0:00:04.817,0:00:06.527 Hey everyone, Sinix here. 0:00:06.527,0:00:10.044 It's time for another episode of [br]Anatomy Quick Tips, 0:00:10.056,0:00:13.510 the series that is here to give you [br]some useful observations 0:00:13.510,0:00:17.687 and help you feel more comfortable with[br]drawing people from imagination. 0:00:17.687,0:00:22.746 Today, we'll be talking about arms -[br]and also, don't be alarmed but 0:00:22.746,0:00:27.018 this all-arm video puts [br]us near the end of this series, 0:00:27.018,0:00:29.457 only two more videos remain. 0:00:29.457,0:00:34.276 Regardless, for now let's just focus [br]on these upper appendages. 0:00:34.276,0:00:37.831 This probably won't be the funniest [br]video in this series or anything, 0:00:37.831,0:00:40.288 but it will be definitely be the [br]most humerus - 0:00:40.288,0:00:43.485 so roll up your sleeves [br]and let's get to work. 0:00:43.485,0:00:47.838 Starting out with structure,[br]we've already covered both shoulders 0:00:47.838,0:00:51.471 and hands in other videos,[br]so we just need to make sure we 0:00:51.471,0:00:53.445 can bridge these things together. 0:00:53.445,0:00:58.506 I'm sketching a quick front, side and [br]back view of a shoulder to start. 0:00:58.506,0:01:01.367 Seeing a shoulder [br]and torso without the arm 0:01:01.367,0:01:04.922 always reminds me of a little [br]lamb or something, but anyway, 0:01:04.922,0:01:09.628 we're going to focus on the [br]skeletal breakdown of the arm first. 0:01:09.628,0:01:13.562 Of course we have a [br]single major bone in the upper arm 0:01:13.562,0:01:16.983 and two in the lower arm,[br]connected at the elbow. 0:01:16.983,0:01:21.198 But as i draw that, the first thing [br]I actually want to point out 0:01:21.198,0:01:24.090 is that things aren't [br]in a perfect straight line. 0:01:24.090,0:01:27.737 You can even take a moment[br]and try to see this yourself; 0:01:27.737,0:01:32.341 just hold one arm out straight[br]and close your opposite eye. 0:01:32.341,0:01:35.520 Now do your best to [br]look directly straight down 0:01:35.520,0:01:38.967 the barrel of that massive [br]gun you call your upper arm. 0:01:38.967,0:01:42.186 If you line up your [br]sight from shoulder to elbow, 0:01:42.186,0:01:47.018 you'll notice the lower arm doesn't really[br]line up as much as you might've thought. 0:01:47.018,0:01:51.181 To get really good at [br]drawing any organic forms, 0:01:51.181,0:01:55.776 it's important to try and identify [br]these types of subtle offsets 0:01:55.776,0:01:57.733 as much as possible. 0:01:57.733,0:01:59.833 Anyway, let's get back to these bones. 0:01:59.833,0:02:03.216 The humerus is of course [br]the bone of the upper arm, 0:02:03.216,0:02:05.982 meanwhile the lower arm has the ulna, 0:02:05.982,0:02:08.989 which I would consider [br]the primary lower arm bone. 0:02:08.989,0:02:11.498 It's the one you would [br]be hitting someone with 0:02:11.498,0:02:12.609 if you elbowed them. 0:02:12.609,0:02:17.933 And then the radius, which originates[br]on the exterior side of the elbow, 0:02:17.933,0:02:20.806 A.K.A the side that's further [br]away from your body - 0:02:20.806,0:02:24.817 and always connects to [br]the thumb-side of your hand. 0:02:24.817,0:02:27.799 So we can do a bit [br]of a rotational twisting 0:02:27.799,0:02:29.303 around the lower arm. 0:02:29.303,0:02:30.761 Hence the name 'radius'. 0:02:30.814,0:02:33.336 The last skeletal thing I want to mention 0:02:33.336,0:02:34.798 is the funny bone. 0:02:34.798,0:02:37.423 This is just an extension of the humerus 0:02:37.423,0:02:40.465 which protrudes on the [br]inner side of the elbow, 0:02:40.465,0:02:42.081 closest to the body. 0:02:42.081,0:02:44.601 It's called the funny bone[br]because of an exposed 0:02:44.601,0:02:48.193 nerve ending next to it[br]that will send a shock up your arm 0:02:48.193,0:02:50.900 if you hit this part of the [br]elbow against something. 