mawr apparent. All right, so it's just tighten up on the work. So the shoulder looks pretty strange to me, But again, you know, you kind of start, you know, laying in some of the forms and then move forward. I feel like it needs to come up a little bit more like this. This medial had needs to be more in the center, and I kind of remember what I said about making sure that things are a bit uneven. So sometimes you can fix your artwork by simply moving things around a little bit, making them a little less even. And, uh, you know, making it look more natural for the human body in that way. So I feel like this is just to even of a shape, and it's really kind of crippling the design of it. But again, I do have toe generally player out the shoulders to get them just right. The main thing is that the head on the back of the deltoid is smaller because this head that comes in and meets the chest is a lot larger and you're going to see that when we do a raised arm that this really I mean, obviously, you see if you raise your own arm and pay attention to the anatomy. But But what will happen is that's probably one of the things that really makes a raised arm look proper. Is bringing this up It like it almost detach is it looks like it just really separates from the other heads. But again, get this slope in. Remember, this is the spine of scapula that attaches to, and that's why we have this slope to the back. And, you know, as we get into the other illustrations, you'll see the trapezius connects right through here, and then the other thing is really the relationship from both of those together. So this is often the problem that that I have when drawing just one part of the body and trying to explain it. It really becomes easier in some senses when you connect the neighbouring parts like the clavicle, the trapezes here again, we'll get into this later and then. So what happens is you realize that the deltoid really curves around that, you know, just like the other is of the body where you know, down here we talk about the tricep coming down here to the elbow and then all these other muscles almost looking reactionary to that. It becomes a lot easier to put these into place because we have this nice, you know, curved line here is a reference point, and I think that's really ultimately what starts to happen. As you draw more more anatomy, you start to find these little rhythms in the body, and then it's not so hard. It's not at first. It's very daunting. Um, I have to try to remember back when I first started trying to draw anatomy, and I still, after 20 years of studying and working at it, I still find myself learning new things all the time about the body. Uh, so you just have to you really behind it for the long haul. That doesn't sound too ah de motivating. Hopefully, it does motivate you because it's it's very worthwhile, Like the being able to draw the human body well is so worthwhile. Um, you know, put it this way. It's just basically really hard to dio. So you kind of separate yourself from the competition by being able to do it so nothing else motivates you. That should because, you know, there is a bit of competition and everything that we dio even in art. As much as we like Teoh, just enjoy what we're doing. It was a little bit of competition in there. You know, we gotta be better than our A competition. So we get the worker work stands out from the crown. So remember to again, this is my favorite part of the farm kind of reiterate that it's just that it's nice and easy to get that big extended teardrop or chicken legs, turkey leg, whatever you see there and then go from there and just, you know, attached to the knuckles of digits. Again, this is my landmark. So whenever I find a landmark that Aiken commit to memory, it makes my life a bit easier. These ones are actually gonna come down. There's not a gap there. Just tend to draw the bigger form first. But they come down through here and these are What is this? The polis ists longest and polis ist grievous are extensive. Polis ist longest bravest. Help. Make sure to correct it on the diagram that I'm gonna give to you. But I believe that's what they're They control the thumb and, you know, keep in mind we're working on the superficial side of things. You know, these muscles go way back through here, but we're not going to get into, you know, the lower areas of the muscle, because we're, you know, one explain to you as an illustrator. You know, when you're not going to illustrate the lower connection point. So we're not gonna worry about that. Um, So the hand here, just a basic mannequin at this point for the hand. Remember, there's a relationship from the knuckles like this that also continues on to the thumb. It'll kind of get you warmed up for when we do approach the the hand studies, probably the trickiest part have with the hand and relationship to the formas proportion. I feel like their hands a bit small, but again, there's lots of different people, lots of different proportions. So we could just make the argument that this person has smaller hands, okay? And the extent, sir, digit or, um, digitized minimum. I comes like this and it goes to the pinky. So you noticed there's two that actually go to that pinky there. It's kind of interesting that coincides right here. That insertion points, right? Derek was all the way down. Something like that. And then we have the extent Sircar p on Meris, which is this one. And we can remember that because it rides along the owner, and then you got the only here. But then you also have this one, which is the flexor carpi on Nerys. So again, that's kind of another way to remember. We know that the all not is the bone that goes from the elbow to the back of the wrist. And, uh, yes. So both these muscles that coincide with that have all now Aris in there all know, whole nearest. So again, just any little bits and pieces that you can kind of connect together and start to memorize . It really helps out, um, and then pass that. You know, if nothing else, you just remember visually how to draw, which is the most important part. You see, these kind of coincide at the wrist and you kind of see his little bend where this comes in front of the bone here. And this is another relationship that will point out when we do our dynamic, stylized versions. Because you typically do see this in a pretty defined character. I would say, You see, you know this area here, a few of these spinning out from this point starker area and then right through here and this is kind of V that you get. Do you want to really pay attention to V's and wise in the body? There's a lot of those, and I'll try to point those out as well. But for this portion, we're done. We just really wanted to, you know, kind of reconfirm on, clean up this line work and again try to really pay attention to areas that make sense to you. Tried to look for relationships that you can commit to memory, whether they be shaped with a B insertion points to the muscles, just whatever you can. But I assure you, through sheer repetition, it will all start to make sense. Eso Let's conclude here, head over to our next lesson and continue on 8. L7 Drawing the Under Arm View of the Anatomy: Okay, so now we're gonna do is raise the arm. And this is another tricky part, I think. And I guess there's a little bit of mystery to this because we're not so used to seeing the arm raised as much as we would see the side of the arm of back them things like that. But again, you're not gonna draw this for all your character designs, but it it's helpful to know, so I'll show you the parts that I think are the most helpful to know. So we'll start with Shoulder Deltoid and we'll just raise the arm up. And this will really be focused on just from this point to the elbow withdrawal over the farm. But it's really I want you to focus on just this one area. So with the deltoid a zoo raise your arm up the front head of the deltoid pops right up and actually spends backwards a bit. So you know, there's a huge range of rotation from our shoulder. And another thing that happens, which is kind of kind of Miss Illustrated quite a bit, and most drawings of the body is that the pectorals major comes right up and starts to go in front of the deltoid from an angle like this. So this is probably the area that I see most misrepresented, so you might have somebody draw the shoulder, but they have the shoulder like this. That's not really what happens. So, you know, maybe from some camera angles, But just keep in mind that the chest, the pectorals major comes up and starts to go right in front of their and inserts back here . So what happens is you get the bicep breaking I, which will extend from that point, it'll ridge up a bit, So even in the saw extension, it still has a bit of a peak to it. You just go like this and this is gonna be more of an elongated, kind of stretched out football or teardrop shape. And you might want to pay attention to the staggering. So