Illuminated Anatomy: An Immersive Exploration of Arms & Hands Through Drawing & Movement

1. Introduction: Hi everyone and welcome to our illuminated anatomy class. I'm Paul Richmond, I'm Domini an and we are going to be co teaching this, bringing each of our own expertise to all of you. I'm a painter and illustrator, artist and art teacher. One of the things that comes up a lot in my class is students want to learn how to draw hands and arms. It can be a real hang up for a beginning artist. We decided to create a whole course that is going to help you understand more about hands, arms from the inside out. And this is where Dominic's expertise comes into play. I work with bodies. I help people to fully inhabit their bodies. I have a long background in teaching movement and a long background in teaching. Eventually, it turned into teaching ballet and then teaching yoga pilates. There's a number of movement forms I teach, but really the way that I see, my purpose is that I help people fully inhabit their bodies. Movement is the conversation that we have with our physical selves. I also study anatomy. I teach anatomy to teachers in the context of how they teach movement. Dominic knows all the words and names and how things work. I know what they look like between the two of us. We have put together a course that will give you the opportunity to learn more about the anatomy, but then also sketch it, or paint it, or sculpt it, or use whatever artistic medium you like in order to capture what you're seeing. In these lessons, we really have the right ingredients. A map that illuminates the body. If you're taking this as a movement teacher, you're going to get the opportunity to feel it. And to give your students experiences where they can feel it too. Given what you saw, maybe what you drew on your skin or a piece of paper, or even what you traced with your fingers. Because the brain learns in many beautiful ways as visual artists, they always tell us, draw what you know, learn about the subject matter and when the subject is the body. You already have the tools available to yourself. But this course will give you more insights into why things do what they do. What's actually happening beneath your skin that's causing it to look the way that it does in different positions. That ability to intuitively see inside and know what's going on and then illustrate it. This course is great for anyone at any experienced level. If you are an absolute beginner, you won't have to unlearn a lot of stuff, you can just jump right in. But also more advanced artists who want to go back and learn some of these foundational skills so that you can make more convincing artwork in the human body matter if you're already experienced anatomist or if you're just trying to understand more about what's going on inside your skin. Every time we hear something, we understand it more deeply. And this is a very unique experience to bring the inside of your body to life. You're using it as a teacher in ways that you can also easily share with your students. We will do some quick sketching, two minute drawings, warm up, get you into the flow of sketching. As we're doing the sketches, we're also taking positions that are relevant to hand health. If you're doing this to maintain the health of your own hands, you can go back into that video and try some of the that we suggested and find ways to bring better ease of motion into your hands as an artist trying to draw those movements, getting to experience what it feels like to have your hand in those different positions will also help you to draw it more convincingly. We go into mapping out the skeleton, little body painting. You can do it yourself at home too, or you can sketch it out on paper. Or you can just watch and observe and feel the different parts of the arm and hand that we're talking about. Or you can grab a friend and make a really big map. I do recommend that we travel through, We give a lot of love risk. We address carpal tunnel syndrome. We explain how happens and we give you exercises to prevent it and also to alleviate, if you're suffering from potentially that artists experience that a lot because of how we keep our hands in the same position, give a lot of the joints, the open up movement possibilities. We look at the thumb, there's an argument that it's our opposable thumbs that have allowed the human brains develop as they did suffer from thumb pain. We have exercises that will help you understand why that's happening and then also again, how to alleviate that travel over the fingers. I have this great series of exercises at the end. We're going to do some longer poses with the painted arms so you can actually see underneath the skin in different positions and get the opportunity to draw them. Are you ready? Are you ready? All right. All right, let's do it. 2. Projects: Let's talk about the projects that we are going to be doing in this course. In the beginning lessons, we'll start by making some quick gestural drawings of hands and arms. At the same time, you'll be invited to try some of the poses so that you can see what it feels like to hold your arms and hands in those positions. Where do you feel the tension? What muscles are being activated in those poses? All of that will help you to draw it more convincingly. Then we're going to start illuminating some anatomy for you with body paint. I'll be using body paint on Dominic. Paint the bones and then the muscles. You're welcome to get some body paint and find somebody with a spare arm that you can paint on two. But we've also provided you with a PDF download that you can print out showing the outline of the arm and hand from both sides. So that you can just use your colored pencils or your markers and draw along with me on paper. After each body painting session, Domini will be doing a series of poses for you so that you can actually draw the bones and then the muscles in various poses and see the differences that happen as you move your body around. For those drawings, I'll be using black paper and prisma color colored pencils, Starting just with white when I'm drawing the bones, and then an assortment of colors for the muscles. We're going to have a lot of fun and I'm excited to get started. So let's go. 3. Materials: Let's go over the materials that I'll be using in this course. To start with, you'll just need some paper and drawing pencils because we'll be doing some quick gesture drawings of arms and hands. I'll be using this mixed media sketchbook and I like a two pencil. It's got a nice soft lead, so it's easy to draw with and notice no eraser. Because when you're doing gesture drawings, you don't want to stop to erase. Then when it's time to do drawings of the bones and muscles, I'll be using this black sketchbook and prisma color colored pencils, starting with just white for drawing the bones and then an assortment of colors for the muscles. And you can use any colors that you want. It's not necessary that you have the exact same materials as me. Use whatever you're comfortable with. Whatever you have handy, no pun intended. But make sure that you draw along with me so that you really understand these concepts as we discussed them. Lastly, we've provided you with a PDF download showing an outline of the arm and hand from both sides. You can print that out. You may want to print it a few times because there will be different layers that you'll be drawing. And that way you can draw along with me when I'm using body paint on Dominic. Now you're also welcome to get some body paint yourself and find someone with a random arm that you can paint on if you feel extra ambitious, but drawing on paper will work just fine to you. Go gather your materials and let's get started. 4. Gesture Drawing: Lesson 1: Hi, and welcome back to Illuminated Anatomy. In this lesson, we are going to start doing some gesture drawing, sharpen your pencils, and let's get started. In addition to drawing, I also like to encourage you to actually try out some of these movements for yourself so you can see what it feels like. And so that you can get the benefits of that movement and then draw it. There's also a huge level of learning that has to do with mimicking a shape before you see it so that you feel it, you're going to get a better sense of what's going on in the inside if you felt that. And then when you go back in to illustrate it with that aspect of your mind, it sets it in just a little deeper. Artists are always saying that hands are one of the hardest things. This is a great opportunity for you to really study it and learn about the anatomy in a new way and also just get more connected with your own body. You know how it's always hardest to write your own bio because you know yourself so well. It's hard to define because you could go anywhere. It's hard to rope yourself in as well as toot your own horn. But really I think it's about this definition because our hands are the instruments through which we influence our world. There is so much potential that I wonder if somewhere it's hardest to draw hands because they're the things that do everything for us. This is a great chance to just take that one subject and really get comfortable with it, and learn about it with someone who is very experienced and knowledgeable. I'm excited to learn, too. I feel like Mr. Rogers, when he goes and visits, one of the people in his neighborhood will listen to your. Today, we're going to visit the handle. Try the pose first yourself, and then draw it. So here's our first pose. It's a two minute pose. We're just going to rest the elbow on the table and bring the hand to an at rest position, whatever that is. What you're going to notice is that for one, there's never an entire rest. There's always a level of tension involved in the body to hold any shape. Right now, my arm is resisting gravity. The elbow is stacked with the wrist pretty vertically, so there's not a lot of effort there. The hand is falling off on the side. But unless they are under anesthetic or dead, there's still going to be a level of tension that you can see at the wrist to maintain a healthy bend here. In the same with the fingers, they haven't collapsed into gravity. That's what we're measuring. Your own level of tension is also going to have to do with where you hold pain or restriction in your body. We all do is what makes us, it's not that we're trying to fix or change anything, it's just about knowing ourselves a little drawing. Pay attention to the shapes of the negative spaces, the spaces in between the fingers or around the hands and the arm. Also interesting to note, do you tend to shake? We all tend to shake whenever we're holding positions that maintain a certain level of effort. Unless we have a neurological condition, we don't usually shake entirely at rest, which is what we have. But it's fun to notice what happens as you hold any position for a certain amount of time, because that's when the tissues begin to experience what's called time under tension, which is actually one of the healthy stresses that we usually put on our body. We want to make it stronger, grow and maintain mobility. Okay, you have ten more seconds. Time's up. Great job. For this next one, I'm going to use my non dominant hand. We always tend to lean on one side and do all the cool stuff with our other side. I have one client who called it the porch arm and the grill in arm. I love it for that. We're going to work on developing our capacity to connect to both sides. This next pose is all about tension. Going to start with curling in just that top joint of my fingers, then I'm going to curl in the next one. That next one corresponds to my thumb joint there that goes. And then I'm going to try to curl the next in the next. Then I'm going to close my entire, I'm going to slowly open this up. And then one more time, Paul is going to stop me at the best point to illustrate tension, and we'll take a 2 minutes sketch to that. Let's right here. I love that. Before shortening of the fingers, I'm just going to move my head of the way. 2 minutes and keep it loose. Just start with basic shapes, scribbly lines. We're not going for detail here, you're just trying to capture the essence of what you see as I'm doing this. I'm feeling work in the back of my knuckles and also in the front. Now we have a term called co contraction that I love. What it means or what it used to mean is that when one side of the body is working to shorten, the other side is being lengthened. But we've rephrased that now to say that when one side is working to shorten, the other side is working to lengthen because muscles are binary. They're either on or they're off. They're either contracting or they're at rest. There's no such thing as one half doing one thing and the other one taking a free ride. There's work involving the extension of my knuckles, and there's work involving the contraction of the front of the knuckles. I'm also beginning to feel this contraction moving all the way up into my upper arm. That's a term called muscle radiation. I had 55 seconds to go. This is a 2 minutes radiation tension you hold in a distal area of your body. Distal is further away from the center. Begins to connect into center. The longer you hold it because I'm under tension, your arm's not going to fall off. I'm telling myself this for you, Triss going to have such great definition after this. 26, I'm going to go ahead and put my hand on my upper arm to quell some of that tactile sensation is really great for reducing the sensation of pain. It changes the mechano receptors in the skin. Now my body is giving me different information on my upper arm apart from just Jesus Christ, he 4321. If you did that, make some wrist circles and do it on the other arm. Also, to stretch out the tension where I felt in my fit. I'm going to hold my hand down, I'm going to push my wrist forward to lengthen the entire line of muscle chain. Just contracting. Beautiful. I just want to draw all of these, that's why you case next pose under the hand completely at rest. I know that we started also with the hand at rest, but that was without as what I'm looking for here. Pre game, pregame, pregame shaking. Your body shaking is great for increasing mobility and also changing the nervous system sensation. Vibration is how we experience pretty much everything in the world. It's all collisions of vibration. We'll geek out about that some other time, over 2 minutes. Really, this is one of the most recognizable vibrations for the body. And then when I rest my hand, now granted it's the opposite arm, but still notice is a different angle at the wrist, Different Drake in the fingers. Beautiful. Get my head out of the way. Let's go. Okay, 2 minutes start drawing. And you're not trying to get every detail in these drawings, you're just capturing the essence of what you see and also what you felt when you did this motion yourself. It's interesting because I can feel my tissues begin to respond to gravity in a very different way after both the shaking but also the tension that was created. Just like listening to music and how you're prepped to appreciate a symphony. Once it starts after that first eight or 32 bars of intro. As you warm the body up and you give it a different experiences, it's able to go into movement at a deeper level. It becomes, in the sense, more plastic. When I'm doing a quick gesture drawing like this, I like to hold my pencil a little farther back away from the tip. That helps me not to overly control it or have too tight of a grip. It just keeps the lines a bit looser and freer. That's very helpful when you're trying to draw quickly. Well, now you can add hand model to that resume. Oh God, I need another job description thing is how much body work I do. I have these like intensely muscular climbers, hands with very short nails. I don't think anyone's going to buy any jewelry or risk for me, but it's great for drawing oh good bodies