0:02:50.900,0:02:54.526 So if you ever see a chance [br]to whack your friend's funny bone 0:02:54.526,0:02:57.636 with your pencil or stylus, it's[br]you know, free comedy. 0:02:57.636,0:03:00.987 Alright, I added some [br]hands to these drawings, 0:03:00.987,0:03:03.532 and I know this isn't the hands video 0:03:03.532,0:03:07.556 but since wrists and organic [br]offsets are so important, 0:03:07.556,0:03:11.140 let's do a quick look at [br]that connection anyway. 0:03:11.140,0:03:15.083 Now keep in mind by the time[br]the radius and ulna get to the wrist 0:03:15.083,0:03:19.602 they'll always be side by side,[br]and therefore the lower arm connects in 0:03:19.602,0:03:23.289 a much flatter and wider way [br]into the palm and back of hand, 0:03:23.289,0:03:26.412 and thinner from the [br]side view of the hand. 0:03:26.412,0:03:31.327 Basic stuff, but the fun part is[br]any time you're adding a hand to an arm, 0:03:31.327,0:03:35.680 make sure to give it a bit of [br]an offset and step over toward the 0:03:35.680,0:03:38.488 thumb/radius side of things. 0:03:38.488,0:03:42.113 Similarly, from the side view [br]the hand should always 0:03:42.113,0:03:46.697 take a noticeable offsetting[br]step toward the palm side. 0:03:46.697,0:03:49.032 By the way when I say the word 'offset' 0:03:49.032,0:03:53.698 it usually just means not lined [br]up evenly with surrounding things. 0:03:53.698,0:03:56.802 Anyway, always make sure[br]the thumb side of the hand 0:03:56.802,0:04:01.606 feels more chunkier and substantial[br]than the pinkie side of the palm. 0:04:01.606,0:04:05.600 With all of these ideas in mind, [br]you should be able to develop a quick 0:04:05.600,0:04:08.834 shorthand for getting [br]from the arm into the hand. 0:04:08.834,0:04:13.657 In fact, you should be able to[br]quickly deduce everything about the bones 0:04:13.657,0:04:16.587 and orientation of the [br]wrist without ever seeing 0:04:16.587,0:04:20.283 the thumbs or fingers or [br]any interior information. 0:04:20.283,0:04:23.133 So maybe see how quickly you can determine 0:04:23.133,0:04:28.106 where the radius and the ulna are[br]in any of these rough sketches I'm making. 0:04:28.106,0:04:31.557 Hopefully that seems easy enough. 0:04:31.557,0:04:35.488 Let's get back to structure and [br]talk about the muscle side of things. 0:04:35.488,0:04:38.946 We're going to make it really [br]easy for our drawing purposes 0:04:38.946,0:04:41.834 and only focus on three muscle groups. 0:04:41.834,0:04:47.375 The biceps are on the front of your upper [br]arm and allow you to curl up your arm. 0:04:47.375,0:04:51.982 They insert under your shoulder [br]muscles and chest muscles on one end 0:04:51.982,0:04:56.340 and connect to the radius and [br]tissue around the ulna on the other end. 0:04:56.340,0:05:01.550 The triceps are on the back of your arm[br]and allow you to pull your arm straight. 0:05:01.550,0:05:06.206 They also come out from under your [br]shoulder muscles and similar back muscles 0:05:06.206,0:05:08.682 and connect to the end of the ulna. 0:05:08.682,0:05:12.532 And yes, the deltoids are [br]of course the shoulder muscles, 0:05:12.532,0:05:17.244 but the third muscle that we're[br]going to be fixating on in this video 0:05:17.244,0:05:20.212 is going to be the brachioradialis. 0:05:20.212,0:05:23.585 You must learn to [br]love the brachioradialis, 0:05:23.585,0:05:28.308 it will be a pivotal part of [br]this video in more ways than one. 0:05:28.308,0:05:32.315 These insertions points are [br]important, so keep them in mind. 0:05:32.315,0:05:35.980 It connects from [br]the lower back of the humerus 0:05:35.980,0:05:39.369 under the triceps and[br]it wraps around a bit 0:05:39.369,0:05:45.167 over parts of the lower biceps and[br]connects to the radius on the other side. 0:05:45.167,0:05:49.536 I will be exaggerating this [br]muscle heavily throughout this video, 0:05:49.536,0:05:52.791 so be aware of that strategic inflation. 0:05:52.791,0:05:55.453 We are going all in on the bray-ray. 0:05:55.453,0:05:58.100 I think that's enough structure though, so 0:05:58.100,0:06:00.737 let's get into some drawing practice. 