this little pattern right here So these two meet against that comes in front of it that's going very based upon orientation, the arm, but again try to pay attention to patterns. But 11 pattern that I see quite distinctly, and I use it a lot what I'm doing, you know, just in arm without trying to be so anatomically defined. Is this right here? So you get a V right here in a V right here. You know what this is? Is your core code breaking Alice and this is your breaking Alice. So you see, that's pretty easy to commit to memory. So just think Bicep vve, you know, and you're gonna vary those up as far as the size they don't need to be so even, But they're pretty pretty similar as faras that breaking point right there. Now, this is another common problems I'm gonna start with and show you something that I probably did forever. So I immediately go to try set, okay. And then latter, Miss Dorsey. And it doesn't look bad and kind of what you see when you see a regular character or even character design or superhero. It kind of looked like that. But there's a lot more going on with the anatomy that you should at least be aware of. So and really, realistically, when the arm is this far raised, you start to see the other side of the deltoid. So what we'll do is we'll first get in the the medial head. So the tricep medial had Remember? I said this one's kind of confusing, because to me, you know what I think middle had. I just don't see it being at the lower middle of the tricep. But for whatever reason, somebody with more now send myself could tell you why that is. But just so you know, this is the medial had right there. We're getting to the elbow, and then from this side right here with the tricep long head. Now, we can't even just go back and connect that here because there's a few other things that happen. And again, you typically don't see this, but we need to be aware of it. So right here you get the Terrys major comes down and around something like this. And then this next one everybody knows about this lad amiss. Dorsey, this is the lads, right? Was the real popular one for bodybuilders. And people like to flex and you can develop this really large. Uh, so this one everybody seems to know about we could bring this way out, but this little guy gets ah kind of hidden. And, you know, I talked about a whole lot. So now the other thing is, from this angle, we could see this looks a bit strange. You need to add in the back of the deltoid. So the deltoid is that arm raises up and you're seeing the armpit of the inner arm. Uh, this deltoid actually becomes visible from both sides. So again, that's one of those things that I remember as an artist just not really paying attention to , you know, really, how big and powerful the shoulders are. So then you have, like, the trapezius. It comes back here and we'll get on all of this and the night muscles later on. But, um, that's really the main thing you getting in all these alignments. So for me, the big takeaways from this are the, um you know, the V's that you get right here, or wise you could really say these air to wise connected the shoulder being evident from the front or top and back and the pectorals major coming up and inserting right here and actually coming in front of a lot of this. Um, you know, and as faras name memorization. I think the easiest part is this being the the core called Breaking Alice. And this being the breaking Alice was a relationship there. If you want, you know, memorize the terminology. And then, uh, you know, you can reference the other illustration for how the muscle start here from the inside of the farm, and, you know, they spend outward. And this is your, uh, was this guy again? The break your radio, Alice. So just like that. And basically, you know, we could play around with this and we can adjust proportions. We could move these around a bit. I feel like the deltoid. This portion of the delta is too far back, so that would be one of the edits I would make. So this this is really just a wayto get to see the directions in connection points. And we're going to refine this a bit further and all just some of these things. So let's go ahead and conclude here. Head over to the next lesson where we refined this and move on 9. L8 Drawing the Under Arm View of the Refinement: all right, so let's go out and refine this a bit. Make this read a bit more clearly. I think this is easier in the sense off it being more clear, though, because there's larger, larger strands of muscle. What doesn't become so confusing with the form? It's really just the this mess under our Mary, all those overlapping shapes. It gets kind of confusing. And then when you talk about potentially moving those around making adjustments and there's a number of, you know, maybe mistakes could be made. Another one that I see that I need to correct is the relationship of the form. So I kind of trailed off as I got to the Forum, because I want the focus to be just on this area here. I don't want toe overburden you with a bunch of stuff, but but there is one area that needs to be a little bit more correctly. Need this breaking Alice, come over here and curve a bit more so that you at least understand where that goes. Likewise, it coincides with the bicep that comes up in connects there on. Then the medial head of the tricep comes around and kind of connects like this. So I think that's important to pay attention to as well. And generally, when you draw again, you're going to see this when we do our dynamic representations of this journal. When you draw the tricep, you don't see this divide. What you may see, though, is kind of like this. A little bit of a shark fin dimple is the way I see it, And again, I'll point it out when we get there. But that's really all I tend to see when illustrating even ah, defined character me. If you see a true bodybuilder and there, you know, really lean and they're trying to show all their definition, then you know you're gonna see a lot more, but it's very rare. You're never going to see that, uh, in life Hi, vis, except for some kind of bodybuilding competition. So or maybe you bump into some of its really ultra ripped for some weeks. But but for illustrative purposes, you know, you can play around with all these concepts, whatever your imagination can come up with, and you choose to implement into your own work. But, yeah, I think it's a big part of this is learning it and then Onley using, uh, intense values of it. Occasionally, you know, it's like you don't want every character in your story to be running around all ripped up. It's a look kind of silly will lose its intensity as well. So if you think about look, I know cartoons and you watched he man, right, everybody in there was I don't know, I shouldn't use as example, because I actually thought he man was a really great car too. But, ah, most, most storytelling most ideas would suffer based upon that concept. Everything. But maybe he man's exception. Okay, so now, um, just like that, you know, I got a little bit more of this, Remember, you can really use line weight. Obviously, all this looks pretty flat, but I really just want you to be ableto see where it starts, where relates to the other muscles and, uh, hopefully commit that to memory. And then, as we illustrate it further will will use more line way, but also use, you know, some shapes of shadows and things to really convey a better representation of form. And they will do some mom value studies or will do some value studies about that s oh, that again. It reads more like form, because once you shade this, it really takes on another, um, another level of life, you know, it's the, you know. The chest, for example, is the pectorals major. It doesn't look is impressive until you see, um, you know, all the little overlaps, all the little separations there. Um, you know, this curvature like you could Also I like to do these studies, and I've mentioned this and other lessons were I do some of this as well, and you can kind of convey a three dimensional feel and more volume just by doing that, but will render these out. I just want to show that's another way to kind of do it. All right, so some of this for men, even though this won't really be the focus like that. And just remember, these muscles here start from this point spent out, and you can reference the other lesson for that. And then this one comes across here and goes down the the break. Your radio Alice was down the length of the arm there. This probably comes over that more like that get a little bit of ah V or a Y shape, you could see a Vera triangular shaped. But then, as you connect the lines, you see a little bit more of a why in there. All right, Just like that, we've got this one or find a bit more. So with that, let's move on to our next lesson. 