that tell stories. Yeah, absolutely. If you start with a looser sketchier line, then you can go back with whatever time you have left at the end and reinforce some of the edges with a darker, more controlled, cleaner line. I would encourage you to play around with the thickness of the line as well. Okay. Time's up to break in this one. What I'm going to do is I'm going to hold my elbow. Just going to make some wrist circles in either direction because all of that prep work has got my tendons and my ligaments really where it's a great time to explore your range of motion. Okay. Great job, everyone. Okay. In our next lesson, we are going to continue doing some more drawing and posing. I'll see you in. 5. Gesture Drawing: Lesson 2: Hi everyone, and welcome back to Illuminated Anatomy. In this lesson, we are going to continue doing some quick sketches of the arm and hand. Remember, you can always pause the video if you'd like to spend longer on your drawing. Let's get started, get some basic moves. But if we look at the structure of the arm, we have 12345 scenario where for the arm's ability to move in space, the way the skeleton built itself was with a single bone at the upper arm called the humerus. Then we have two bones in the forum called the ulna and the radius that allow for elbow movement and also rotation. They're super cool. I can't wait to get into this with you actually. This is a good time to do that. If you just put your hand around your forearm, I want you just to rotate your wrist with a little bit of an elbow bend. You can let your fingers begin to guide themselves into the crevices between your bones. You can feel how one bone, the radius, is actually going in a diagonal rotation over the Alma, which is the one that connects into the elbow. That's pretty cool because the fore arm is allowing the wrist a whole range of motion. Then we get into the wrist, we have two different stacks of bones, 3.4, we'll talk about all that later. They allow us to open and close the arm, and also different levels of a little bit of rotation in the palm. When our fingers get involved, they're able to do more stuff For this next exercise, which is calling progressive figure eights. We're going to start, we're going to hold the wrist here and we're just going to rotate our fingers back and forth. This hand is going to learn a whole lot about that as you're moving your other hand. Then we'll let the forearm go. I've got my elbow resting on the table right now, I'm seeing the possibilities of movement just from the forearm. If you have your hand on your bicep, you're going to feel some muscles helping you do that, but the humerus itself is not involved. Then finally, when we begin to straighten the elbow, that's when the upper arm of the shoulder begin to follow the movement of the hand. That's a rule that we can actually see anywhere. If you raise your arm up in space and your elbow is straight, the shoulder is going to follow. If you keep your arm straight, the shoulder is going to follow the hand in its range of motion. As soon as I bend the elbow, the shoulder can move independently at the hand. Going to go back to making some big figures, then take it back into smaller ones. What this is also allowing us to notice if you start to stare at your hand, is all those different angles that the fingers in the palm and the wrist can take in relation to the form. Then Paul is just going to stop me at any interesting place and say, we're going to sketch. I have so much power, I love it. Pause. Remember, as you draw, don't get hung up on tiny details. Look for big shapes. Draw very loose and sketchy. If you draw a whole bunch of lines, chances are one of them will be right. You can see here, I'm thinking about the dimensionality of the hand even in a very simplified geometric way. I do find that very helpful when I'm sketching. Every artist has a different approach to this. Don't feel like your drawings need to look like mine, but if you're struggling with where to start, I would suggest trying to break the form down into more geometric shapes, but still thinking about the fact that they are three dimensional shapes, giving them sides or edges, or making them appear rounded. That will just help you as you move through the sketch and start flushing it out a bit more. You always want to keep in mind the structure of what you're drawing. I find doing that loose quick base sketch really helps me to solidify the structure before I add more detail. All right, you have about 35 more seconds now. Everything you do with the body is very shorting is cat like because there is no baseline of you who didn't do it. You can look at progression through stretches and through awareness, but there was never a you that hadn't done that to try it first. You either have or you haven't. What I'm feeling now is my hand almost feels strong, holding this shape where the palm is resisting gravity. Do we know if that's because I was making fists, circles. We can make up a story about that because there's no me who didn't. We don't know. Welcome to science, love it. And with that. One of the most common issues that we have with our hands stems from the same problem that we have with the rest of our bodies. We forget how much potential for movement we actually have. Every single joint you have in your body is a possibility of movement. But if we don't activate that, we forget. Instead the movement begins to go to the more obvious places. For example, with the hands. If I'm going to make a fist or hold something, I'm probably contracting the big muscles in the palm. There's actually no muscles in the fingers, those just tendons. It's amazing. But these joints here also have a possibility of movement, especially when you're trying to manipulate fine instruments such as pens, paper, knives, darts. You want to be able to have control over all these joints. We're just going to work on restricting motion everywhere else. I'm going to take my left hand, I'm going to hold it back. Hold my right hand back to right beneath these joints here. And then I just contract. Don't you make me hold this post and I'm going to take it down by one. I'm just going to try to bend that without bending the other ones. Don't be surprised if certain fingers don't get with the program. We're going to let the thumb take a break here because it's a lot to focus on. It's like you have four delinquent children and you're asked to do chores and then you have to keep tabs on them. Good luck palm. Let's just focus on that. You can see my thumb really wants to help. So I just let it do that. Then if I wanted to go further, I could allow the wrist to bend. Now we can pop a wave. M I'm going to contract my index finger joint because 2 minutes is a long time and I know my right index finger can handle it. All right. 2 minutes, if you want to be mean to yourself, you could try doing it with your left ring finger. It's amazing how much. We just don't access certain fingers. And when you start to isolate movement by inhibiting movement in the others, like pulling one back and then just asking the ones we don't do much with, the ones less attached to our opposable thumbs. By the way, this is hard. Yeah. But I chose the easier it feels like there's great tension on that finger. Yeah. Now, I know this is a complicated one, but don't get freaked out by it, just focus on the shapes that you see. I find that it helps not to even mentally label things like fingers or wrists or any of the anatomy at this stage, when you're drawing really quickly, just look at those shapes, let go of the mental labels so you're not conjuring up your own image of what you think a hand or fingers are supposed to look like. And you're just responding to the shapes that you see in front of you. In other words, draw what you see, not what you know, and it will make it a lot easier. The other suggestion I would make at this stage, since there are a lot of interlocking fingers here, and the anatomy might appear different than how we're used to seeing a hand. Look for the relationships, the shapes, how does one finger relate to the one that's next to it? What is happening in those spaces in between the fingers? Look at all of the relationships that you see and try and capture those, rather than just drawing the outline of the form. If you're thinking about all of the elements as a whole, you'll have a better sense of the big picture. A time's up, yeah. Great job everyone. Okay, we're not finished yet. In our next lesson, we are going to do some more, just your drawings. I'll see you then. 6. Gesture Drawing: Lesson 3: Hi everyone and welcome back to Illuminated Anatomy and get your pencil sharpened, because we are going to continue doing some quick sketches in this lesson. Let's go, I want you to think about the mudras. If you haven't seen pictures of mudras, the sacred finger positions that are related to some yoga practices you could think of. They have meanings. I am not well versed in those, but what I love is their shapes. And what I also love is the neurological connection to our brain. I'm just going to make a shape and then talk about it because this is interesting. And then I'll try to talk with my hands. I'm going to attach my pinkies together and my middle finger together. And then I'm going to stretch my ring and my index away from each other. It could be a mask or a head piece, it could also be a goatee. But what it really is, is a fabulous stretch for my fingers and my nurse. I'm going to hold this shape for everyone. Let's get my head out of it. 2 minutes. This little face inside of the window, tell you about the homunculus. The homunculus is a part of the brain that's so cool. You should look it up on the Internet, because the Internet will give you some really cool pictures of a massive pair of hands, a huge pair of feet. And that a face with the lips is the most gargantuan thing, and that is the brain map of the homunculus. It's basically a place in our nervous system, part of our brain, that allocates for better mapping of our hands, our feet, and our face, especially our lips. Because those are the places where we need to learn the most about the world. Interesting because they're all located as neighbors in this conglomerate of information. That's why when you're circling your foot, sometimes your hand starts to go with you. If you're doing complicated things with your feet or your hands, you may notice that your tongue is also helping you. When we're working on these new experiences with our fingers, our brain is lighting up like fireworks on 4 July. It's not only activating awareness in our fingers, it's activating awareness in our face and our feet. One thing I want you to notice, after doing these exercises, do you feel different in your vision or in your expression as you speak? Or are your feet more conscious of how they're finding the ground? Because that, for me, is the most fascinating part about mapping the body. The connectedness of everything. Yeah, you work on one piece, you work on everything. That's cool. Yeah, 20 more seconds. And you ask like, why do we bother to define it if it's all one? Well, for the same reasons. We have physics and we also have God. They're not separate. But by humans, we categorize things and we separate them in order to make sense of things. We contrast one against the other, not because they're opposites. To better understand what makes them different, it's how we can have conversations with our world and then begin to manipulate and influence it. And with that, time's up. Okay, great job. One nice thing you can do for your hands. It just kind of ring out each finger individually. That will erase whatever you did. Pretty much like how you erase the picture. Right. And you can notice that the sensations that you give to your skin are not that different than how you would illustrate something on paper. We trace, we color in a blunt, throw away. No, no. You can start again. You can have a bath shake. Now, to conclude this lesson, we're going to reinvestigate our hand at rest. So that first position, I'll take my original arm, the dominant arm. And there we go. I think that's about what we had before. That's good. Okay. The first time that you drew the hand, you were probably just focusing on the overall shapes, maybe the outline of the form. This time, since you've had some practice now, trying to go a little deeper, trying to draw more interior lines. We're not just making an outline of the hand, but you're thinking about what is going on inside of each of those sections. Draw lines even if you don't see them on the model, but if you're aware of like where a knuckle is or where any bend or plane shift, try to draw those lines too. And that will help you to understand the structure of what you're seeing. Especially now that you've been moving your own hands and getting more connected with your body. Let all of that information come out as you draw this pose. I wonder, Paul, do you ever have the experience of accidentally drawing something much bigger than it is in real life? Yes, proportions are challenging. And with hands in particular, I tend to draw them too small. And then I've seen people who draw them too big. Everyone has their own tendencies. It's funny, I'm thinking too about our societal judgment about the size of hands. And you have the typical like sexual snarky stuff. Also something just about like a smaller personality or bigger personality? Yes. I remember when I was living in Israel, I also had something about the length of your arms that had a lot to do with how you were perceived. And there was a Prime Minister when I was in Israel, like when I was living there and people made fun of him because his arms were so short. Oh, wow. That's interesting. Yeah, it's just interesting what we project on that. And then also, I was thinking about it in the context of for body mapping. When we map a certain place in the body, if you look at it from the interior of yourself, it appears much larger. I'm wondering if when people are sketching, they may wind up drawing larger knuckles or a larger piece of the body that they just felt. I bet especially after doing this course, you will find yourself focusing more on the hands in your drawings. I know a lot of beginning artists, we draw people with their hands behind their back or in their pockets because they just don't even want to deal with it. But now it's all about the hands. It's nothing to be afraid of. All right. Time's up. Great job. Okay, I think we're all warmed up. So now in the next lesson, get ready because we are going to actually start illuminating some anatomy. How even 7. Bones: Lesson 1: Hi everyone and welcome back to Illuminated Anatomy. I'm so excited because in this lesson I get to start playing with body paint. We're going to be exploring the insides of our arms and hands over the next series of lessons by painting the bones and muscles on the surface of Dominic's skin. While I'm doing that, I'll have a diagram off to the side so that you can see exactly what it is I'm drawing. And I want to encourage you to print out our resources, PVF, so that you can draw or color right along with, you'll see two different options in the PDF depending on your comfort with drawing. The first option is literally just the outline of the arm so that you can actually draw the bones and the muscles along with me and then color them in. The second option already has those elements sketched out and you can just color them as we're learning about them in the lesson. This is sort of a choose your own adventure course. Try it both ways if you want to and see what works best for you. Throughout these lessons. Domini is also going to be sharing from her vast knowledge about how our bodies work. And she'll be demonstrating some different movements that you can try on your own so that you can feel these different parts of your body and actually get a sense of what's going on