0:06:00.737,0:06:05.563 A big theme in the land of arms [br]will be controlling our organic curves. 0:06:05.563,0:06:09.768 So I guess I will do a quick recap [br]on s-curves and c-curves. 0:06:09.768,0:06:12.224 Don't let the names [br]throw you off too much, 0:06:12.224,0:06:15.363 most of the s-curves and [br]c-curves you'll be drawing 0:06:15.363,0:06:17.974 are going to be extremely subtle. 0:06:17.974,0:06:21.204 Just a whisper of curvature [br]going on most of the time. 0:06:21.204,0:06:24.291 And it's good to practice [br]that level of control 0:06:24.291,0:06:27.208 but an even more [br]important thing to practise 0:06:27.208,0:06:29.810 is your ability to weight your curves. 0:06:29.810,0:06:33.244 Weighting a curve means [br]changing up the harshness of the 0:06:33.244,0:06:35.395 curvature through the line. 0:06:35.395,0:06:39.091 So if the curve stays [br]consistent from start to finish, 0:06:39.091,0:06:41.345 that would be a weightless curve. 0:06:41.345,0:06:44.617 You can have the curve be [br]increasingly strong at the start 0:06:44.617,0:06:48.924 or the end of the line to [br]give it weight in a specific direction. 0:06:48.924,0:06:52.032 This is very, very important to [br]practise because we spend our 0:06:52.032,0:06:59.243 entire childhoods writing letters and[br]shapes which curve in a very balanced way, 0:06:59.243,0:07:04.022 but the more you can break away from that[br]the more organic your drawings will be, 0:07:04.022,0:07:06.324 so warm up with these often. 0:07:06.324,0:07:10.062 Alright, let's get into those [br]simplifications and reductions. 0:07:10.062,0:07:13.689 Or, rather maybe mention[br]another little side thing...? 0:07:13.689,0:07:16.692 Sorry, there's a lot of [br]ways to think about arms. 0:07:16.692,0:07:20.353 Such as the chain,[br]a common trick for approaching arms 0:07:20.353,0:07:26.366 is to imagine a giant linking chain;[br]the idea being that since the upper arm is 0:07:26.366,0:07:31.264 wider from the side view than from [br]a front view, and meanwhile the forearm is 0:07:31.264,0:07:34.901 the opposite, it will generally [br]create a nice little back and forth 0:07:34.901,0:07:39.733 between wide and narrow, which is [br]definitely good for aesthetic purposes. 0:07:39.733,0:07:43.491 So you can use that as a little[br]mental note when applicable. 0:07:43.491,0:07:46.516 Meanwhile, to go back to [br]what we've just talked about 0:07:46.516,0:07:50.616 with curve weight, the most [br]important mental note I fixate on 0:07:50.616,0:07:55.150 is usually just where to weight the [br]curve for each part of the arm. 0:07:55.150,0:08:00.922 On the bicep side of the upper arm, the[br]curve weight is further toward the elbow. 0:08:00.922,0:08:05.535 Whereas on the back or tricep side of [br]things, the curve weight is 0:08:05.535,0:08:07.037 closer to the shoulder. 0:08:07.037,0:08:11.537 The brachioradialis is definitely [br]weighted toward the upper forearm, 0:08:11.537,0:08:16.015 but is more rounded and gradual than[br]the opposite side of the forearm. 0:08:16.015,0:08:20.900 All of these things relate to the [br]actual muscle bodies of each muscle group, 0:08:20.900,0:08:24.138 the tricep being the most [br]important one to always remember, 0:08:24.138,0:08:28.645 because the muscle bodies are [br]located in the top half of the upper arm. 0:08:28.645,0:08:32.247 Okay so let's sum up the [br]straight arm simplifications 0:08:32.247,0:08:33.738 a bit more directly. 0:08:33.738,0:08:36.976 Back view of the arm, pop [br]forward, minimal twisting. 0:08:36.976,0:08:40.758 The upper arm might as well [br]just be a simple cylinder 0:08:40.758,0:08:42.303 with minimal tapering. 0:08:42.303,0:08:46.516 But the lower arm is going to feel[br]closer to an upside down bowling pin. 0:08:46.516,0:08:51.675 The important part is that the [br]exterior side, with the brachioradialis 0:08:51.675,0:08:55.616 is going to not only curve [br]outward more than the interior side, 0:08:55.616,0:08:58.498 but also come up a bit higher than it. 0:08:58.498,0:09:03.683 It should definitely feel like[br]it starts its s-curve above the elbow. 