10. L9 Drawing a Dynamic Arm Example 1 P1: Okay, So now what I'd like to show you is, you know, way went over how to study anatomy and some of the terminology, and you can look to the pdf's and really study the terminology and try to commit Samat to memory. But then, now what? I want to show you how to implement that. Okay, How to draw dynamic versions of it. So you first study it. But again, like I kind of mentioned throughout this series of lessons, you have to let go of some of that. And you just have to draw your characters. So I'll just pick some different poses that I think you might kind of stretch the imagination a bit as faras what we've already learned. So, for instance, if we take let's try the shoulder here, the arm coming up, the forum coming in front of the arm a bit, and then a fist here so we'll say it. This is like the character getting ready to deliver a punch, something like that. So, even though we've drawn those flat representations, how do we translate that to here? So we know the deltoid has some triangular shapes to it. We talked about that means triangle. We know that as it raises up, the one had becomes more predominant. The medial had kind of pushes back a little bit, and we know what the bicep is here. The tricep is here. Um, we know that this is the outside of the triceps, so it's gonna be a shorter had the bicep is going to be tensed up, so we do have to kind of start to think about flexing and that kind of thing. Um, but it's really going to get covered up. So, you know, we could put a little bit of around over to the bicep in them for the form. Remember, we can start Solyndra Klay or start with the cylinder, I should say. And then, you know, we know that that on one side we have this kind of stepping occurs right when we get down to the bones of the rest and then on the other side, we haven't elongated curve like that. And we know that back here we have that tricep tendon that comes back to the elbow. Now, here's another tricky part is Do we see the elbow? Now I'm gonna say yes. The elbows pretty distinct, and you see it most of the time from a lot of views. But do we really see that triceps tendon? So this is where we have to really use our imagination and sometimes just make judgment calls. That could be tricky. But, you know, you've got a couple options. One you could take poses of yourself doing this action, and then some of that will sometimes be evident. Now, we're not all, you know, ripped up superheroes. So if that's what you're after, then you have to kind of again use your imagination and connect the dots. But the thing is, too. Is your paying attention toe other art that you like and you're going to sometimes get cues . You're going to see something and go, Oh, wow. Okay, I see from that angle, I was drawing the tricep to visible or whatever. So again, you're just gonna have to bridge the gap until you get there until you see the right shot. Some of it is just imagination, but, um, but its imagination housed on some knowledge, right? You've now studied it, you know, understand it more than you did before because you're taking time to study it. So right here we get the muscle that comes back. Remember, this one spends around the form, and it also, uh, it inserts a bit higher than the middle of the forum. So what happens is we have to do this component curve like this. I usually do a couple of little curves here like that. We know that the tricep coincides with this, right? Remember, we got that curve from the tricep that goes down the back or this goes up the side of it so we can do that. We know that the deltoid inserts in between the triceps and biceps, But we also know that we have that that muscle between them. So let's see. That's Ah, I always get confused. When I flipped the arm around the deltoid would be Let me just throw it in there for now, and I'll check it out. They go. So we're gonna get a little separation there. We're gonna get this bit of ah kind of point right there. Vice up here. And so the this point I'll go for the biggest muscle, the biggest landmark, the extensive digit or, um, And again, you're not going to see this is defined. So start to fade that out as I go. The main thing that you are going to see generally as the the kind of a w that you get there backwards WR sideways W So you see that and you will see some of these other muscles kind of fade in and out. So but not everyone is gonna be nearly is defined as the anatomical sheets that were Cray anatomical sketches, something like that. And remember the, uh, picture Allah's major will be down here somewhere. So we'll just go into that. We're gonna really focus on the arm. Trapezes will come into here, and it's gonna actually lower down and dipped down. It dips down before it kind of ah. Starts uncertain here and in the collarbone actually comes up high like this. Okay, so no, what? We've got that, remember? There's a bit of ah, dimple here is well or a pocket. Okay, so now that we've got that, we've got basically a good reference point, and you know, but again, we need to push a lot of this bag. It's never never this visible. Okay, But this at least gets us a little bit mawr information to work with, and we can draw through this now and get our stylized representation. So again you can kind of start with some of its anatomy breakdown stuff that we've studied . But we need to now change it. Awesome like that. So let's go ahead and stop here. We'll head over to the next lesson and continue to refine this. 11. L10 Drawing a Dynamic Arm Example 1 P2: Okay, So now what's soft to raise this way back, try to pick some of these areas. Let's not say try, let's they do right. Okay. So skills up, Nothing they tend to do is gonna flip it around as well. I think that helps me spot he flaws. But I really want at this stage I really want to look through this and not have this confined me to, you know, a good or bad drawing, or at least a recreation of what's here. So that's another tricky thing about studying is you have to let go of it, right? You gotta go through it and say, OK, there's parts of like parts. I don't you know, obviously, you know, softer, raising it back even further. That's gonna help you a little bit, but really allowing yourself to maybe sketch a few times and keep developing ideas. Eso Now what I want to do, I feel like the forum could be a little bit bigger comparison. So what I'll do is first try to adjust that, um by drawing past it. I'm also going to try to bring out just variation line works of some areas a little bit more organic. What curves? Uh, some areas. I'll bring out some angles. I'm gonna push some of the line wait. Introduce a bit more stylized version of lines that tend to do that a lot. Bring this one bag, uh, for the elbow. I might bring out kind of the bony landmark and throwing a couple more angles like that. But I really enjoy this part. That's the part where I no longer worry about, you know, the terminology or anything like that. I'm just simply focused on creating some volumes from area of interest. You know, I still want to pay attention to make sure that things look relatively correct. Like I feel like the hand probably wouldn't tilt out that much. Um, hand does have some ability to kind of pivot side to side a little bit, but generally, when we clinch and pull in, you can look at your own hand. It more turns inward than outward. But I also I'm trying to convey that the arm is coming out towards the viewer a little more so I don't necessarily dislike this yet. Um, so the hand just get in the bony landmarks of the knuckles ever see See some of the muscle there in the back of the hand. We'll get into hands and more detail, obviously. But the one thing I will say is that try to make the fingers uneven at times. Play around that concept because you know they're soft in areas. They're not all rigid. They're not smooth rectangles, either. So you really wanna bump him up with bed and then they all kind of have their own orientation, go a little bit in a little bit different direction. You'll see. A lot of artists will actually take that a bit further so that it doesn't look. Sometimes it's better to take certain things too far or further to really push the idea so that you just don't fall into the habit of drawing rectangular fingers all the time. Now the other thing I see here is I feel like the four are the bicep really needs to come down more feel like the way the forum is tilted that maybe some of this information needs to drop down toe look better, so I'll play around with that as well again. You can really stretch proportions here. You can do all sorts of inventive things. Ah, I'll throw in more segmentation to the deltoids. I'm really gonna sculpt the deltoid and change it a bit, so it doesn't look so boring. Like, for instance, I might take this line in and put a bit of a hook line. I guess it looks like an s hook. Eso I play around with different shaped lines and kind of test the waters and see if if it improves the have a look of the anatomy. But I gotta fight the urge to draw every every bit of segmentation that I have here. So I'm gonna race back a lot of