underneath the skin. Get everything ready, and let's get started learning about the humerus. It's time to do some painting. We're going to start with painting the bones of the arm. We're starting with the humerus, which is bone number one. If you look at the flow of the arm bones, it goes 12345, we're going to cover it all. We're starting with the humerus. The single bone we have in our upper arm starts off as a knob fitting into a socket. Basically, it's going to be coming down like this. Then when we get to the elbow, how you bend your elbow and you can feel those two pieces on either side of it. That's the edge of the humorous joint. It's half of the saddle joint. We're also going to be drawing that when we get down to here. It's there and there. The other piece is over here. The knobby bit, not the elbow knob, the back of your elbow knob bit. It's amazing how much muscle and how much sposial tissue we have packed. Our own bones appear darn skinny, excavate all of their exterior trappings. But what you realized is that the bones make space in the body, but it's the muscles that make the shapes and take the force. So helpful to understand what's happening under there as an artist so you can make the body feel more believable. An interesting piece about osteoporosis if you're concerned about bone density, because as we age, some of the inevitable deterioration of the meat car that we live in is that it begins to disintegrate, right? That's actually a principal tenet of typist philosophy, is just to accept the inevitable decay of everything in life. What happens to our bones is that the minerals that make them begin to dissolve. But it's through lack of stress that happens. Not moving and not moving. Our force in our body weight through the world and interacting with gravity actually begins to deteriorate the vessel that takes our souls around. Now, bones don't build themselves. Your muscles aren't overlaid over your bones, they grow into your bones. It's difficult to extricate them from the bone. And what happens is, as they're contracting and releasing to move us through space, they're tugging on the bone itself. It's that stimulus, that vibration into the bone that causes re, mineralize itself and continue building itself as we age. Keep moving. Yeah. Just remember that even if your bones have something going on with them, it's the muscles that move you. It's the springy, strong cells that are contracting and pumping, and moving the circulation through your body that deliberate life and also get you through even if there's an issue with the thing that makes the space, you can still make the shapes around it and probably be okay. Just do a little shadow. Okay. I like having you just draped over my esel here because I feel like you literally are my canvas. This is awesome. I'm enjoying it. Equally fall, this is very fun. I like the fact 382 because we want to remember this bone is on the interior of me. No matter what way I'm turning my arm around. That bone is in the middle and all these muscles are wrapping around it. Because we can't paint all of me white. What you're seeing is one perspective on this bone that has a saddle joint at the top, at the top of the elbow, at the bottom of the upper arm. Awesome work. Okay, we're not finished yet. In our next lesson, we're going to keep on going and learn about the Alma and radius. 8. Bones: Lesson 2: Hi everyone, and welcome back to Illuminated Anatomy. I hope you're enjoying this course as much as I am. In this lesson, we are going to learn about the humorous and the Alma. Be sure you have your printable PDF ready if you want to draw or color along with me. And practice the movements that Dominic will be demonstrating throughout the. All right, let's get started. Just put your fingers on either edge of your elbow and feel the nobby bits right here. Those are the two edges of what we painted, the edge of the saddle line, bend arm back and forth. The elbow bone, the one you rest on isn't part of that. Your elbow bone is part of your forearm. The two bones that attached to the humerus. Every time we have a joint in the body, it allows for more possibilities of movement. A joint is two bones intersecting at any level. Adding bones as possibilities as we're going through the 12345 we're adding is more possibilities of movement at every level. It's like when you understand squares enough here, this elbow bone is connecting to the big bone arm. That's called the Alma I said saddle joint a couple of times. The Na is never part of that saddle joint. The top of the ulna is also a U that fits in to the humerus. It allows for this movement and that movement if you just want to put your fingers together in two saddles here and see there's a lot of possibilities of movement in that kind of joint. The Ma is bigger on top and then it gets smaller as it comes down and it connects to the pinky finger side of the wrist. Let's just trace the ulna first. If you want to take your finger wrap around the bottom bone, draw up and then get to the edge of the elbow bone, scoop around that saddle and come back down through the interior. It's hard to get an accurate view of what the bone is because like we just described, the muscles are wrapped around it. They provide the meat. They're like the armor in a sense for our body. But we're still going to get a good sense of how this bone is. I've posed for some figure drawing classes, so I do have sympathy for that. It is very hard. It's amazing to still. Yeah, it's amazing how heavy your body gets. Yeah. After a time. Plus, I'm just not good at being still regardless. I'm always go. All right. Yeah. You think you still like you think you have a poker face? Yeah, I do not. We have one and then we have one half of two. I thought we could take a moment just to look at this saddled motion, right? The ulna is sliding inside the saddle of the humerus. And that happens no matter how my arm is rotated, No matter how the joint is moving. Black can happen because of the cool configuration radius. Think about the humerus and how it comes down. And it's got attachment points for two bones. One is fitting inside and then the other one. If you could imagine what would fit on my thumb. The shape that might fit on my thumb will be something like this. A little bit of a cap inside that edge that could allow a motion such as that. When you have the bone that fits inside of a cap that allows for more of this circular motion, the radius is doing that. The radius starts up on the other edge of the bone. You can feel in here, it's coming down to the thumb. And that's the one that's a little more camouflaged by muscle, tons of muscle, because it's not that big at the top. And the muscle is doing all the work the bone is making in the space and the joints providing options of movement. But this other knob down here, the thumb part of my wrist, that's the radius ends. Bones are never actually attached within a joint. It's the joint capsule. The ligams, basically all of the fascia which is like the intelligent connecting stuff in your body that will thicken and overlay itself in various levels of ten segrity based on the need of that area for movement and stress around the bones. We have these tight levels of fascia that we call tendons and ligaments or also lab rums, connective tissue things that keep bones together but also keep a little bit of fluid inside to provide for easy movements. You want to consider sacks or balloons that live around the joints that keep the lubrication there. Stuff doesn't get like a rusty door, because we don't want to have a rusty door. Rusty door. If you think about the work that we do with holding things like imagine holding a really heavy suitcase and you have to navigate it through doorway. Say you're going through grand scrustration, you're taking your suitcase onto a train. The amount of work you would have to do with a thumb edge of your hand, manipulate that suitcase while holding something heavy. It would make sense that the bone that attaches to the thumb side of your wrist would be the one that provides that mobility of rotation. The baby finger edge, which we typically use for less control would be the side that's more stabilizing. Shall we talk a little about loop? I think we show, now we have both bones of the fear. John, let's look at the possibility of rotation. It's really cool is how the radius is able to cross over the Alma, depending on the position of the wrist is what allows for that rotation. Once we get into the wrist, we're going to see a lot of the bones of the wrist exists to protect the tunnel of the nerves, which is called the carpal tunnel part of it. It's an actual tunnel inside all of these tiny bones that allow for lateral movement and flexion extension. But really, the rotation is coming from these two magnificent bones here and the muscles that surround. I just want you to imagine two different actions. First of all, turning a key, you're turning a key. Axis of rotation is really coming through the middle finger. That's one way in which these bones can rotate, another way in which they can rotate. It's like you're flipping the page of a book. Now, the axis of rotation is more happening for the baby finger attached to the al nut itself. That's two slightly different movements of these bones. And then I also want you to remember that when the elbow is straight, the humerus is involved. Most people have a lot of elbow tension. For example, this pain, Tennis elbow is a big thing, pain that originates here. It's helpful to two different body positions. Straight arms rotating. And you see how now my forearm is taking my humerus with it. That happens no matter where I am in space. But as soon as I found that elbow, my humerus is much more still. You can actually go anywhere it wants. Most of our restrictions of motion happen because we're not exploring it enough when you just start looking at the possibilities of movement and pick a couple. I have three different categories of exercise. One of my favorite ones is just called Yes, this is definitely in that category. Pick a bend, move your elbow, pick a different bend of the arm move. And that's really all you need, to start flashing out your movement. Great job everyone. Okay, in our next lesson, we are going to move on to the wrist bones. I'll see you then. 9. Bones: Lesson 3: Hi everyone and welcome back to Illuminated Anatomy. In this lesson, we're going to continue illuminating the anatomy by painting the wrist bones. And you can draw or color along on your principle resources PDF. In this lesson, we'll also be learning about something that affects a lot of artists and people in other professions too. And that's carpal tunnel. Okay, let's get started. Why do we have so many bones here? Let's all this together. The finger bones that are located inside of your palm and trace them up to their origin. They count alone, right? Sometimes they disappear inside of me tendons because our body is smart, that way you can trace them. You'll notice that we have just stuck all these bones in the sardines in a tin right up here. There's not a lot of that area. So we can feel it here, right? We can feel it here, but they're buried. All of these different tendons that are attaching to the bones that would allow for the possibility of movement and the resilience in our body. Because when we were walking on all fours were our heels transmitted the ground forces and the information about the ground up into our body so we knew how to navigate. We were swinging from trees, they were traction joints. These ligaments were holding us together because fascia is so strong you can hang an elephant off of it. When your hands are now your ankles in the trees, your wrists are a big part of what's directing your motion through everything. Although they're tiny inside of our body, they're mighty, they're great for different hand positions. When you're drawing and painting and sculpting too. Oh, you have the fine motor control. A because I don't want to overwhelm you with details because then we just forget the bigger picture. We're not going to name all these phones and we're not going to talk about their individual function. Because what I want you to stand is between Paul's and my description of how we see our hands, they allow for really big forces to be transmitted and the information about the Earth to come into us. And they help us to locomote. And they are also crucial for fine motor control, for expressing ourselves into the world. These are like our speakers for the world. This is an important piece of it, even though they're tiny. What I want to look at here because we have four AK, three wrist bones, is the possibility for space inside. What I'd like you to do is take your three fingers underneath your wrist, above this level, and see if you can feel spreading. May feel spread, you could push up, but then contract your wrist around that. Just see if you can find motion that way. Then we'll do the easier things. Let's pull the hand back and notice how these bones sink in because they're coming out the other side. Then if you flex your hand, they sink in the other way and they expand on the top that the camera energy a little bit. See, you are a natural born hand model. A hand fitness model. Yeah. Even better, yeah. And also there is that possibility of space which we're going to get into in just a second after we stack up those next four belts. It's all these multiple joint functions. And if you consider what goes on with our opposable thumbs, it makes sense that we've sunk the index finger underneath there because we really want to be emphasizing the ability of the thumb to open up and cross over. Gorgeous work. Thank you. Frustrating Wess inside. We can, again, to spring our fingers to the inside of our wrist and now look at the sliding of these bones, movement back and forth. But what I really want you to consider, I'm just going to give you a little lateral motion here because hey, bones are cool. You put your fingers here, what you were feeling this full time. You contract it in and out and you move back and forth. Feel it's like a tendon. It's called the flexitarm, which basically means the thing that flexes your fingers. Think of it as the achilles tendon of your palm. Your flexdgtorum forms the base of all of your wrist bones in between the flexdgatorum and these bones. The carpal bones is the carpal tunnel. Carpal tunnel syndrome being one of the most prevalent sources of distress for all of us because we've got our hands in the same position all the time. Arts pay attention to this because we definitely are guilty of that. Yeah. And the same with writers, all your nerves originate in your brain. They're folded up into a little tiny nervy tree of life or at the base of the spinal called the cerebellum through your spinal cord and love nerves. And then they extend in between each vertebrae and the nerves for your arms come off basically around your neck. They converge here what's called the brachial places like the ground central station of all of your nerves for your arms. They all have their own little pathways through here, through the tens. And all of a sudden everything by the hand goes through the carpal tunnel. When that gets stuck, that's the pain that goes in your hand, also through your shoulders, in your neck. And it basically affects your whole enjoyment of life and the way to prevent against that the tunnel open and we're doing the tunnel open, what could? We can stretch the hand this way. We can stretch it this way. We can stretch it that way. We can add some low stretch. We can extend the ten. Remember that fist that we had, less than one, Let's all do that right now. Curl the top of the fingers in, then the middle knuckle and make the thumb. And then make a fist. And then go ahead and stretch that. Feel that working? It's good for you. Go back and forth a few times, make some wrist circles, feel the work of the