0:09:03.683,0:09:09.350 If we raise the arm up out to the side,[br]yes you'll get a bit of the chain concept, 0:09:09.350,0:09:13.392 but since you'll probably [br]not be drawing massive bodybuilders, 0:09:13.392,0:09:15.679 it can become pretty minor. 0:09:15.679,0:09:20.300 You do want to make sure that you're [br]thinking about weight and gravity though. 0:09:20.300,0:09:25.236 Obviously this gets a lot more [br]extreme with age, but on any body type 0:09:25.236,0:09:28.861 you should still be using these [br]ideas to give you at least a little 0:09:28.861,0:09:30.706 bit of subtle curve weight. 0:09:30.706,0:09:35.088 Another useful reference point to think [br]about comes from the shoulder muscle. 0:09:35.088,0:09:40.629 The deltoid comes down to a bit[br]of a point on the exterior of the arm. 0:09:40.629,0:09:45.519 While not exact, this can still be used[br]as a good way to indicate a break 0:09:45.519,0:09:50.684 between the front bicep side of the arm,[br]and the rare tricep side. 0:09:50.684,0:09:55.582 Especially when you're dealing with [br]more complex poses and off angle views. 0:09:55.582,0:10:01.444 If I draw a quick arm over here [br]on the left from a slightly awkward angle, 0:10:01.444,0:10:06.241 adding the deltoid and letting it point [br]a line towards the elbow can at least 0:10:06.241,0:10:10.908 help us visualise the [br]tricep and bicep sides of the arm. 0:10:10.908,0:10:14.914 If this drawing looks weirdly [br]off to you at first, that's good! 0:10:14.914,0:10:18.914 The brachioradialis was not [br]coming from the correct spot. 0:10:18.914,0:10:22.666 Let's first recall that the [br]brachioradialis should come from 0:10:22.666,0:10:27.993 under the triceps and over the biceps,[br]and using that line from the deltoid 0:10:27.993,0:10:31.653 we can visualise this [br]insertion much more clearly. 0:10:31.653,0:10:34.925 Moving along, some of [br]these straight armed elbows 0:10:34.925,0:10:39.041 might be looking a bit wonky,[br]so let's briefly mention them. 0:10:39.041,0:10:43.911 The most important part of [br]simplifying the elbow will definitely come 0:10:43.911,0:10:48.524 from seeing the triceps and [br]humerus, all come together in a mass 0:10:48.524,0:10:52.328 that leads straight down [br]through the elbow and into the ulna. 0:10:52.328,0:10:57.377 The funny bone and radius both [br]become a bit indented on a straight arm, 0:10:57.377,0:11:02.142 so you'll mostly see these little [br]pockets of depth off to both sides of the 0:11:02.142,0:11:06.510 triceps and ulna, with the [br]forearm muscles pulling the forms back out 0:11:06.510,0:11:09.431 and really solidifying those crevices. 0:11:09.431,0:11:13.044 There's definitely a lot [br]of skin going on in this area, 0:11:13.044,0:11:15.670 so it tends to become quite wrinkly. 0:11:15.670,0:11:17.790 There's even [br]a slang name for this 0:11:17.790,0:11:20.545 folded up skin - it's called the wenis. 0:11:20.545,0:11:24.403 So, everybody should draw the wenis,[br]the wenis is not a dance, 0:11:24.403,0:11:26.760 and I'm happy to tell you this in advance. 0:11:26.760,0:11:31.633 [laughs] Anyway, wrinkles are tricky. The[br]general rule is to fold the skin with 0:11:31.633,0:11:35.789 c-curves and s-curves in a way [br]that squishes the curves together 0:11:35.789,0:11:39.580 without ever feeling like they're [br]going to cross each other, or pass through 0:11:39.580,0:11:42.656 the extended implied [br]lines of other curves. 0:11:42.656,0:11:45.947 You can compress a bunch [br]of them into a small space, 0:11:45.947,0:11:51.271 or just a couple, but I recommend [br]wrinkling things up a bit above the elbow 0:11:51.271,0:11:55.376 with perhaps some more [br]drapery style folds hanging underneath. 