these lines. So here at the collarbone, I'll put a heavier line there a little bit of Ah, I'm not gonna have ah, deep shadow right there anymore. But I still want there to be some, you know, idea that it's ah, there's a pocket there trapezius. I want to say it would connect more like this at this point. Carbone come up and you might even get a little bit of this. Ah, posterior had So you play around. That's really just remember those three three heads to the deltoid and then, as far as tricep again. This is the short head or lateral head. Medial had actually probably didn't see the medial head. We know it's there, but, uh, I guess you would say this is the medial head and the tricep tenant would be on the back. But, hey, we're not talking about terminology, Moray. I gotta let go of that. Sorry. Eso Yeah. We want to talk about form and shape and line clarity, things like that. That's really we're gonna focus now. All right, so a little bit of that, uh, a little bit of the back there. This could really go in shadow. And right here I don't feel like we need much separation. In fact, what I would probably draw here is just the, you know, more that try separately. Just a shadow off that in a separation and shadow off the bicep like that. I think that makes more sense. And then sometimes I get in here and just add a few more details. Not even really worrying essentially where all this anatomy is. But what I think when I get here is how when you do see somebody, it's pretty defined and they're flexing their arm. There's a lot of little bombs and things, and it's not like it always makes exact sense from what you've studied by anatomy. At least I don't think so. I might add a vein or something like that, so that's pretty common. It's while somebody flexing you might get a the vein right back here and I'll show you how to shade this where, you know, you kind of just put a drop shadow on it, but you have the drop shadow affect. The pocket of depth is the best way to put it, so you'll have a shadow behind the vein. But you really want to shade the area defects on the neighboring muscles. And then what's kind of need about that is that once you raced back the other side, you almost don't need this line anymore. In fact, what I think looks more convincing a lot of times is when you shade this just right. And then you put just a little bit of, ah, again a reaction to the neighbouring muscles. Nothing that tends to make veins look more accurate is a bit of bumpiness, you know, they're just not smooth. They're not clean, but again. This could be style, because I see lots of styles where they do is really clean veins and where they have no relationship to the rural veins and it still looks pretty. Me, it's just again a style choice. So do what you want there. But again, that's kind of a quick and easy way to shake him. And you could take that as far as you want. Just remember, if you come to the side of the arm, make sure to put that little bump and shadow right to the edge of the arm. Eso it doesn't look so flat. Don't say something like that. You gotta be kind of subtle with it and and just shade against the reaction that it has to the their their anatomy, the other muscles like that. Okay, so let's go and do this. Let's take this a step further and implement more rendering stuff like that. So So what I want you to focus on hopefully gain from this lesson is that you have to take the initial studies. Let golden for a bet. Just think about form volume. Uh, you know, your line work obviously weaken, you know, and valued this, you could color it. There's all sorts of things you can do and really bring it out. But I like to do as much as I can in line stage, because you can make some pretty convincing illustrations with just your line work, right? So you just need toe focus on that, you know? Think about your line clarity, a little bit of your rendering and shading. So let's take this and next lesson. Continue doing just that at a little bit more rendering, and so it wouldn't come up with. So what? That let's move on to our next lesson. 12. L11 Drawing a Dynamic Arm Example 1 P3: Okay, so now let's add some larger shapes, a shadow so we can bring out some of these bigger forms. It's by increasing some kind of shape of shadow. They're developing a light source like that. One thing I will say to is try to occasionally mess around with the the bumps that you might kit you hear in there. You don't want it to look, you know, strange, maybe oddly explained the form. But sometimes, you know, if you get in the habit of making everything look too clean, I just feel like it takes away two tracks from the look of anatomy. So try to avoid all smooth the points, like when you get to an edge here, maybe around some of amount. Um, I'll try to point it out as I go. Here s o. What kind of skip the area with the vein. Think that will help to make it look more predominant? Airmail Be again, kind of rounded out instead of leaving a point every time there's all those points kind of start to become ah, distraction. But again, if that's your style, then you make a different choice, right? So I just want to try, toe. I want to give you these tips and advice as I work through this. But then ultimately, you do have to let style be your guide. You might stumble upon something that's better than what I'm talking about. So you have toe. You have to let yourself experiment, but hopefully can use some of what I've taught you here and get a little bit closer to what you want for your own style. So nice, heavy shadow back here. At this point, this portion of the arm is gonna be in my my thought process Be a little bit mawr in shadows. I probably wouldn't have all of this vein excluded. And, you know, it doesn't make sense that it would all be in light right there might bump up the shadows from the other side so that that veins actually casting a larger drop shadows. I want to play a role. That thought process is well, were you thinking up some of the air here? And generally what's gonna happen is the next neighboring muscle is gonna give you the shadow, right? So you got to think about this being a single light source. Um, and they're being, you know, light on this side of this muscle here but a shadow on this muscle here. And that's what this is. So it's just stepping. Stone kind of one effects the next, and the next gets a little bit more complex than that. And obviously, if you introduce a secondary light source, he gets a lot trickier. But for the most part, that's what it is. Now, the other thing that I thinks helpful to pay attention to to, especially for styles. This may go against actual light source, but for style, I think it's helpful that sometimes just introduce a shadow, you know, even on a different side of the anatomy like that. I don't think I'm gonna leave that one, but I want to show you the example of it. So what I mean by that now, this would make more sense if the light source was directly on this side of the Forum, in which case it probably wouldn't be as much shadow over here. But the reason I'm saying that is because sometimes you can just make things look more rounded by adding little bits of shadow to the very edge. You can definitely do that with rendering, so probably show up more rendering there. I feel like those seem a bit forced, but I just want to make sure to point that out. Lots of little things you can do to, Ah, bring this stuff out and ultimately use your i to judge it. If it looks wrong, then it must be wrong. And sometimes just being a bit messy with your shadows even can really be kind of a great thing to do because, you know, life is just not so clean and perfect, right at the body is not so clean and perfect. So, um, you need to, like, really play around with adding variation in there. Uh, and again, if things were to smooth, maybe had a little bump, it's not gonna kill it. In fact, it's probably gonna make it look more interesting. Let me do that here. I'll just kind of sculpt some of these shadows. They look a bit too clean, but that is something that I fight within my own work from habit. So it's it's again. I think I've mentioned this. It's learning to break these habits that we form, because once there, there, there there is a reason they're there. We've spent so much time doing something a certain way, Uh, that it's now, you know, we're now stuck on it. So to break that habit, we have to study a lot. We have to try new things, and it doesn't just wear off in the first couple tries, so just be ready for that. Like the reason it takes a while to get better at stuff is because we've been doing things the wrong way for so long. We now have to retrain ourselves and develop new good habits to replace him. A little shadows on this and I would add veins across the knuckles. So that's another thing that, you know, almost everybody has some pretty evident veins across there the back of their hands anyways . So I'm sorry, Said Knuckles, um, your knuckles