flexogitalus, the move of the bones. You can open your hand and make some figures because that's usually a lot for us to, we can do more later. But that's what's going to keep your carpal tunnel happy. Awesome. More. Okay, in our next lesson, we are continuing this journey and working on the bones of the hand. See them. 10. Bones: Lesson 4: Hi everyone, and welcome back to Illuminated Anatomy. In this lesson, we are going to be illustrating the bones of the hand. You can draw or color along in your printable resources, PPF. So let's get started. We have carpals in the hands, we have tarsals in the feet. Both of them are met up inside the palms. They're metacarpals. If you pull them back and forth, you'll see that ten is they're moving on top of them, but you can also feel the rigid bones underneath. Now we're going to paint the carpals. The knuckle is basically just the joint where the carpal is put into the phalanges. I love the curve of this graceful bone. It's just really helpful to remember that in between your bones you have fluid. It's not water, it's snow. Fluid is a slightly different make that, but basically this is beyond my comprehension. But there are positive and negative ions in the water electrical charge that basically creates enough tension that your bones, you're never bone on bone. There's always fluid in between the joints. In between the bones. It's amazing. Now, when people say that it has this dire sensibility around it, just say your bone on bone through. Right. You could be closer to the bone than you should be. Maybe there's ligaments that aren't supporting it, but no, your bones aren't just grinding on top of each other. That's good. Yeah. I always think it's interesting to look at old from before the Renaissance time, heads floating on top of is of fabric because they did not know what the body looked like. They weren't even allowed to see themselves naked, let alone, you know, someone else. Before the invention of Mertz, he certainly couldn't be naked in front of a lake. Figured out grade digging yet, right? It was artists who did that, though. They had to, so they could start to understand this stuff. And then of course, you know, one of the most famous invention, it wasn't just an artist, he was also an inventor. And he was really into machines and the mechanics of it. And you could, you could understand the fascination with the biomechanics of the body would also be a great jumping off point for them looking at birds and figuring out winged flying machines to understand all of that. I mean, they were already building buildings. They understood structural support and fascia in the context of how you support a building. Yeah, they just didn't know what was going on in here. Yeah. They just apparently weren't allowed to look at that. Now we're allowed to look at bodies. Je, civilization. I want you to appreciate the thing of beauty. What's really wonderful about this is how you can see the shapes in the space the metacarpals make. And I want you to really appreciate the amount of space we have between the thumb and the index finger. All of this is filled with muscles and ligaments that allow us to have our opposable thumbs. There we go, that's the angle I want you to see in here. There's a thing called the thenar eminence. And we also will tend to refer to this whole areas like the thenar eminence. But this is another source of a lot of paint for people because we looked at before. Joints can bend in all these different ways. For the thumb, it has two possibilities of bending. It can bend towards the index, There's one tendon that does that. There's another one that touches towards the middle finger that causes more of the grip of our entire opposable thumb. That's why we have so much space in between the bones that's held together with this fossil spider web of movement possibility. The easiest way that you can maintain your thumb health, hold your thumb back then just move this top joint here. You can also see this joint works at an angle, it's not going in. The rest of the fingers go into the palm. This one goes across the pump. Don't get frustrated. If when you bend it this way is doing something different because then you're pulling on a different ligament. Just let the thumb bend. Then see if you can close it towards the index and then let it come all the way to the baby finger. Then after you do a few of those, you can also make thumb circles that's going to help keep the health of this area. Motion also stretches, massaging, all of those are really good because our opposable thumbs means that we're gripping in, we're very rarely moving out. So we want to look at that opposite range of motion. Remembering our 12345, well technically it's 12345554. Right. A lot of numbers, a lot of numbers. Math much beautiful to look at. But yeah. So your thumb also has one less piece than the rest of your fingers. We often forget that these joints that we have where the phalanges intersect with the metacarpals, they're all pretty much just hinge joints. Hinge joints have the least available range of motion, right? It's just flexion and extension where the metacarpals connect to the phalanges here. There's also the possibility of movement and rotations. There's a little more here, but then we get into the phalanges. Just clarify, that's where we have just the hinge joint aspect of it. The actual shape of the joint might look a little different. But as opposed to trying to illustrate that, we're trying to paint in two dimensions, a very three dimensional shape. Just remember that as we get out towards the finger knuckles, the possibilities of joint movement are less. To test that, all you really have to do is see if you can move the joints of your fingers side to side. Not so much, but they can go forward and back. All we're saying, drawing hands without an awareness of the structure within the fingers, you end up with hands that just look like they have, you know, four litle sausages stuck on the end of them. So really thinking about that structure makes them come to life. I tend to draw things more geometrically at first. Straighter lines, kind of boxier so that I don't forget about the structure that makes sense To make convincing shapes, you would need to start with the bones with that structure and then add the movement on top of it, which would be like the overlay of the muscles and then the flow of the clothing on top of that. It's crazy as fingernails are just an extension of all the fascia. They go from inside the skin to out. It's very hard to differentiate. They also, fingernails respond to vibration and pressure. What I learned from my third grade sons class is that fingernails grow faster and harder for pimple players of the vibration that's being impacted. Wow, we can make a correlation with that, with the impact of vibration that's necessary to combat, again, osteoporosis that you need forces going through the body, which is why jumping and vibration machines are so good for bone health. Really that causes somehow the cells to overlay themselves more thickly. Great job. Okay, in our next lesson we're going to take advantage of all this body paint now and Domini is going to do a variety of poses for you. So that you can do some, just your drawing, but showing what the bones are doing in the various poses. The. 11. Bones: Poses: Hi everyone, and welcome back to Illuminated Anatomy. Now you didn't think we were going to let that beautiful body painting go to waste, did you? In this lesson, we're going to give you the opportunity to do some drawings of the bones as we see them painted on Domini's arm. At the beginning of the video, I'm going to demonstrate one for you. We can draw it together. I'll be using a white prisma color pencil on black paper, but you're welcome to use any materials that you'd like. And then after that demonstration, I'm going to provide you with a bunch of other poses that you can draw on your own. I'll freeze the video at various points and then you can pause it. As long as you'd like to complete your drawings, you do not need to draw every single pose, but pick the ones that seem most interesting to you. Let's get started. Okay, this is going to be fun. I am going right into it with my white prismacolor colored pencil, just very lightly sketching the lines first. It's a little bit harder to erase with colored pencils, have a very light touch as you're starting out. You can lift it up if you haven't needed eraser. But again, just like the gesture drawings we did earlier, I would recommend just continuing on. If you make a line that isn't exactly where you want it, just make another one next to it, a little bit darker. But I'm giving myself some guidelines for where I want everything to be. And then I will start filling in some of those bone shapes a little bit more, starting with the humorous, then going down to radius and Alna. I think it's so interesting to look at the pose and we see Domini and her arm position and how she is standing there and pressing her hand against the wall and the positions that each of her fingers are in. And then being able to look through the skin in a way and draw what are the bones actually doing underneath all of that. This is such a great opportunity to really do a visual dissection. I'm just going in and very roughly estimating where all of those finger bones go. We're not trying for exact scientific illustrations here. This is more to help you start thinking about how all of those things that are occurring underneath the skin effect what we see and how we move. The harder that you press with the pencil, the lighter it will be. It's a reversal of what we're used to when we draw with the dark pencil on white paper. If you want to give the bones a bit of a sense of dimensionality, you can go in and give them a bit of a highlight by pressing harder in some areas similar to what I did actually with the body paint on Domini. We're just working our way up from the dark of the paper. If you want to go in and actually draw the outline of the arm and hand, you certainly can do that. I did not do that here in this example. I am just wanting to focus on the skeletal structure for my sketch. Take the time to go back and refine any of the shapes that may need it. Then when you're ready, go ahead and watch the rest of this video to choose a few more poses that you can practice on your own. When you see one that you like, pause it, hold it as long as necessary so that you can capture everything in your drawing. Have fun. Great job, everyone. Now in our next lesson, we're going to keep illuminating some more anatomy. This time painting the muscles of the arm. I'll see you then. 12. Rubber Band Exercises: Hi everyone, and welcome back to Illuminated Anatomy. In this lesson, we're going to take a little break from drawing and coloring. And do some hand exercises with Dominic. And all you'll need is a rubber band. Let's get started. First of all, we're going to admire Paul's beautiful handiwork. Handiwork. I like the check out the finger away. So all of these positions that we're making have to do with expressions and dexterity. I'm a big fan of making exercise tools at a common household equipment. So what we have today, which I dug out of my car, broccoli rubber band, Asparagus rubber band, these are goals we're ever suffering. Hand pain, Just go by a bunch of asparagus. Leave the asparagus at the counter, walk away with the rubber. And a scrunchy poking is scrunchy. Thank you. I don't think you would, so I want to look for a second. All of these are slightly different resistances, so this is kind of a nice medium resistance. The broccoli is stronger, this one has a lot of movement. We could also equate this to things in the body like this could be the denser fossil tissue like a tendon or ligament. This could be like a muscle. It's got a little more range of motion that could be like the Pasha's bouncy resilient and makes everything go together. Some hand exercises for our fingers. Remember how I was talking about all these different possibilities of movement? We're going to isolate those possibilities of movement now. Okay, We'll start with an easy warm, I just want you to take the spread sheet in, all of your fingers in your thumbs, and you're going to squish it together like you're crushing his head. You have made bed and stretch a couple of times and feel that tension going in into the wrist and let's go back and forth. You can make the wrist move here and then let's do the reverse. Take the rubber band, which is called the bands around the edge of our fingers, and we're going to extend the fingers out. Yeah, this is where it turns into a dinosaur puppet show. Now let's look at some actual movement. What I want you to do is loop the band on the back of your pinky and then take it around the front of your thumb that's pulling these two edges back. Remember that we had these two different directions of movement for the thumb. We had it coming in from the middle finger, which basically heading towards the pink, or we have it crossing over towards just the index. Let's separate out both of those. Take your hand inside the pond to keep it open. And we're just going to do the thumb knuckle. First of all, it's nice because this is pulling it open so you can feel the joint move. And now we're going to bring the thumb towards the index. I'm going to show you this movement from here. And then we're going to take it all the way to the pinky and back around is like a little hand workout. I like this. That is the plant that is a couple of circles and then take it out. Sets. Nice. Yeah. So now we're going to take the bat and we're going to pull back behind the index. I just want you to move your index finger back and forth. Separate out, this can feel really good for you. Sometimes it feels that the inside of your fingers are needing something. This is what they need. And they need that tactile stimulation, all the way to where the metacarpals turn to the phalanges. You see that with each one. Now as you get to the less dexterous fingers, it may be harder and harder to control that movement. Maybe other fingers want to help. Hm. You can do poll, hold the back and then go ahead and do that then with the pink. Another fun thing, if your body can't do movement in one direction. Say my pinky had a hard time even folding in. What I can do would be change the bat and guide it in that direction. And then have it move back up out of it. And that will actually teach it both ranges of motion. Go back, we're going to go to the actual knuckle joints. Just bend your thumb back and forth and then go to the index. Same thing. I go to give you all the cold views because I feel like I'm stealing the best views of my hand by staring at the back of it here. Then this one. See this one. My middle finger has a hard time extending so I can pull it back up with a rubber band and then push down on it might 27 bones in the hand. A zillion. Yeah. This is the accurate number possible join rotation. We're not going to cover them all, but what you want to do is cover some. Let's just end with a couple of thumb circles because that's important for that. You can brace your hand against your knee so the palm doesn't get involved. And then guide the thumb around with the elastic band if you need help. It's funny because I've got a range that I don't usually do it in. Here I go, I'm helping my thumb right. And then after a while, you can provide it with resistance. So your thumb pushes into the band. And that can be so nice for your wrists now that you have it going in one direction, change it, you can't keep it. No, staying in the comfort zone with the S. And then finally jazz hands. We're going to do is we're going to the band all the way through our fingers. I'm going to loop out my thumb. I'm going to cross it to bring my index in. I'm going to cross it again through it. Michael Jackson gloves feeling okay. Stretch it. Yeah. And