0:11:55.376,0:11:59.238 You can definitely develop your [br]own stylistic approach to wrinkles, 0:11:59.238,0:12:03.117 and they should feel[br]similar in theory to clothing folds, 0:12:03.117,0:12:05.481 but more organic with the lines. 0:12:05.481,0:12:08.170 Just keep in mind, [br]like with clothing folds, 0:12:08.170,0:12:11.180 doing less is usually [br]better when learning. 0:12:11.180,0:12:14.362 Alright, a little bit [br]more drawing in this section, 0:12:14.362,0:12:18.881 because I want to also just quickly [br]mention some size relations. 0:12:18.881,0:12:23.377 I'm a serial offender of [br]making my deltoids too small in drawings, 0:12:23.377,0:12:27.815 so I'm trying to correct that. I think it[br]can be useful to think of the upper 0:12:27.815,0:12:32.262 arms as a length that goes from the top[br]of the shoulder to the elbow. 0:12:32.262,0:12:35.567 The top third of that length [br]can be the distance of the 0:12:35.567,0:12:37.370 deltoid going down the arm. 0:12:37.370,0:12:40.165 I barely mentioned it [br]before, but the triceps 0:12:40.165,0:12:44.840 really have two main visible muscle [br]bodies on the back of the arm. 0:12:44.840,0:12:47.844 While they both have [br]those high up muscle bodies, 0:12:47.844,0:12:51.965 the interior side one is a bit [br]longer down toward the elbow, 0:12:51.965,0:12:56.227 while the exterior one is even more[br]focused at the top. 0:12:56.227,0:13:00.434 The bottom of these muscle bodies [br]and strong separation of them 0:13:00.434,0:13:03.794 occurs roughly halfway [br]down the upper arm unit, 0:13:03.794,0:13:07.294 that we mentioned going [br]from top of shoulder to elbow. 0:13:07.294,0:13:11.627 You can kind of indicate this with a [br]little butt shape on the back of the arm, 0:13:11.627,0:13:15.327 especially if it's being flexed. [br]The arm... not the butt. 0:13:15.327,0:13:19.390 Okay, moving along [br]to the world of movement, 0:13:19.390,0:13:25.182 the elbow is basically just a fancy hinge[br]joint with the funny bone on the interior, 0:13:25.182,0:13:29.644 the ulna being the king in the center,[br]and the radius on the exterior. 0:13:29.644,0:13:34.559 When the arm is straight, they somewhat[br]line up with the ulna sticking out a bit. 0:13:34.559,0:13:38.558 From the interior view though, [br]once we start curling the arm, 0:13:38.558,0:13:41.597 obviously the funny bone [br]isn't going anywhere. 0:13:41.597,0:13:46.666 But the ulna is going to hinge around it [br]and form a very boxy and angular 0:13:46.666,0:13:51.951 silhouette, by letting your brain fixate[br]on the line from funny bone to ulna. 0:13:51.951,0:13:57.105 All of the tissue of the arm is going to [br]crease at the insertion of the bicep and 0:13:57.105,0:14:01.950 form a bit of a line that points mostly [br]toward the funny bone side of things. 0:14:01.950,0:14:07.537 The important take away is that interior[br]arm equals boxy shape and long crease. 0:14:07.537,0:14:11.297 Also, when you raise your arm [br]with your bicep toward the sky, 0:14:11.297,0:14:15.473 that means the deltoid is going to be [br]pulled to the back of the shoulder. 0:14:15.473,0:14:19.556 As it, once again, needs to be pointing[br]towards the exterior line between 0:14:19.556,0:14:20.973 bicep and tricep. 0:14:20.973,0:14:24.843 Anyway, the exterior elbow [br]view is a bit interesting. 0:14:24.843,0:14:28.454 You'll of course be seeing the [br]deltoid a lot more in this view 0:14:28.454,0:14:30.259 where the exterior is facing back, 0:14:30.259,0:14:33.208 but the interesting part [br]is that you're now seeing 0:14:33.208,0:14:36.910 both the radius and ulna [br]in the straightened arm view. 0:14:36.910,0:14:39.939 This means that when you [br]curl your arm, those two lower 0:14:39.939,0:14:42.933 arm bones are going [br]to be traveling together. 