generally don't show me in the back of your hand up, but it's another need opportunity to, uh, handsome cool shadows in here and build in some depth. Same rules apply. Figure out your light source shade one side. You don't need to shave the other side nearly as much if it all I like to do a little bit of shading on that side. But remember, you can really do a lot by the reaction, the effect the shape has on the neighboring areas in neighbouring shapes, neighboring forms. So that's really what you want to focus on. Okay, so it's working to the rest of this. So even here on the bicep, I do a pretty hefty shadow here. But I'll make sure to change that shape a little bit. Give it a few component curves, the bicep you'll notice when you pay attention. Teoh people that are pretty defined, that their biceps have some bumps in their right. They're not just smooth ground surface actually don't like that shape. But, um, maybe just this bit of ah can cover stretched out Esseker, but yes, Oh, there they have a lot of little peaks and, you know, little bombs here. So it's not. It's not just a big football shape. I know. Explain that as a football like shape when trying to get the anatomy in place. But you need to look past that and again, experiment with these shapes of shadows. A couple little wrinkles here from the skin, My bad ransom shadows in the deltoid and then get a little bit of separation from the chest Here. Obviously, the chest is a pretty big muscle pectorals major. So we could put a pretty good size shadow in there as well. And probably a little bit here to show the separation of the medial had to the interior had Okay, so there we go. So now we've got, you know, a little bit of shading in there a little bit. Shadow eso No, we can handsome rendering lines over type of this. Bring this out even further. Okay? And let's go and stop here right over to the next lesson and add in some rendering. 13. L12 Drawing a Dynamic Arm Example 1 P4: Okay, so now let's do this. Let's Ah, let's start to render this a bit more, um, so with rendering just gonna use, like, tapered lines think that thin lines and try to bring this out make it look more interesting . And, uh, you know, rendering basically is just the the value but in line form, trying to make it look like it's got some rounded transitions from light to dark, but then also introduced some style in there as well. So there's just tons and tons of ways you can render. There's just no, the main thought process, like I said, is dark to light. But then, you know, he's probably seen hundreds of different styles, and there they're all unique because there's so many little variables that you could introduce in there. I always think of rendering. I think of all our like you're signing your name, but but I definitely think of rendering like a signature. I feel like it's a calling card and saying, Oh, that's so until his work, because I can always seem to pick up on artists they admire by looking at the rendering in the shapes of shadows like you can just kind of see their style and go. That's so until his work. But I feel like the rendering really kind of reveals that. But again, all I'm doing is trying to soften up these edges. You see, a lot of times I will go with the direction, uh, of the muscle, the round over, not every time, but a lot of times it does make sense, so you can try practicing. Pick that thin lines that curve around that form, and it generally will look or dimensional. Because of that, you can also run lines parallel with the shadow like I'm doing here. That will help to, you know, widen out that value. Basically, like bring it out to the side a bit mawr and give it a bit more round over. Cross hatching is obviously going to darken it, and you can. You don't have to just crosshatch one direction or a second direction. I should say you can cross that as many times as you want. In fact, there's some pretty neat styles out there where they simply keep scribbling over and over again. By the end of it, it looks pretty darn cool. You know, if they're good at it. You gotta develop your ability toe No one to scribble, I guess. But it's still just shading. So just how you I used the technique and develop it like that bring some winds up this way , see him pushing down harder and then releasing its the same way I would do with the traditional pencil from using like a technical pencil or a two millimeter lead holder. It's the same concept. Generally sharpen my lead, uh, pretty fine so that I could get a a nice sharp point like I'm getting here. But then I also re sculpt the line a couple times so that I get picked that. Then it's just like that. You know, you can also do lines like this right through the form. If you're trying to maybe around over that bias up a little bit differently, do that last. But that's, you know, you can introduce some of those lines across a form. It's not a big deal definitely helps if you're going for ah, grittier style or if you're texturizing, your you know something within the scene within Ah, the character. Maybe a suit designed something like that. Okay, so no Let's get some. We put this into, Ah, heavier shadow so we can make larger lines like this and I'll show you how Weaken, cross over this a couple times at least 1/3 time. Get a deeper shadows. We could go with this. What this point of doing? A little bit, I guess of 45 getting these little diamonds in there. I can break these off in different points to so there's a transition. So notice that these lines come down a little bit further. There's my second transition or fade, and then I can come across these little diamonds I can change. The intensity of these lands is wall, so I could start off thicker and that I could get thinner. I'm gonna give me a nice little fade and not his. Well, I can break those off sooner, Actually, go a little bit sooner than that's what's more evident so I can break these off to here. So, hoping to see there's like three little transitions air fades. So yeah, all sorts of things you can do there. Okay, there's a little bit of tres up, and I didn't feel like the breaking Alice would be is noticeable. That's why I didn't worry about illustrating it. So that's that's another one of those muscles where again, you're going to learn them. You're going to sometimes from different ways. The arm is flax legs or flex. You're gonna use some parts of it. But again, other parts we're just gonna have to admit S O. I hope you don't learn all this stuff and then try to draw every muscle every time that's that's going to really ruin it. But then this is where he also studied from life, so that when you do study your anatomy books in your this series of lessons, Uh, when you look at life, you'll relate the two. So it's not one or the other. It's it's it's relating them back and forth all the time, every illustration. I mean, there's very few times when I'm illustrating, um, characters that I don't take the time to study, You know, again my anatomy books or life photos, or even just styles I like. They're really well done, probably, you know, the above, and then you relate that together and you get your own your old style, and we could really keep taking this as far as we need to weaken shadow more into the hand . You know, you can put a little serious of lines across the veins to bring those a little bit further away from the background. Priceline's off the side of the chest here. Could fade those off. Okay? Yes, it just like that. Like I said, with the hair of the bicep is a lot of these spots you could really just kind of crosshatch right through the middle is Well, you know, sometimes you can convey a little bit more of that that round over that way so you could come over here to the tricep, for example, like this kind of looks like a little bit of a shadow would be back there, so yes, so just play around that. But ultimately, all you're trying to dio is round over these forms and make them look and feel more dimensional. Uh, so that ah, that will conclude this part will head over to another example get you a few of these more dynamic examples so that you can hopefully, uh, start to implement this in your own work sooner. So, with that, let's move on to our next lesson. 