then just to end, stands. Okay. Now that your hands all warmed up, get ready. In our next lesson, we are going to start exploring the muscles of the arm. I'll see you then. 13. Arm Muscles: Lesson 1: Hi everyone, and welcome back to Illuminated Anatomy. In this lesson, we are going to start exploring the muscles of the arm, beginning with the biceps. Dominees are more pronounced than mine, so you can wait and look at her again. You can draw or color along in our printable resources, PBF. Gather your materials and let's get started. We covered these landmarks, the bony landmarks of the buttons, which is so helpful just to understand the basics of how our body mobilizes. I said before, the bones are space makers and the muscles are the shape makers. Which gets complicated because there's so many different shapes. We like shapes as artists are helpful. So we want to just remember as we get into these nests of muscles that help us to do all these movements that the purpose is to make these beautiful shapes are not going to get too lost in what every single one is called or exactly where it goes. Okay, let's start again up at the top of the shoulder where the single arm bone of the humerus connects into our shoulders. Take your hand and put it on the top of your shoulder for a second and see if you can let your hand fall into the topography of the top of your shoulder. If you move your shoulder around, you'll start to feel all these hollows developing things pushing up for me, it always feels like I'm feeling the Lock Ness Monster, the deep. All these hollows that develop are places where the muscles are inserting as they're activating things go in. The stuff that goes out is the places where the muscles are flexing. They're contracting and they're getting thicker. The shape of our muscles change as we move them. Now, let's just let our fingers walk into some of these groups. You're going to start the collar bone, which is this long, thin bone that comes across and this is a piece of your shoulder joint. This want you to feel the edge of that. There's going to be some muscles that are coming down in grooves beneath that. Now, if we go in and down, and then let's just move our arm up and down, you're feeling your delfoid muscle. It's a big one. But underneath that, can you feel how there's this action of the arm bone itself that goes up and down? As that happens, there's a piece that goes in and then it goes out. As it goes up and down, they may or may not be able to catch that with your fingers and show it to you. It's doing this. And that's the place where the humerus inserts into the shoulder socket. The shoulder socket is coming off of our backs. Our scapula forms the other piece of our shoulders. Here I've got this finger is my color bone and this hand is a scapula. They're working together to allow for our arm to move in the shoulder joint. Here are these pieces of my scapula. This lower piece is where the socket is for the arm bone to insert. Just feel down in here. There's like a little bit of a dip that's about the area where your shoulder joint lives from here. One last thing, easy. We're just going to trace the arm bone. I want you to find the place, if you can move your arm around, you're going to find the spot where there's a valley where there's less muscle. If you dig in a little bit, you can start to feel something firm that's the most visible, palpable edge of your humerus. Just trace that down. Eventually it disappears into this squishy nest of these muscles that let our elbows move. We're going to start with just painting the deepest muscle, which is not the ones that we're familiar with. We have muscles that I call vanity muscles in the body. They're the ones that push out. When you're training, you feel really good about them. We have a lot in our arms also, because the first piece of yourself, you can see the biceps triceps, which we know less of the vanity muscle. They're big, they're like landmarks. But there's also these muscles that live really close to the bones that are equally important. And this is where we're starting. We're starting with brachialis, the major flexer for the elbow. If you just stick your hands back into where you're feeling, you're humerus and then bend, straighten your elbow. You may feel different muscles pulling up at different times. One of these is break yells. I'm going to try not to flex, okay? What we're wanting to do here is keep my arm really flat because we don't want to get confused and think that we're painting a piece of the biceps, the exterior, more vanity based muscles because we recognize them. This one is really flat in against my bone. And striation's cool too. When you start looking at they always have these lines drawn on muscles. Those are the directions of the muscles, flex and extend. We'll cover that a little more when we get to the hand because we have Paul painting these lines this way. It means that this is the direction it shortens this way. And then it stretches back out, following those directional lines. Gorgeous. Now we're going to go up to the big guys. All right, now we're going to start with vanity. Why not? My breath. Let's go for biceps. We do have terms for how many pieces of the muscle there are with the bicep. It's like it's two parts. Sometimes they'll say it has two heads because muscles will do these things where they originate, they all wind up attaching and then having a unified front. On the other side, the bicep has two heads, therefore there's two of it. It's attaching over the top of the humerus is one and then the other one is a little behind it. They're wrapping over the shoulder because our body is smart, right? A lot of muscles over dos, like if you wrap a towel around a door knob, the deli is covering the bicep head. Imagine we've flipped up that big triangular muscle and the other one is a little further back. I'm just going to flex here so you can see them. They're coming down. They're basically just inserting the same place as the brachialis, which is why we're going to start to cover the deeper muscle. Now they're going underneath the Deltoy, which is basically in the armpit. By the way, it's really helpful to remember, skeletons don't have armpits. Armpits are comprised of the muscles that connect the front and back of your body to your arm. It's a big strong parachute. What do you think of when you're drawing dynamic movement of the arm? You're painting someone who is throwing a ball. What would you consider? Where is the tension? Where is the pressure? Because you can see that. And it affects the overall shape of the form. When I am drawing and painting figures, I will get into the poses myself so I can see what they feel like. And then if I can feel that movement and tension, you can illustrate it even just by using thicker lines at the point where maybe there is some sort of a tension or pressure. A flex, yeah. And also with the flex, you got a lot more shadows going on. And if the muscle is at rest, artists had to go and dig up bodies and study them in secret because that was forbidden. But as soon as they started doing that, then the artwork became much more believable. I just always think it's amazing how all of these things that we think are unseen really affect what happens on the surface. And understanding that makes your art so much better. Yeah. I just considering Michelangelo would not have been the artist that he is, had he not been able to go and attend these dissections that were happening at that time, which by the way, were happening in the candlelight, in the dark, only in the winter. A lot of their illustrations are still used today, which is incredible and they're incredibly accurate. There's still so much respect for Leonard Vince's illustrations, even in the anatomy community now as you would you feel a little bad covering up your dragon. The dragon is so permanent. Perhaps he would like a rest being a point of conversation. Yes. Something you realize about tattoos. Actually, you got them. They're highly permanent and they're forever going to be one of the first things people need about you. You decide to cover the learned a lot about my own arm anatomy when I got my tattoo and how much more painful it was to have the seria be getting to those. Yeah, When I got my tattoos, the reasons that they gave for certain places being more excruciating than others was that there was less fat on the skin or it was closer to the bone. But really now that we've been doing all this research into neurobiology and neuro anatomy, the reasons why they're excruciating is because these are the places where we have a lot more nerve endings close to the skin. Think it really helps to do a little bit of this shading. It helps me to understand that they are three dimensional things. And not just like a little flat shape on the, I would assume it's almost like adding a spherical perspective of movement to the body. Similar to how you would have those lines called when you it's like a point of origin in the background. Vanishing point. Yeah, vanishing point to have that with the muscles because even as they're moving, they're flexing in different ways. Let's just give the biceps a little moment of appreciation. Your bicep is happening from both sides of your humorous. Letting you do that. Pulling the hand towards the shoulder, engaging our body as we swing from trees. Or do the everything that brings our body closer to our hand and then pushes it further away. The biceps are going to be involved, they're busy. Yeah. They cross over the elbow joint and the shoulder joint. The biceps are involved in moving at the shoulder and moving at the elbow. Okay, great job everyone. In our next lesson, we're going to continue painting the arm muscles. I'll see you then. 14. Arm Muscles: Lesson 2: Hi everyone and welcome back to Illuminated Anatomy. In this lesson, we are going to continue exploring the muscles of the arm, including the triceps, draw or color along in the printable resources PDF. And as always, remember to practice the movement exercises yourself that Domini is demonstrating throughout these. All right, gather your materials and let's get started the trip. Remember, biceps would be two of them. Triceps means they have three heads. However, one of them is hidden by the body, so we're going to see two pieces of it. That's the opposite of Amity muscle, it's still very helpful. Triceps, if you think about tricep work, it's stuff that pulls your arm behind your body. That's when that flexes. If I'm betting my elbow, the tricep might also be involved and it's like much longer because that's crossing over the eight stretching the triceps. And they also extend the arm. I want you to bring your arm above your head. I can actually do it on my non painted arm here. And then put your hand here. Now straighten and bend your elbow. Do you feel this muscle flexing as you straighten the elbow? That's one action that the triceps does, and then another one that does that moves the arm behind the body. It's harder to get our other hand behind our body. Just take my word. I will trip. Brings your arm behind your body. It also serves a function of delaying bicep movement. There's a reciprocity on either side of the body with the muscles. And as I am contracting my biceps, my triceps is slowing the movement down. Or say I accidentally smack myself face my little building. And the reverse is also true. As my trip begins to extend the elbow or pull back, my bicep is slowing that down. If you're at all confused where they live on your body, all I have to do is get a couple of soup cans or some bottle of bottles of water and start to flex your arm behind your body a little bit. And straighten the, bend the elbow and you will feel your triceps. I like that where you're doing it in layers too, so that we can just do the bicep first and see what that looks like on its own and then the next one on top. Yeah, it's helpful when you start getting into anatomy because the body itself doesn't need to create separation. That's one thing. Yeah. It divides muscles up into, I think, intentionalities for movement. It separates itself where it needs to, but also your body doesn't really care which one is lying on top of the other. It's not how it experiences movement, experiences movement from the inside out, and also is an impulse from your brain. It's very unified. One thing that you learn very quickly with anatomy is in order to see one thing, you have to remove another. And it's often where the origins of that is. Yeah, I think just painting the layers is really helpful for us to at least do that thing where our brains seek to separate and compartmentalize in order to understand that's similar to a lot of different things in art. Really, when you are trying to understand concepts like color theory or whatever, you are thinking about it, you're breaking things down into all these terms and categorizing them. But it's really all just to understand something that is actually very intuitive and natural. And when I'm painting, I'm not thinking about those terms, I'm just using that information. But it does help to take the time to learn what each individual thing is and why it does what it does. Yeah, 100% I would imagine that when you're going into color mixing, they are often very counter intuitive combination. Oh my gosh, yes. But understanding why that element would be there and how it interacts would be everything. Then you have control over your expression. Nobody wants to just sit around and paint color wheels and color charts all day. But if you spend a little time doing it, then when you're actually painting something fun, you can do a lot more with that information. Yeah, it's like practicing your scales on piano or doing tiny isometric exercises with the body. All right. We have some, right? Yeah, there's one more muscle we're going to paint which is the brachial radialis. It's like a longer flexer for the forearm and it originates inside that bone where we paint the brachialis in the beginning, which is now almost disappear. There seems to be a lot of dead space, but there's really no dead space in the human body. Some of this is going to wind up being covered with the muscles from the forearm that are wrapping around the elbow, but even more so than that, we have this whole other layer that we're not painting. It's the superficial fascia. This is our fat and we love our fat. Our fat makes a nerves happy and it protects our bodies. It's going to be filling in these spaces around where the muscles are moving our bones to move us through space. Fat responds differently to movement than muscles is how it looks in the body. If you have someone who has a lot more fat on their Os and less muscle, it's going to wind up being less definition than movement. There might be some hanging folds, but it's also a different texture. Volume is also something to think about when you're drawing and painting. And I personally love it when I was in figure drawing classes, when we had fuller figured models because there's just so many more interesting shapes to draw. I love that, I love the whole like Rubinesque period of painting. Those models are just so gorgeous. Rolling hills of body. Yeah, it's oh my gosh. It's all about appreciating all bodies. I think, Yeah, I think so too. Thinking about the more perceived darkness or shadow of a more muscular body and how body builders oil themselves up for more competitions so that the tract fits them in a certain way. Yes, absolutely. Another interesting thing to look at that I do when I'm filming on my Galileo. Galileo is a machine that drives muscle contractions from the outside. It's interesting to see how the whole muscle responds. I try for side lighting because that's the best contrast shadow as opposed to something going above which would blend over the whole body. That's not the lighting that tends to be used in editorial shoots or magazines. I like that side, dramatic