0:14:42.933,0:14:46.494 Even though the silhouette [br]will fundamentally be the same, 0:14:46.494,0:14:50.514 I find it very useful to acknowledge[br]this anatomy by making the elbow 0:14:50.514,0:14:53.740 feel like it just rounds up[br]to and around these bones, 0:14:53.740,0:14:55.809 instead of feeling boxy. 0:14:55.809,0:15:00.633 You might also remember that the [br]brachioradialis is on the exterior side, 0:15:00.633,0:15:04.740 so that will create a mass in form[br]that will squeeze from upper arm 0:15:04.740,0:15:05.847 to lower arm. 0:15:05.847,0:15:09.549 Because of this mass, the exterior [br]crease here becomes a lot more 0:15:09.549,0:15:11.220 chubbier and compressed. 0:15:11.220,0:15:14.766 I like to use a shorter and [br]splitting crease to hint at this 0:15:14.766,0:15:15.797 thicker form. 0:15:15.797,0:15:18.775 And you should try to hint[br]at these things in any body type. 0:15:18.775,0:15:23.172 From a different view, you can[br]get some idea how all of these bones 0:15:23.172,0:15:27.072 and muscles are working, [br]but for now let's jump over to the 0:15:27.072,0:15:30.527 forearm movements, because [br]we have rotation to deal with. 0:15:30.527,0:15:34.788 If you stick your right arm out [br]in front of you, palm side up, 0:15:34.788,0:15:37.979 this is the least twisted [br]view of your forearm. 0:15:37.979,0:15:42.403 The muscles and bones just carry [br]forth to the hand in a linear fashion. 0:15:42.403,0:15:46.488 This represents one extreme [br]of your rotational movement. 0:15:46.488,0:15:49.998 As we rotate the hand, [br]the elbow won't be changing much, 0:15:49.998,0:15:53.998 but the radius and brachioradialis[br]will start twisting a bit 0:15:53.998,0:15:56.298 to line up vertically at the wrist. 0:15:56.298,0:15:58.766 The best thing you should [br]observe on your own arm 0:15:58.766,0:16:02.766 is how the s-curves adjust [br]as you rotate your hand. 0:16:02.782,0:16:05.584 I'm not in love with [br]the drawing on the right here, 0:16:05.584,0:16:09.563 but the interior ulna side of [br]things definitely changes up its 0:16:09.563,0:16:14.544 s-curve the most, whereas the [br]exterior side just shifts weight a little. 0:16:14.544,0:16:18.916 Once your palm is facing downwards, [br]the full range of motion is complete. 0:16:18.916,0:16:21.172 This is as far as things can twist. 0:16:21.172,0:16:24.914 The radius and ulna are now [br]on opposite sides from the elbow. 0:16:24.914,0:16:28.348 You might be thinking, [br]"what if I want to give a thumbs down?'" 0:16:28.348,0:16:33.099 Well, physically you can't. So be sure [br]to remember that and like this video. 0:16:33.099,0:16:35.704 If you do really want [br]to point your thumb down, 0:16:35.704,0:16:39.765 it requires you to actually [br]rotate your entire arm so that your 0:16:39.765,0:16:42.258 elbow is facing a different direction. 0:16:42.258,0:16:46.414 Lastly, here I'll just mention, when [br]your arms are at rest at your sides, 0:16:46.414,0:16:50.924 the default comfortable state [br]is that central, half-twisted state, 0:16:50.924,0:16:53.590 not the completely untwisted state. 0:16:53.590,0:16:58.196 Alright, let's go back to reducing [br]information and recap what we've learned. 0:16:58.196,0:17:01.958 Of course, it's pretty fun [br]to draw giant musclebound arms, 0:17:01.958,0:17:05.348 especially when you're trying to[br]commit all these concepts to memory, 0:17:05.348,0:17:08.588 but we also want to be [br]able to simplify these things down 0:17:08.588,0:17:10.961 into little anime stick arms. 0:17:10.961,0:17:15.182 When you start out in art, it's fine [br]to just think of the upper and lower arms 0:17:15.182,0:17:18.590 as just cylinders, and as [br]you get more comfortable, 0:17:18.590,0:17:21.717 you can introduce some [br]tapering into these forms. 0:17:21.717,0:17:25.009 Eventually you will want to [br]be capable of some level 0:17:25.009,0:17:29.009 of form complexity. These cross [br]sections are never just round. 0:17:29.009,0:17:33.146 They have weird oblong [br]shapes and blobby looking contours. 0:17:33.146,0:17:37.350 I like to practice these things with what[br]I would call "skinny muscle forms". 