14. L13 Drawing a Dynamic Arm Example 2 P1: All right. So for this example, I'd like to show you how from taking our previous study we can make something that looks more realistic, I guess. More stylized, but utilizing. You know, the information in front of us here, so established with the shoulder, is gonna be something that go up on the elbow, come back over, and so we'll just focus on the shoulder area. So we know we got, uh, we can start with angles at once again to kind of find the shapes. Let's do that. Let's just kind of drop in some angles. Based upon the reference that we have to the side, remember, down here gets a little tricky. So you want to add in, kind of, You know, I would say, you know, we're not going to think about the terrorists, major, but really, just the ladder, Miss stories. I mean, they're both together, but I would think you're gonna really think about that as the Latin at the Met, those separations. But we do want to get that bottom part of the deltoid in or back part of the deltoid. I should say, Get that in there. And then the tries up and the elbow and form. You see, it's pretty skewed from the 1st 1 but proportions were going very based upon. You know what type of character creating the style that you want things like that. So just get this in there and will start to sculpt in this. So, you know, I would think that from a view like this, you're going to see the bicep. Now, you know the bicep definition. Um, you're probably going to see the cortical breaky, Alice. That's usually pretty defined. Uh, and then from here, I can say that I really want to certain nudging this stuff around. Okay, so I feel like the deltoid needs to be back here more. The lab back here. Transept needs to kind of come into here. You see, when you combine both tricep muscles together, you know, there's a pretty big distance right there, right? So we could part bring the elbow more this way. Remember, you get that those wide sections right there on the bias up picture. All major comes up there and points out, I don't know that I would show all that definition in a character design. Probably just go for a little bit of that right here, I might show been an angle might show the other side of the Delta back. Should I think that's a little unrealistic fact? I think we're gonna want to bring this trapezes back here more and show more separation, you know, because again, we have to think about this deltoid shoulder rotating, and that's why we're seeing part of the bottom here. So in that case, I don't think we would see this other, Ah, head to the muscle. So that's that's kind of how you have to problem solve. As you're moving these things around, you got to kind of imagine Okay, well, this was here. You know, what would that do The other side and kind of play The, uh, play the imagination playback just kind of perceive what's going on there and try to make the best educated guess, You know, when not working from reference. And that's that's what I tend to do as much as possible because, you know, then when you get to have to produce this stuff on a tight deadline, you're not searching for photos or trying to take pictures, maybe for really tough shots. But you learn to start just making things work and, uh, you know, maneuvering around. So let's try to refine this a bit. No. Okay, let's go back here. Get the tricep in. Now, I think I've already mentioned, like, a so far as the separation that tries up. I tend to just see this right here. It looks like a little shark fin or something kind of elongated shark fin. And, uh, I think you see a little bit of the separation here. I think that's pretty evident. I always drawn the cortical breaking Alice. I think that's pretty evident. And then as I start to sculpt the deltoid into the chests into the pectorals Major, I just put a few more curves in there can. So I tend to see that and likewise here. So as it comes up, I might put this kind of been like that, something like that, and come up to the side here, the bicep. I think it would be pretty stretched out once they were really flex. And I think the forum would need to be tucked in more for this, the bicep to start looking more rounded. So in that case, I'm just going to, you know, leave it more stretched out, more elongated again as the as the form starts to come this way, then obviously you're gonna get more of, ah, of flex and the bicep, and it's gonna round out more. And I think that deltoid needs to be a little bit less visible to larger by comparison, and then the latte and terrorist major coming here. But I typically don't notice a split there even while defined characters. So again, I'm just making these decisions. And then you've got this rapist, anterior. We'll talk about this as we get into the the torso. But something like that. Now, we also know here you see that the Web illustrated the shoulder of actually made it look like the front deltoid eyes in front of the pectorals major in front of the chest. So So that's why I need to correct what I did there. I like the look of it, But after looking at my reference, I realized I'm actually going against what's really occurring in the body. And that would be, uh, you know, the chest would come up front so I could have a little bit of that band, but it needs to connect to the chest. The chest is too. Come over more. Apparently right there. In fact, Probably need to get rid of this line. Yeah, this is kind of a tough one, because I feel the urge to put in those little bumps almost seems strange like this to me. Um, you want the reference right off to the side. So, you know, again, this is where those things kind of start to occur, Where you might just make decisions that visually you like that visually seem appealing to you. I actually do feel like I'm gonna go against this. I feel like it just looks wrong. For some reason, I think it'll look more interesting to do this. Call me crazy, but this is, ah, more dynamic, expressive anatomy than it is me trying to draw. You draw realistic anatomy again. If that was the case, I would have to have photo reference up the entire time. And I just don't That's not really what I want to teach. You want to teach you how to style eyes and interpret what's there and then, you know, obviously recreated. Yeah, I figure like that So that's That's basically something that I would implement my own. Now the form is probably badly skewed as faras proportions, something I tend to notice with my own work is if I run out of paper and I don't have room to draw fully off that edge, I tend to condense the artwork. So be aware that it's always good to draw past your panel borders. I'm sure you've heard that a bunch of times, and it does make sense a seat in my own work quite significantly. Okay, so now what we'll do is head over to the next lesson. Continue to refine this since, you know, render it out a bit further. Eso with that, let's move on. 15. L14 Drawing a Dynamic Arm Example 2 P2: All right, So now we're gonna run to this even further, and you're gonna see I'm gonna be making some changes here. Part of what feels a little bit funny is just the fact that, you know, looking over at the reference, I could see that the pectorals major comes up higher, covers up the collarbone, even studied from some photos. And it does in fact, do that, especially on a very muscular character. So another thing that's gonna happen is based on the definition of the character. Trying to create certain bony landmarks are going to be more evident. Other ones will get covered from certain angles because the muscles do move. So again, when we raise that arm, the chest muscle comes in front of the deltoid. The delta, it can rolls back, especially the further back. We twist our arm towards our back, you know, just kind of picture the motion of reaching back toe to scratch your back on, then also there. There's actually a mistake. I just want to make sure to point it out, and I'll probably correct it, or we'll correct it for the final pdf's and that. But the Serena's interiors of Serena's that look like those little rib marks on the Latins Dorsey. Those are way too high as well. So again, I always tend to find that if I'm working on isolated part of the body, the areas where I work to the edge tend to suffer a little bit. Eso it's it's really a good idea to use more off, Ah, bigger white sheet or blank white canvas and allow yourself to sketch through it. You can always a race back, but then what happens is you able to find proportions and map things with more confidence. But the interior focus of the anatomy. The focus is really on the shoulder inside of the arm. I just want to show you those areas that again get often overlooked. But you can see now from going from the anatomy study to what I would consider still a stylized representation, but a little more realistic. As faras forms go and obviously shadows and we'll get here and we'll we're under out these shadows here shortly. I see that it it's quite different from that original anatomy study and eso bridging the gap is is probably the trickiest part, you know, So you go through and you study these muscles and where they start where they end up and maybe you learn some terminology, but then going to draw that, you know, with the the skin is quite different. And then obviously, when you start to mix and other variables like variety of characters and, you know, maybe characters that are overweight and obese versus you know, slim and tone eso lots of different things to kind of confuse the mind as we start to work through this. But hopefully this bridges the gap a little bit better for you to show you that again. You take what you study, but then you add your own creative flair to