lighting. When I'm painting and drawing, it just highlights everything. It makes it feel more three dimensional shots, just really pretty to look at how they all just weave together. Yeah, it's like leaves and rivers inside the body. Yeah, actually get into dissection. There's a lot of food reference. It's almost impossible to not make food reference as much as we try to. I kept on referring to the periosteal there, which is like the fascia that rafts are on the bone that resembles bones. Croissant D, four. Last night of course I had to go eat a cissanire because we love superficial fascia. That thing. Yeah. I think what I really appreciate about what we're doing here too, Paul, is that we're showing up from the inside out. Much as that is challenging fire just to put on a muscle unitard. Yeah. You basically would just get the superficial view. It's like all the vanity. What we're able to show here is what's going on underneath. Yes. And it all plays a part. It's not just those of us that like attention, that are important. It's everyone. Everyone has their role. Yeah. It's like the back stage muscles. Right. Everyone needs to take the bow as like me versus my husband who likes to stay in shadows. He's that little pink. One great job, everyone. Okay. In our next lesson, Dominic is going to be demonstrating a variety of poses that utilize the muscles that we've just learned about. See the 15. Arm Muscles: Lesson 3: Hi everyone and welcome back to Illuminated Anatomy. In this lesson, Dominic is going to be demonstrating some exercises and movements that utilize the muscles that we've already learned about. I want to encourage you to try some of these exercises yourself and also pause the video whenever you see a pose that you like and do a quick gesture drawing, including the muscles. All right, let's get started. So we're going to do a little bit of posing with the muscles here, see how they move. I'm going to start with activating the triceps, pulling the arm behind the body. Let's give a couple of these of this. Then also the triceps work to straighten the elbow. Now the biceps are working to bring the hand closer to the body to flex the elbow. Then also anything that activates that relationship of hand to the body, which is an easier way to think of it because movement isn't binary. Right? I wanted to just do that without any load. They were to add load. Adding load means making it harder for the muscles to work. We have a frying pan here. It was basically the tool all of us trainers were using during covid and when everybody ordered weights at home. Right? Prison crawl weights got really expensive but they haven't come down in price. Shocking. Anyhow, now that I'm unfolding something heavy, we can really see some work happen, right? Tricep extension. Tricep extension biceps. See let's get like an inside view here. And so you see how my biceps aren't even allowing me to release because the way the frying pan is a lot from my arm. The hold, that distal range, now they're released. But as soon as I take that hand away, then again, let's do a little tricep extension here. I just want to get that also triceps. Then we're just going to do some tricep dips and some push ups on the stool. Going to start with tricep dips, that's back here. And a couple of push ups. A triceps and biceps are both working to move my body towards and away from my hands or the floor. Pulling down, contracting the arm muscles to move the body closer to the hands. And then we also have like nice kind of arm hanging movements this way. Okay, roll the arm not and then just this beautiful wrapping. So all of our muscles allow us to spiral through the world. Okay, great job everyone. In our next lesson, we're going to continue painting the arm muscles. I'll see you then. 16. Arm Muscles: Lesson 4: Hi everyone and welcome back to Illuminated Anatomy. In this lesson, we're going to continue working on the muscles of the arm. I'll be using body paint. You can get some too, and paint your arm if you want or paint a friend. But we also have the printable resources, PDF, that you can draw or color right along with me. Gather your materials and let's get started. Visual aid time, bones become more as we're going down the arm. As we've learned, the muscles wrap to a point where we can barely really see the bones anyhow. Plus the bones, the forearm, right here. The Alma, we covered this in the original bones lesson, which is like a saddle joint and it fits in to one of the two edges of the humerus. This is the upper arm bone here. Then we have the radius, the one that rotates, that allows us to twist a suitcase, for example, as you're getting through the door. Now before we even get into the muscles, we're going to talk about this really cool thing your body does to allow movement in between bones, where every time two bones meet, we call it a joint. But if we're looking at rotation, which happens here, also happens on our lower leg. We have these two bones that are moving around each other. Basically, the body is going to make like a pseudo joint to allow for stabilized movement. We have in between these two bones is something called the interome, inter, translating into, in between the bones and membrane translating to membrane bones, but only in one area. Because rotation is a diagonal movement. We can see that even if I twist, you see the way the lines wrap, right again. Paul Illustrated movement would know all about that. Drawing those lines when you're trying to capture movement in this sketch is so important. One line for the whole body and how it's turned into, yeah, the dynamic lines, attention. We see this here and here. That's what this is doing. What way do you think the interosusbraine would look, Paul? Probably diagonal lines. Let's draw. Yeah. Because a lot of places in your body where this happens, the intercostals, little muscles in between your ribs do the same thing. Because our body is smart and it likes to let us move. It also likes to let us move in ways where things don't fall apart inside. You could imagine that if we didn't have this interocous membrane that allowed for that flexibility, the bones might just be twisting inside, which never happens in the body. It's all stable, it's all compact. But I want you to do now is just hold your arm out and try to relax it beneath the elbow. Then you're going to rotate it in and then rotate it out. See if you can feel the place where the muscles relax and where that interocous membrane contracts. Do you feel how as the thumb moves away from your body? There's an effort in between the bones. As you rotate it back in, there's a release of effort. You fue, that's the deepest layer. Now we're going to migrate back up to the precious nest of the elbow. We'll just pick up where we left off with the biceps. Our biceps is primarily a flex for the arm, for the upper arm, for the elbow, but also it's an external rotator based on where it attaches. You just want to put your hand on your bicep for a second to do it with this unpainted arm. Then turn your thumb out. You're going to, you need to do it with your elbow. Bend for the story. You're going to feel how the biceps flexes to turn the rest. It's just one more function that does after it's crossed over the joint. We already have brachialis and brachio radialis. These guys and these guys, they're a piece of the elbow nest in dissection. This is one of the first but very confusing areas that you encounter because it's so clear here what's going on. And then you get to this double headed joint that has a saddleit in the radius, we have this conglomerate. It's like someone took a ball of wool or a ball of twine and went. It's very hard to take apart, but it works great for keeping your arms stable in space, is doing its job. Let's just hold our elbows for a second and we're going to go on the inside first. Move it in and out. You feel the arm of the elbow where all these tendons come together to allow for movement. And then turn it out in and maybe grab different pieces of your elbow. You can begin to feel that there is a Rhine. For this reason. Hm. Yeah, I want you to flex and extend your wrist. And do that while holding all these different pieces of your form. We feel these muscles working to move the wrist. Now, open your fingers, pull your fingers in and out. You can let your hands just rest on the inside of your form here, can you? The muscles that are flexing to allow a tendonous pull. Let your fingers rest right here where you see all these lines in the veins. And then pull your fingers in and out, you feel some movement. Good. Now, flex the wrist and you'll feel more movement. These are going to get taught the tendons, these lines, the end points of the thicker muscles up here that are working around your elbow. And the same thing on this side. Just let your hand rest. Move your fingers out and in just trace, can you feel activity here? Because I can feel activity even here for my fingers. Then we're going to pull the wrist back. If you pull the wrist back, hold right here and here, you feel how there's activity there for the wrist. Also for the fingers, but that's really where the wrist is happening. What's going on with the conglomerate is that it serves this function around the elbow to allow for the bigger movements. And then they all turn in to these thinner tendons, the muscle cells disappear. And that's what allows us to move our fingers back and forth. Because we are multifunctional human beings that will hold things and also do stuff. I'm thinking about holding a baby, manipulating a phone or an diapers rest a parent, it happens to you and you have no choice. In my case, the muscles of our forearm allow us to both stabilize the wrist and move the fingers. And we need to have separate muscles for that to happen, because at some point the muscle can't multitask any further. Again, I'm thinking of a woman with five children breaking down some beautiful terms of muscles that again, are basically named for their function. The Extensor digitorum communis, the communal muscle that has one tendon that then does all of these things. And we get, you'll see it actually even as created bridges across all of the different fingers to allow for very strong, stable movements. Paul was just drawing the tendinous extension of the extensor digitorum communis. I'm glad you're doing the explaining and I'm doing the drawing. I don't know that I could make a living selling my pizza. Well, we are playing to our strength. We're going to just have an outline for that. Helpful sensitive band, enervated facial band. Perfect. I can feel you doing that completely. Right. I'm thinking about anyone who decides they want to paint someone fly fishing and how detailed their forearms are going to be. Yeah, that's such a good true muscle color too. I mean, the hot paint is that's more of a emotional muscle awesome work. Okay, in our next lesson, we are going to finish up with the muscles of the arm. I'll see you then. 17. Arm Muscles: Lesson 5: Awesome work. Okay, in our next lesson, we are going to finish up with the muscles of the arm. I'll see you then. Lesson bye. Hi everyone and welcome back to Illuminated Anatomy. In this lesson, we are going to finish up painting the muscles of the arm. Draw or color right along with me in our printable resources PDF. And try out some of the different movement exercises that Domine is demonstrating throughout the lesson. All right, let's get started. Right beside the extensor digitorum, we have the extensor carpi, which is the one that just flexes your wrist like when you're taking a self, your baby. I let you, I was not recommended. We are going to start originating that one right here. Then it's going to go down beside it trend, but then it's going to hang out more towards the pinky and end right here. You see there's like a bony notch. I would end right inside that bony not when you see body builders and they're sitting there with their elbows resting on something and they're just moving the wrist back and forth. Now you can understand that what they're doing is they're working their forearm and their elbow muscles. They're activating it from the wrist side as opposed to from the elbow or the upper arm side. Right beside the extensor for the wrist lives the flexor for the wrist for this side of your forearm. That's called the flexor. Carpi. Carpi actually attaches to the base of the humerus, the upper arm bone, and then it also attaches inside the elbow. So it's got these two heads, which if you think about the work that we do to lift heavy things, you want some pretty stable muscles to do that. Then the flexor is attaching down on the side of the wrist that flexes. Extension is something that stretches the lighter colored skin of a joint is usually how I think about it. Stretching the arm pit of the elbow is an extension of the elbow. Flexion of the elbow is bringing it together. It's shortening that joint. The flexors of the wrist are bringing the fingers closer in towards the inside. It makes sense that the flexor is attaching here, even though it wraps. Now that we've got the wrist movement, we're going to turn the arm around because we're already in flexion, which is this movement. We have two sets of super helpful muscles that have us control our wrist flexion and our finger flexion, both not dissimilar to the feet where you've got what they call four layers of muscle. Although really it's just like overlay layers of fascia on the arch of the foot, on the bottom of the foot to cushion us and allow our feet to repel off the surface. There's a similar action where there's so much more that we do with our hand in this direction than this direction, that we have two different sets of muscles. They are called flexi digitorum profundus. Flexor superficialis. To start with profundus, if you take your fingers to the inside of your forearm here, If you relax your form and let your fingers firmly sink in deep and then move your fingers back and forth, you might feel some movement right up beside the ulna, beside the bones of your forearm, That would be the plescharm profundus. It starts up here. It's basically like the strip that goes down to the magic band. The muscles of my hands and forarms are feeling really validated right now, so see, they're not used to their moment of glory. Yeah, probably with you they are. It really depends on how long you spent staring at your. I wonder what a manicurists internal version of their hands would be versus the pianists version. Totally different. I'm sure you might be wondering what's happening with the thumb. Thumb is so important because it's supposable that it has a lot more muscles, but it also does have some tennis, of course, that attached into a form right beside the deep flex for the fingers. We have the flex polices longus, which basically is the long flex for the thumb then disappears beneath the thenar muscles, which will be covering in the hand lesson. You could just draw a little extension right here. The thumb flexer starts right here beside the wrist flexer, and it goes all the way down and out to there. Really what happens is we just have a series of muscles that are named for their function. And we start getting brevis and longs that they're all serving these functions of moving the fingers and moving the wrist. We're just going to overlay another strip here for the flexor digitorum superficialis. And then if we want, we can color in a little bit of other muscles that wrap to make our forearms move. Trying to call them all by name implies a separation that the body doesn't have naturally anyhow. Ultimately, when you start going into the elbow, muscles just appear out of nowhere and then grow and then disappear into your forearm. What you meet is the body's own intelligence that feels no need to explain itself to you. There's a lot of muscle in the forearm, even on people who aren't necessarily active. Because we wind