0:17:37.350,0:17:40.781 Maybe it's just my Samurai [br]Champloo roots coming through again. 0:17:40.781,0:17:44.363 A quick example though, [br]starting with a deltoid and shoulder, 0:17:44.363,0:17:49.192 letting it point toward an elbow, think [br]I'll twist the bicep to the bottom on 0:17:49.192,0:17:54.374 this one, bicep means curve weight [br]closer to elbows, so we can even dive in 0:17:54.374,0:17:55.827 with some angular shapes. 0:17:55.827,0:17:59.326 With the bicep facing forward,[br]that means the deltoid 0:17:59.326,0:18:02.518 can be a bit further on [br]top instead of on the back, 0:18:02.518,0:18:06.972 and we can even hint at some [br]tricep form above the separating line. 0:18:06.972,0:18:10.972 That line will let us know [br]where to pull the brachioradialis from, 0:18:10.972,0:18:15.554 and then we can decide on the [br]hand rotation and make everything line up. 0:18:15.554,0:18:19.673 Design wise, it's good to play [br]around with the ratios of rounded 0:18:19.673,0:18:21.585 shapes and angular shapes. 0:18:21.585,0:18:25.165 We alluded earlier to the [br]exterior side feeling more rounded 0:18:25.165,0:18:28.930 and the interior feeling more angular, [br]when discussing the elbow hinge, 0:18:28.930,0:18:31.357 so let's just run with that a bit more. 0:18:31.357,0:18:34.609 What if we just always [br]simplified things around the elbow 0:18:34.609,0:18:39.828 by playing up rounded exteriors [br]and angular interiors in the forearm? 0:18:39.828,0:18:44.581 I just noticed that that letter pointing [br]towards the tricep is a D instead of a T. 0:18:44.581,0:18:47.107 Clearly getting a bit [br]delirious at this point. 0:18:47.107,0:18:49.208 Regardless, let's keep sketching. 0:18:49.208,0:18:54.025 Here's a quick side view, still mostly [br]practicing curve weights and that 0:18:54.025,0:18:58.583 brachioradialis. Some slightly [br]more exciting things we could try 0:18:58.583,0:19:02.453 would be playing around [br]with perspective and dynamic angles. 0:19:02.453,0:19:06.290 If we imagine a Spiderman [br]type arm pose, we could still 0:19:06.290,0:19:10.015 think about where we could [br]exaggerate our forearm muscles. 0:19:10.015,0:19:12.310 I'll be honest though, [br]I sort of got distracted 0:19:12.310,0:19:16.586 right after starting this one, because I [br]thought of some more stuff to mention. 0:19:16.586,0:19:20.360 Such as, what does it look like [br]if you just have your elbow 0:19:20.360,0:19:23.563 sticking up in the air with [br]your arm curled behind it? 0:19:23.563,0:19:27.363 A lot of tricep weight at [br]the bottom, but it really thins out 0:19:27.363,0:19:30.270 into a very skeletal look at the elbow. 0:19:30.270,0:19:33.522 It does give a nice look at [br]the radius, ulna and funny bone. 0:19:33.522,0:19:36.982 This becomes instantly [br]obscured by the forearm once you 0:19:36.982,0:19:40.344 straighten the arm out a bit, [br]with those forearm muscles just 0:19:40.344,0:19:42.927 taking both sides of the elbow. 0:19:42.927,0:19:45.483 But, this made me [br]think of another scenario, 0:19:45.483,0:19:49.730 how about when you're resting your [br]weight on your elbow at a desk or table? 0:19:49.730,0:19:52.226 Where do those forearm muscles go then? 0:19:52.226,0:19:55.756 Well, since the brachioradialis [br]connects to the humerus, 0:19:55.756,0:20:01.103 it actually sits up higher, away from[br]the elbow on the exterior side of things. 0:20:01.103,0:20:02.826 I guess that's obvious enough, 0:20:02.826,0:20:06.044 kind of like how it would look [br]if you were drinking something. 0:20:06.044,0:20:10.038 Just always be keeping track of where [br]the thumb is, and where the exterior 0:20:10.038,0:20:13.265 and interior of the elbow are,[br]and you'll be fine. 0:20:13.265,0:20:16.569 Now, we always have a common mistakes[br]part in these videos. 0:20:16.569,0:20:21.982 But, I think I've gone over things so much[br]that we can try a pop quiz instead. 0:20:21.982,0:20:26.120 I'll show a quick drawing with some[br]weird mistake, and we'll see if 0:20:26.120,0:20:28.291 you can deduce the problem. 