it and style. Eyes on. Remember to kind of another trick. For a lot of artists that did this type of stuff is avoiding areas of the the illustration that they don't understand yet on. I know that sounds maybe a bit like a cheat or again kind of kind of productive, in a sense, but at the same time, you know what's better? You know, putting something in there that is very evident, that you're not confident and you don't understand or omitting certain areas on and then taking time to study him. So and I don't mean totally omitting. I'm like, you know, if you can't draw feet, not draw feet, I don't mean that, but what I mean is, you don't need to be so specific in your style. So, for instance, if I don't really understand the inside of the arm like this, I could really get away with some bigger shapes of shadows. I could explain the forms that I do understand, like ones that are pretty evident. Bicep tries up, and I could use big shadows for those areas. And I think that if you really pay attention, especially if you're in the like comic illustration and things like dance, you know, storyboards in. But they use a lot more heavy reference, I would say comics and stylized representations. You'll see it. There's a lot of people that do that. They basically go for their strengths. They don't miss a hide, their weaknesses. But they also don't shed light on them, so they can use shapes of shadows. To do that, they can use less detail. So, for instance, the more you tend to detail something the more. You ultimately have to have an understanding of it, or at least a distinct style that allows you to make incorrect assumptions about the art. Ah, and that's just could be partially my opinion. But I want to share everything in these classes with you that I think my thought process and that's part of it. I tend to see that some artists will just kind of get the broad strokes of the body, and and that's fine. That's just a different style. And some of them are really well done. Some amazing art styles. I typically like a little bit more rendering and detail in the work. But that doesn't mean I really want you to think that. You know, that doesn't mean that you have to do it that way, that you can take this and you can experiment and just grab bits and pieces of what resonates with you. Implement that into your own work. But then, if something doesn't make sense, you don't force it, Okay, just just again. Take those bits and pieces that make sense that seem like they would make you a better artists. Utilize that and then keep pressing for but The main thing is that you study often. Um you always take time to study. You have been drawn over 20 years and I still study a lot. Obviously that's what I'm sharing here with you. Eso Yeah, that's that's probably the main thing I could say. And I know nobody likes to hear the practice practice practice, but it really is the thing that will ultimately just help you. Problem solved through all this. But I also think that you need to practice, practice, practice without frustration. So you also have to know when to stop. Take a break, relax the mind, come back to it with fresh eyes. You know, just fighting through something in frustration isn't always, Thea, I don't think is ever really the best solution. Unless you just under a tight deadline. You got to do what you gotta do. So now you see, it was some rendering on here some line weight and I wanted time lapse this one because we had already did this in a previous example. So I didn't want to be too redundant with you. I also want to give you some other lessons on how to like bridge the gap, so I don't want to appear like, you know. Hey, there's the anatomy study. And then here's the finished artwork. You know, I don't want it to be that type of instruction. So what I would like to do now is actually show you a couple work throughs. Practice activities where you can implement what we've learned this far. You can elaborate on it, but in a quick, easy method Ah, way that really focuses on you practicing mawr and implementing maybe some variety but a lot of quick studies, which again, is another thing that you want to do. So you want your studies where you go for full volume and you know more depth, more detail. You also want your studies where you knock out a bunch of, um, you know, I always think of, like gesture drawing with figure drawing. You want to really capture the energy of the way the body moves until, for instance, even with the shoulder study, uh, you see, I keep correcting or trying to correct the shoulder versus the collarbone versus the the trapezius pectorals major. So they're all kind of coincide in that area, and they get very tricky and, you know, gesture, drawing or quick sketches of this area of a bunch of different poses would have helped me come back to this and not that right out. I have no doubt. But instead of trying to fight through it, and that's why he'll see some are racing here. I tend to do both, but at the same time, remember that if you're just really not getting it, you're gonna go to some reference you're gonna go to some art. Do you admire where they have a really solid understanding of this area of the body or whatever and you're just gonna draw through it? You're gonna practice it, you're gonna even trace it just to learn the shapes. Then put it away. Come back to your own rendition and you'll be amazed. You'll probably get it the first or second try. So again, that's that idea of not working through frustration. Um, I do it sometimes because I want to challenge myself to see if I can really find the pieces to the puzzle. But I know it's not really the smartest way to work. You know, when we have to get things done, we have to work smart, Not hard, sometimes or probably all the time. And, uh oh, yeah, That was something I noticed with this particular part. So I want to share that. But again, we'll do some more practice studies up next, and hopefully that will unlock some more doors for you as faras the way you can experiment and study and learn this anatomy in a variety opposes relatively quickly, which is the main thing. So eso that'll conclude this lesson. I hope you've enjoyed this content so far. We'll move on to the next lesson and continue on. 16. L15 Drawing Various Arm Poses Practice Activity: Okay, So now for this exercise, we're going to practice Drawing a variety of arms and what this really is is a way for you to implement what you've learned this far. So what I want you to focus on here is trying to vary up things like proportions, definition, obviously different poses. You don't have to reach too far. If there's a certain pose you you're just not getting, then scratch it and go to something that you know for now, definitely take time to study poses that you're not aware of foreshortened poses. And keep in mind that reference can be anything in everything. I don't really take anything off the table. I don't think there's anything any such thing is good or bad reference. I know some people like to work from actual photography more than they like to work from studying from other artists. And but, for instance, one of the ways that you can really improve is to not only study artists of today's era, but look way back to the Renaissance and toe other artists that really developed what we used today for our anatomy and our ways of studying it and understanding it So I take nothing off the table, study everything you can get your eyes on. But again, the idea here is to really play around with the variables. You know, you say I'm moving things around trying some that will look ah, little bit strange. Like Maura Longuet it anatomy some that are bulky, some that are thin. So you want to try to express again. Lots of variation. No, I am going for more defined characters for the most part, because I want to be able to explain the anatomy better in that typically is going to be easier to deal with a defined character. Eso That's where you see me doing a lot of the segmentation, but also the the area here where I draw the anatomy and then I go back and softer, race it a bit, and then just pick and choose lines. So you're going to see that by the end is well that some of these the rendering will be ah bit different as well. So I want to play around with the idea that you're not going to see every bit of the anatomy. But you can use those landmarks you can use the insertion points, a starting point ending point of the muscle group to figure out how to draw the rest of the arm. And that's really why you want to study anatomy, because again, it's going to make it easier for you to work without reference because you're gonna understand were thing. Start with, end up how the forum twist on where the anatomy follows that you know, little things like where the breaking already. Alice, you know, points to the thumb. There's things like that. You really want to commit that part to memory and then drawn this stuff from your imagination will become