up using our hands, especially our dominant hands, pretty much anything. There's like muscular activity involved in bringing a fork to your mouth. I'm just going to have you one more time, Take one hand around. The form. Make the fist and move your fist around, make a circle, then stretch your fingers, move them around. We feel that higher up, all of the muscles, that symphony of movement that you feel all around here are creating the dexterity that you have down in your hand, in your wrist. Why don't we make a little bit of a rainbow here and also fills in some of the space here. And then we'll just move around. A dance, just a river of motion. Of the ways that our body sees different potentiality for movement, flosses it out, gives us dexterity and articulation. Thinking about how when you get into dissection, we have these rules in books to say, oh, there's two of these, there's one of these. Maybe some people will have three or four people may not even have one. We all do just fine. It's more and brooch, which one of us is taking off our ear? We have to leave it on at least until we decide if we're going to do like anatomy of that part ear. I need to hold my hair back, you're pretty rainbowed up. Great work everyone. But don't put those pencils away yet, because in our next lesson, Domini is going to be doing some poses for you, using all of this body paint on her arm that highlights the muscles. So you get to actually draw those too. I'll see the. 18. Arm Muscles: Poses: Hi everyone and welcome back to Illuminated Anatomy. In this lesson, we are going to have some beautiful poses from Domini, where she is showing you different angles of the musculature of the arm. Just like with the bones, I'll be doing one demonstration at the beginning. And then you'll have a variety of additional poses to choose from that you can draw on your own. I'll be using a variety of prisma color pencils on black paper, but feel free to use any materials that you would like. Draw as many of the poses as you want until you feel that you have a good understanding of how the muscles on the arms are working in those different poses. All right, let's get started. Let's get started. Okay, here is the pose that I'm going to draw. And I'm going to start with my white colored pencil and sketch out just the basic outline of the arm. That'll make it a little bit easier so that everything has a container. I'll do a very quick sketch of the hand as well, just so we can see the relationship of everything to each other. Now I'm jumping in with color. It is not necessary for you to use the same colors as me. Use whatever you want, but see how many of those muscles you can bring out in your drawing. Now we have a variety of additional poses for you to choose from. Watch the rest of this video and pause when you see one that you want to draw. Take advantage of this opportunity to try drawing the musculature in a variety of different poses. Happy drawing. Great job, everyone. Okay, now in our next lesson, back to Illuminating anatomy again, and this time we are going to be painting the muscles of the hand. I'll see you then. 19. Hand Muscles: Lesson 1: Hi everyone and welcome back to Illuminated Anatomy. In this lesson, I'm back to body painting and we are going to start exploring the muscles of the hand. Draw our color along in your printable resources, PDF. Try out the movement exercises for yourself and let's get started. We're just going to meet the in here. These are the dorsal function is to, you can see it now. To spread the fingers, they assist in flexion this joint technically this is also extension. The wrist in the ankle get a little weird this way. They also help us do this. They're causing all these movements on the top of the hand. I want to take a minute just to break down a few terms that you're going to see over and over in anatomical names. We have flexers. Flex pull joints in. Extenders, pull joints out. Typically when something is extending, it's like the softer, the lighter color of your skin is becoming exposed. When you're flexing, that part is shrinking. I say this because no matter what I'm bending my joint, this part is flexing and this parts extending. But if I do it the other way, this part is flexing and that parts extending. But now we have that term. Then we also have terms like pronate, supinate. If you take your hand and just move it down by the side of your body, pronation turns in, You'll also hear this term with your feet. If your feet are pronated, you're walking with pigeon toes. If they're supinated, they're turned outwards, You're going to have a lot of muscles that are called by their descriptions. Extensors, flexors, Pronation, supination. We'll leave it there for now. But you're going to get a lot more of these terms as we go through. We're going to turn the plum around. Now I'm going to start to draw the interior, but before we get to the muscles that connect these bones, we're going to paint a very important one that goes from middle finger bone over to the thumb. It's called the adductor abduction, which goes in abduction which goes out. You hear a lot about that. When you're squeezing your thighs and you're addicting your thighs, really it's just a direction. The Addtor Police pulls the thumb into the middle finger. It works a very deep connection of your thumb. And when you're doing like super grip stuff or you want to hold something tightly, that one's going to move. Now the issue is that oftentimes if you do intense work with your hands, like if you're a massage therapist or probably a sculptor, you wind up relying on this muscle to do all the work of pulling the thumb and you forget about the other muscles that pull the thumb towards the wrist or flex it at this joint, that's where we start getting a lot of pain around our thumbs. Basically, a muscle that also creates what we know is the Palmer Arch, the arch of your foot, which you see, that's the hollow, a large triangular muscle with two heads. Two heads means that it attaches separately to the thumb bone. It's going to come down, it attaches here and then make that triangle. That's two heads thing. It's like two different places where it attaches around the thumb joint which is a really heavily used joint, this important muscle. I just want you to place your index of the hand of whatever hand you're not going to move on your middle finger bone. I'm going to have mine a little beside because I don't want to destroy the paint. And then close your thumb around it and then pull it back open. That's what this muscle does. We don't think about our thumb connecting to our middle finger. But now if you want to articulate your index and feel how that can move over it, we see how we start to get some dexterity. And then try your middle finger and feel how that's totally different than your index fingers ability to move around the arch of your hand. Our bodies like our brains are so much smarter than we are finger. Okay. Now what we're going to do on top of this is we're going to paint the Palmer side. Tiny little feathers right beside the bones. And then the lumber holes, they're a little more triangular. They connect to the outside edge of your index, then two coming off the middle and then one going off to the ring finger. So let's start with painting the interci, there's a small extension up and this is where the muscles just turn in tendons. If I were to be taking a hand apart, by the time I got to separating this muscle off the joint, it would be thicker. Fascia wouldn't have a lot of red in anymore, not so much muscle cells. It's the attachment where it turns into a tendon. First set of muscles in between the bones, on the inside of your head. The polymer interci, they assist in auction, pulling the hand in, and flexion and extension. We're going to hear these words a lot. Basically they are terms for movement which we do a lot of. They're going to go on the lumbricals. They have a little more of a wrapping feeling around the bones, which we just can't paint right now. We're going to do a lumbrical that goes on this side of the index bone and then one on either side of the middle finger. Then another one right here at the ring finger edge. Basically, it's friends with the inters, right? They're performing the same function just on different sides. And someone taking a part of body decided to give them all different because wow, that's hopeful. Let's make it more complicated. It's going to hold on to the other edge of the joint. Whenever a muscle crosses over a joint, it helps to articulate that joint. Muscles, for the most part in your body attach bones to bone and they'll cross over at least one joint. It's pretty simple when you think of it that way, because if you want to touch any muscle in your body and follow it from wherever you find it to the end of where you can feel it beneath your fingers. Then move that area, you'll feel how it articulates the joint of your body. And then we add these terms. We'll call it adduction, flexion, but really it's just movement. We just have directions for it. If you've ever looked at a really good macrame or weaving wall hanging in here, you see how the threads weave in and out. That's what your body is doing all the time. We're going to see bones emerge and disappear. And the same with muscles, they are what allow us to move this joint, so they're going to attach on either side. There's a famous quote, nothing separates anything else in the human body except for a scalpel. Your body, it's a complex bio organism but it moves with unity. And it doesn't separate itself out either. We dissect, we do anatomy in order to understand. We separate out muscles into different categories and give them names and talk about their functions. It's helpful to remember that we're doing this because we seek to understand. But if it becomes complicated, back off and go back to what's helping me move the muscles. Whenever they cross over a bone, they articulate that joy. How does that work? You can look at it in your own body. You can put your hands on your muscles and you can start to figure out out for yourself. We'll close up with the masterpiece. Here we have these muscles that are all friends, that are helping you abduct, adduct, flex, and extend the muscles of your fingers in your palm. And you can see that because they're crossing over the knuckle joints. They're also assisting in these kinds of movements, as well as these kinds of movements. If you want to take a moment to just maybe hold your fingers away from each other and check out the individual ability of each finger to move in different directions. You can begin to feel some of the work that happens. These are these muscles working for you right there. If you hold your forearm for a second and you flex your knuckles, you feel how there's not a lot of activity that's happening from these joints, from the muscle of the fingers. But if you hold your forearm and you bend your fingers and extend them, can you feel this other movement? Pretty soon we're going to be getting into the tendons that actually move our fingers. Just keep that in mind, there's this whole other layer of movement potential going on in your hand that isn't muscle at all. Great work. I'm giving you a hand. Sorry, I can't help myself. All right, in our next lesson, we are going to continue working on the muscles of the hand. I'll see you then. 20. Hand Muscles: Lesson 2: Hi everyone and welcome back to Illuminated Anatomy. In this lesson, we are going to continue learning about the muscles of the hand. Draw or color along in our printable resources, PDF. Let's get started. We covered the muscles of the bones of the fingers. Now we're going to talk about the muscles that are closer to the wrist. Basically, your baby finger and your thumb have a different relationship with each other than these middle fingers for function. And then also, as a result, for the muscular structure, we have this area that's called the thenar eminence. It refers to the area here in Chinese acupuncture, they'll call this like your main chee point right in there. They'll press and activate your cheek and then you fly the other side of it. They call it the hypothenar muscles. And those are the ones that go from your finger. But these are muscles that allow you to grip. Our opposable thumb wouldn't mean much if our hand just hung out like that. Have to match it. Flexor, polyss bus. Other terms that we're going to get comfortable with, longus and brevus, they mean long muscle and short muscle. Sometimes you'll also have a long with the same name as the Braver. They'll just call it by one or the other. Nice Draw a curve that goes from the inside line of my thumb to this place where all these muscles are ending. But this is just the outline of our thiner muscles for our thumb because we have three of them. We just want to give them a little bag to hang out in. It's going to go up and then it's going to cross over towards this edge of the plan right there. That's a flexer, it's going to be pulling in. Now we have the abductor poss bits that's going to be pulling my thumb out. It originates a little lower down. That's like a thick one. Let's let it hang up to the edge of the bone side. Yeah. Then we have this third muscle that we're painting last, but it's actually the biggest muscle for our thumb and it's called the opponent's poless. What it does is it counteracts of the muscles of the thumb. It can open it and it can flex it backwards. We're just going to paint this little line here, all the way up. But just know that's the biggest one. You wouldn't want to only be able to move in one direction. You need opposition in the body. These three muscles all working together allow you to have a stable grip. Allow you to spread your palm. Allow you to not drop your suitcase when you're running for the train just before we carry on. Let's call it the thenar crescent that pulls these together and opens them once again. Let's just separate out, placing your index finger at your middle finger. Pull your thumb towards the index and then open it out. We have to place our index closer to the index side of the hand. Just pull your thumb in from there and open that up. Can you feel the difference? You could restrict the movement. Then you'll feel the origin. And now open your thumb away from your index and then pull it into it. Then I want you to take your index and put it right at the thumb, the knuckle bend and straighten there. A few times you might notice it's very hard for your head to separate that motion because we don't do it much. You also might notice that the thumb knuckle, it actually rotates in towards the index. It doesn't bend towards your wrist. That's one of these functions of that buried muscle. The oppositional one is that it keeps our thumb from falling in. It rotates it out simply to extend it. This is why civilization is as it is today, pipe both in our muscles, which are the ones that connect the pinky edge. Opponents digiti minimi, What do we think this means? It's an oppositional muscle that works. The digits mini, very tiny, tinier than brevis, maybe. I don't know. Abductor digiti minimi, What is it going to do? Going to pull the baby finger side of the palm in towards the thumb. Then we have the flexer digiti minimi brevis. That one is going to flex this area this time. Let's start with drawing the deepest one, which is the opponent's digiti minimi. It's going to be going from the outside edge of this carpool right here, crossing over towards an attachment. At the ring finger edge, over to the outside edge. And it wraps underneath the knuckle, all the way over the pinky finger caple, to the ring finger caple. Technically, we're going to keep on going, but it's going to be buried under. You could just fill in this little tiny piece right there and we could indicate that you see how this one originates at the outside of the baby finger bone. It crosses over it to attach towards the ring finger bone. I'm calling the bones are the ones that are inside your palm. It rotates this piece of the hand in towards center, but opposes these spreading motions. These muscles are going to open it, this is going to pull it in flex digiti minimi breaths and it's located on top of the opponents on the inside. Then see if you want to imagine that this curve ends here. This one comes down and inserts right above that curve here. This flexor digiti minimi grabs, closes the pinky finger edge of your palm in and down the extensors pull it back out. Abductor Digiti Minimi, This is the one that stretches the palm. If you want to put your hand here and pull your pinky finger out away from your thumb, you're going to feel good, strong muscle. That's your abductor Digiti Minimi. Hands are going to end here. This whole piece is the abduector. It ends at the edge of the knuckle muscle, right there, just right against the. Yeah, it's like you can't even see the opponents after it's covered by the muscles. It's going to insert here. But it's actually going to cover this whole area. This is the extension of that thenar crescent that I was talking about. Remember that? Fascia cancer, a function that's like Patty hose for your muscles. It holds your muscle cells. Then when there's no more muscle cells, it turns into a different version of fascia pantyhose without the leg inside of it, maybe it's old panty hose stiffer. Either way it begins to overlay itself and it gets stronger without those juicy muscle cells inside where we don't have these colors here, there's still the same fascial band that connects. We have less muscle cells inside. Actually, it's thicker, it's more overlaid. It feels a little more like the type of tissue that we have around our joints here. We're going to take a moment here to appreciate the movements of the hand. And I'm going to flex for you. I'm going to abduct for you. I'm going to add flex. This is going to be extend. I'm going to extend for you. I am also ad getting bigger, I'm going to get smaller. I'm going to add and I'm going to flex. I'm going to do the same thing on the back end here. I'm going to make it bigger. Now extending, although technically it's flexing backwards production. And then we'll make this side bigger by flexing the pump. Here are the muscles working in the pond. All right, beautiful work. We have one more lesson to go. In our next lesson, we're going to finish up learning about the muscles of the hand. I'll see you then. 21. Hand Muscles: Lesson 3: Hi everyone and welcome back to Illuminated Anatomy. In this lesson, we are going to wrap up learning about the muscles of the hand. Draw or color along with me in your printable resources, PDF. Be sure and try out some of the different movement exercises that Domine is demonstrating. And let's get started now again to the magic and the marionette of at all the muscles that are actually working. All of our finger articulations are living in the forearm, like I was talking about, those pantyhose, we have a leg in the panty hose here and then it turns into a marionette string. All these strings go under the hands on the top and the bottom, they connect deeply around your finger bones. Then we have this fascia that wraps itself in all kinds of different ways, allowing for every range of motion, all these fine motor movements of the fingers, these bones you drew, it's going to make our lives really easy because the tendons that control our fingers basically run along the edges of our bones coming off in a mini bouquet off of our theenar area. It's all puppet strings coming from the form. The stems of our bouquet are eventually going to turn into these roots of strength as we go further. But for the moment, we're going to end everything with a beautiful ribbon tied around our stems. Right here, the fascia, when it thickens and turns into tendons and ligaments in the body, it's silver. It's like the skin of a fish. It's almost with the silver edge to it. Set it apart from the more ivory tone of the bone or the gold, you pick your metal. The only one that would look a little different than the bone itself is the baby finger tendon which is coming in because they're all emerging. They're almost 1234 together at the base of our, the area. Fill in this bridge of the, the eminence and hypothenar eminence here to connect this facial bridge with the same color. You see how this piece here, the fascia itself comes over and it widens and then it goes up along my wrist. The lines for this piece are going to be going this way. There'll be a little ridge of pink that continues to separate the tendons because this is a top layer that everything else is coming up from underneath. Here we have the flexer tendons of the pond. You'll notice my thumb doesn't have any. There are tendons that also control the thumb, but they're coming from the extensor side and wrapping around the bet. That's because our thumb has so many muscles that help it do a very different job and its finger friends. Now I just want you to place your fingers, the interior of your wrist here, where you can start to feel those ridges stretch and extend your fingers. This is where all the tendons are coming from. You see how all these beautiful colors disappear. Her body doesn't have any vacuums in it. What happens is, at this point, the tendons go towards the bone and our body overlays these fascial sheaths. If you had a super neurotic ballet dancer who is ten ribbons around each foot just to keep it in, to support her in every which way, which actually is true. As a bald answer, what you do is you attach an elastic band to your heel, put that around your ankle, and then you tie the ribbons from your arch. We do cadaver the body in a similar way. It's wrapped around like that. Where you see this disappearing, it turns silver, ivory and silver. And it's wrapped around like a candlestick covered in gold, right to the palm side of the knuckles. There are these tendonous bridges that connect each other because of course, the tendons are going to be crossing over these joints in order to articulate them. They're replacing the function that we usually have of muscles. Disturbingly enough, your fingernails are just growing right out of all of that. They're coming from the inside of your body, pushing elbows through the skin. It's amazing if you think about it before we go any further. We've now successfully illustrated the longest pieces of these tendons that are the extensors of my hand. But wait, there's, there's more hands are not simple. Now we also have bridging connections with the tendons of the hand. If you remember, when we were doing the bones of the wrist, we had that stacking up of three plus little izzy form. And then four. All of those bones were connected by this network of tendons that made it look like a Tensegrity model. If you expand in those sticks and elastic bands and beads, things you get at science museums, it's allowing for the structure of our wrist to also articulate because the tendons cross over it. Even though we have these big muscles in here, these tendons are coming from the inside of us, connecting deeply, going to the outside, and then going back in. Just like everything in the body overlays strength, complexity, and dexterity. Let's go ahead and make these bridges. Now you can see how the fingers have a finger side, and the thumb has almost a thumb side. This band, which I'll get to in a second, could be divided almost up in half. And the thumb gets one half, the fingers get the rest. But then we have these connecting bridges off of the index, which is a very powerful finger. It can move side to side in ways that other ones have a harder time doing. It's going to be having a bridging connection to help that happen. Right here, we're going to draw another little silver line. It's going to cross over that little in connection to the thumb and hit about here we have another one that hits the middle finger and inserts deeply inside under there. A couple of bridges, three in fact, that would be a few. They're going to go from a little underneath the knuckle towards their friend and up to mimic each other like that. Then this one comes off a branch of a tree going this way to be different. Yes. I've told my clients for years. Whenever they come in and confess to me that they have one leg longer than the other, I tell them that the day I made a symmetrical human is the day I know the cyber have taken. And it's just amazing how deeply we are asymmetrical and different because this is how our bodies are able to move through an asymmetrical and different world. That's a big part of portrait painting too, because if you paint a face two perfectly symmetrical, it never feels like a human. And finding the ways that the differences actually really make it feel like that person. Yeah, I think we got it. I love it. I don't know that it's necessary for us to paint the fascia. I just want people to imagine they have these ribbons of dehydrated crosage, perhaps of butter on top of it, that wrap around to create the stability and dexterity that we have in our fingers. I want to remind you that your fat looks gold in your body. We have silver, we have ivory, and we have gold. That is, no matter what color of skin you have, the melanin in our skin doesn't even hit the deepest layer of skin. If you're taking apart someone again, I'm going back to dissection. Who's a darker color? The color is only on the outside. The interior of their skin looks exactly the same as the interior of the lighter colored persons. Skin is not even skin deep, if you consider the implications of that, is politically historically. So. Anyhow, back into that, to imagine that you have all of these colors of what we associate with a value. Ivory, silver, and gold that are making up everything that isn't the workers, the muscles, the movers in our body. Then we have the ribbon that holds together our bouquet of muscular flowers. This is a piece of fascia that wraps around everything else. In the wrist, we have a similar one at the ankle. Originally, when people first started doing dissection and found it, the theory was that this band kept everything together, except the body isn't really likely to fall apart. It keeps itself together just fine, without tying itself up emotionally. Maybe we need. When they started looking at the nervous system, they discovered that this band is highly enervated, far more than everything else around it. More likely theory is that it allows us our appropriate asception and awareness of where we are in space. If you're walking on your hands, if you're picking something up, it helps us to know what our wrist is doing. What our fingers are doing as well. We can think that band. Now I want you to hold right above it, or even just above the band. Let's just clench and stretch our fingers. Can you claw your knuckles? Can you move your thumb around? Can you feel how the thumb is coming from here? What happens if you move your index? I've got my thumb on the interior of my arm too, so I can feel all the different muscles. And there are tendous connections that are helping my fingers to move. Going back to the gold in our body, the winning layer of fat that we tend to have so much conflict about. But we forget that it serves an essential purpose. Fat is like lubrication for your nerves. We can't survive without it. The nerves live in fat, these fatty layers at the ends of our fingers. After we finished with the wrapped up chrysotyle fascia, we've got this layer of butter on top. That's where all of our nerves live. Our nerve endings, the mechano receptors that are right beneath our skin are living in the fat. The body abhors a vacuum. There is none another cool thing about your superficial fascia. It responds to the needs of the body. If you want to feel your heel for a second, squeeze around that pad there, we think of our heel as being a bone. Now there are bones inside the ankle, but the heel itself, if you touch your heel, that is fat, It's supremely packed fat, very thickened to the point where it almost resembles bone, but it has more of a bounce in a spring. There's a similar type of action. If you start to work with your hands and dance on the ground, you're going to wind up creating that same resilience here because your body responds to the impact it gets in life. I think it pretty much covered it. All right. That was fine. Yeah. Great work, everyone. Okay. In our next lesson, Dominic is going to be doing some hand poses for you, and I want to challenge you to not just draw the hand, but draw the muscles, too. I'll see you then. 22. Hand Muscles: Poses: Hi everyone and welcome back to Illuminated Anatomy. In this lesson, we are going to get a chance to draw different poses of the hand with the muscles painted on them. I'll be demonstrating one for you at the beginning of the lesson, again, using my prisma color colored pencils and black paper. And then there will be a variety of additional poses for you to choose from. Remember, you can pause the video as long as you want until you get all of the details completed. You don't need to draw every single choose, the ones that speak to you. All right, let's get started. Okay, let's do this again. Now it's your turn to draw. I'm going to sketch out a rough outline of the hand this time just so that it'll make it a little easier to place everything inside of it. I'm not going very detailed though. I don't want a lot of interior lines that are going to interfere with where I'm placing those muscles. I'm starting with a white colored pencil, but then I'm going to go into it with a variety of other colors so that I can distinguish between the various muscles. You don't need to use the same colors that I used either on the hand itself or in my sketch here. Use whatever colors you have available. Getting those tendons sketched in kind of gives me a nice framework to build everything else around. See how many of those details you can capture in your drawing. Now we have a variety of other hand poses for you to choose from, so find some that speak to you, pause the video, and continue practicing happy drawing. 23. Closing Thoughts: Thank you so much for taking this course. We had so much fun drawing and painting and posing for you. And I hope you learned a lot that you can apply in your future artwork. I hope that what you take away from this is a greater sense of familiarity with the jungle that lives beneath your skin. When you think of the muscles now that you're not just thinking of something with a Latin term that goes here and goes there. But it's more like you're meeting a friend that helps your body move through space and do everything that your soul wants it to do in this life. For the artists out there, getting to know your body and getting more comfortable with it, only improve your drawings and make your figure drawings come to light. I want to see the dynamic action in the poses because now you understand how the muscles work and the power. I want to see it too. So share your artwork with us, send it in, post it, tag us. And also any new exercises that you come up with yourself based on what you learned in the class, we want to see it. All right? Yeah, Yeah. Especially tag us if you've learned something about the anatomy and that inspires you to do your practice differently. This is really just the starting point. And from here on out, take what you have learned in this course and apply it in your own way. Now, where can people find you online if they want to keep learning from you? Second, start to the right part. He's Mary. I understood that purpose. You can find me a dominant OMI on Instagram as Domin underscore and on Facebook as the same. Paul and you can visit my website at Paul Richmond Studio.com And I'm on Instagram as Poly World. So come hang out with us and let us see what you've been up to you. So next time, come back and take more classes. Bye bye y.