a lot easier to dio. Or you might take a pose that's really close to what you need and just be able to change the hand of the shoulder, because again you have a little bit better understanding of where that anatomy would go. Eso you can basically kind of fake it and get the stuff that you need without search and, you know, endless hours on the Internet trying to find the right polls or setting up your tripod and taking just the right picture, which is really what I would recommend I would recommend you go with the tripod method before the Google search meth head because, ah, lot of times the searches can really kind of take you on a different path that can eat up a lot of time when using a tripod and taking photos. That's actually pretty common with a lot of famous artists that I've you know, I've studied and admired so again here, this re seeming soft to raise. I'm trying to render and refine it. I'm also adding in little stylized lines like I've talked about throughout these lessons. That's just personal preference. You can try and see if it works for you. I tend to think that it allows me to make the anatomy. I feel a little bit more interesting. But again, it might just be personal profits. It might look strange to some of you there that are looking at it like That's not really how anatomy goes, but again, I want to always kind of sign my work. I want always make it my own eso. That's tends to be Why go for that? And I always feel like if I had those little bits of curvature and little bumps in the lines and just almost like weird shapes or whatever. But it's ah tends to look a little bit more like anatomy for me, because if I don't do it, I tend to think a little bit more, uh, linear and two straight with my lines and too rigid. And I feel like I get a very different in result with my illustration. So that's really just paying attention to you know, how you might implement your own work and what what you might get free and results. So sometimes we have to think about the direction and you know, our process. You know, as we're completing this and we have to be aware of little things that impact negatively or positively to the work that we create. So again, for me, it's really kind of pushing some of those lines to be a little bit mawr, uh, exaggerated. And in turn, I feel like I get a little bit more organic and natural fields of the work. But likewise, if I are quite the opposite, if I don't do that, I get a very rigid and static and kind of boring feeling to the work, so you know that will probably change as I develop my art style. It's, you know, we're always, ah, work in progress in every little change that we start to make affect something else within our work. Um, that's why at times it could be a little bit confusing. Like, what do I work on next? Right, You know, it's like I want to just get better. Uh, and basically, just through sheer practice, you're gonna get better regardless. So when you don't know what to work on, just practice and studying will will help. But again, you're gonna have these spans in your artwork where you're not really changing a whole lot . And then all sudden, you'll maybe change the way that you do shapes of shadows or your line Wait, or your rendering or any you know, any number of the things that go into your work, and then all of a sudden it will just kind of click, and you'll start doing a certain thing better. Or maybe a Siris of certain things will immediately get better, all because you change something that you weren't maybe even paying attention to. You just kind of experimented one day, and it just made sense and eso. Yeah, So I think lion waits a big one like that's really what you see a lot of right here playing around with line wait, just kind of maneuvering things and changing shapes. Uh, another thing about that is that if you can get yourself to think of this like a puzzle, I think I mentioned that, you know, probably at least a few times in this series of lessons. That it very much is just a visual puzzle, you know, visual. And it's a it's a puzzle of the mind. So when you learn to move these shapes around, it's not that you're always going to figure it out like this is a perfect example. I I'm looking at this form is carried dinner. I really want to go back and edit it, and I probably should. It's just not right, but But you see, I'm moving things around. I'm trying to think on my feet. I'm trying to figure it out, OK, and it doesn't mean you're always gonna get there and do that, and sometimes you might even get frustrated and have to do a redrawn walk away from it. But sometimes you are gonna figure it out when sometimes you're gonna develop something new in in your work because of this. So again it's experimentation. It's that being willing to adjust things and try to re evaluate it because you ultimately want to learn to turn these shapes in your mind's eye on the page. Onda will probably do some exercise with that as well, cause that's I mean, that's really kind of what this is. But then another exercises to take just simply this forearm, for instance, and just slowly turn it in generations. It's not easy to do, and it's a great exercise because again, your training your mind toe look at these shapes and go. Why can draw from this perspective? But what if I turn it away from camera? Just another five degrees and then another 10 degrees in again? You're going, Teoh. Really strengthen your imagination. It's gonna be hard, though it's not an easy thing to dio on references. Definitely hard to find. For that, you would probably have to resort to a ah tripod and slowly turned the arm. But it's it's a great exercise, unless another one, another good reference that you might resource is three d sculpts. So one of the great things about that and looking online is it. And there are some maps, but I don't want to get into that. But if you find some good three d sculpt, some of them do turntables. There are animated GIFs of turntables a lot of times, so that's a character just kind of rotating on the page. That's a great way to, you know, experiment with looking at an arm, a leg, a torso, the whole body and slowly watching it turn. And I'm really paying attention to things like the way the arm comes in front of the rib cage. And you know how the shoulder looks in comparison to the pectorals major as the body rotates. Um, and then, obviously, if you can find a decent app, then you could raise the arms and really watch that. I know some people do use things like Dad's studio, and but I can't really attached to that, since I don't use that, but it's, you know, their stuff out there if you want to look into that as well. So this is a good example of trying to come up with poses that air that air Pretty, you know, Not typical. I guess so. Something that you look at it and go Well, this this isn't something I've probably have ever drawn. Or maybe I've drawn it, but it was a bit different, but this particular polls, I could say it probably never drawn this unless I can look back at one of my illustrations . Were characters running away from camera, So maybe something somewhere, but it's really important to find these types opposes, I think so. It's real easy to get in the habit of just drawing an arm down to the side like the one that's just left of this. But when you do, these types opposes, you really start to imagine the body a lot more dynamically, and then go while you know if I can get this one right. All those straight up and down our imposes become a lot easier for one. But then my characters can really do some pretty neat stuff. I mean, again, this is like a character running away from camera and that arms way up, Look up. If you're drawn, the flash or somebody or somebody, you know, in a comic just running away but it's Ah, it's a really good one to practice again. I think that we're better off spending our time trying to find those things that are not so typical. Eso. When you do see poses like this, whether or not your briefing the Internet or your your you see a comic that you like or book, you know, when you're how to draw books, anything, stop what you're doing and do a study of it. Does it have to be fully rendered? But if you see it appears very interesting to you, I really think that that you know your artistic mind is telling you something like you Wait a second, you really need to pay that. And I don't mean just stop and look at it. I mean, take the time to redraw it, even if it's a basic sketch, definitely, even if it's just gestural. But if you can do a little bit more refined version, your old style, I think that's better, So that would bring this section to a close. I hope you found these lessons to be highly informative. I'd love to see any work that you come up with. Remember, there's Associated PdF's of all these art files so that you can practice along and study and learn the terminology. So thank you very much for watching good luck with the art and I'll talk to you soon.