0:20:28.291,0:20:31.061 Like this. What's wrong with this? 0:20:31.061,0:20:36.861 Well, you have two possible answers on [br]this one, since we can't see the shoulder. 0:20:36.861,0:20:41.830 We seem to be looking at the front of an [br]arm, so either the brachioradialis 0:20:41.830,0:20:45.643 is on the wrong side, or the hand[br]should be mirrored. 0:20:45.643,0:20:48.640 How about this one? [br]Anything seem off to you? 0:20:48.640,0:20:52.200 Well, I'm messing with you a bit, [br]because it's the same thing, 0:20:52.200,0:20:57.113 except this time you can see the deltoid,[br]so there's only one answer. 0:20:57.113,0:21:00.591 The brachioradialis is [br]on the wrong side again. 0:21:00.591,0:21:03.782 It should be on the [br]exterior, not interior. 0:21:03.782,0:21:06.613 Alright, I promise this[br]one will be different. 0:21:06.613,0:21:08.572 What's wrong this time? 0:21:08.572,0:21:14.505 Doesn't seem too far off, the deltoid[br]and forearm stuff seem okayish, 0:21:14.505,0:21:18.034 this might be a subtle one, but I [br]reversed the weight on the 0:21:18.034,0:21:20.424 bicep and tricep curves. 0:21:20.424,0:21:25.033 Remember the tricep should have mass [br]closer to the shoulder, and the bicep 0:21:25.033,0:21:27.040 curves closer to the elbow. 0:21:27.040,0:21:28.397 That's a bit better. 0:21:28.397,0:21:30.150 One last one. 0:21:30.150,0:21:31.762 What's wrong now? 0:21:31.762,0:21:36.112 Hmm, the brachioradialis is on the [br]exterior, so that's fine. 0:21:36.112,0:21:39.361 But it still looks a little strange. 0:21:39.361,0:21:43.458 Well, that's because it needs [br]to go over the bicep, not under it. 0:21:43.458,0:21:46.589 And with that, I think [br]we're done learning. 0:21:46.589,0:21:50.259 You have graduated to the part of the[br]video where we just take everything 0:21:50.259,0:21:54.408 we learned and try to draw and paint[br]arms from imagination. 0:21:54.408,0:21:56.792 Hopefully they wind up looking alright. 0:21:56.792,0:22:01.563 I will be using a simple flat brush for [br]these lines, with pressure sensitivity 0:22:01.563,0:22:04.848 mostly on size, but with a bit on opacity. 0:22:04.848,0:22:07.611 That should make it feel [br]pretty comfy and natural. 0:22:07.611,0:22:10.823 One big concern I had[br]going into this final section, 0:22:10.823,0:22:14.505 is trying to make sure [br]it stays focused on arms. 0:22:14.505,0:22:17.801 Shoulders are a bit unavoidable, [br]but I tried experimenting 0:22:17.801,0:22:20.440 with ways to make [br]the hands get less attention. 0:22:20.440,0:22:23.180 Literal disjointed fingers and whatnot. 0:22:23.180,0:22:26.558 Unfortunately, that [br]actually made them stand out more, 0:22:26.558,0:22:29.176 in rules of focus [br]and contrast and whatnot, 0:22:29.176,0:22:32.190 so eventually I'll get rid of that idea. 0:22:32.190,0:22:34.879 What actually wound [br]up being the biggest issue 0:22:34.879,0:22:38.190 is just trying to come [br]up with a good variety of poses. 0:22:38.190,0:22:42.286 Once again, I considered crazy [br]foreshortening, but then the page might 0:22:42.286,0:22:45.807 feel less cohesive with the [br]more traditional perspectives. 0:22:45.807,0:22:49.522 I don't know. But I'm definitely [br]enjoying the line art quality. 0:22:49.522,0:22:52.290 There are a couple of [br]disjointed lines here and there, 0:22:52.290,0:22:55.955 but I tried to hit a good number of[br]the c-curves and s-curves 0:22:55.955,0:22:57.735 in single strokes. 0:22:57.735,0:23:01.323 That can result in a lot of putting [br]something down and then undoing it, 0:23:01.323,0:23:04.445 redoing it, until I figure out what [br]I want it to look like, 0:23:04.445,0:23:06.986 but I'm mostly okay with that method. 0:23:06.986,0:23:11.080 I can't be too chaotic with styles, but[br]I did try to at least vary up 0:23:11.080,0:23:14.116 the muscularity [br]levels a bit as it goes on. 0:23:14.116,0:23:17.699 My brain was pretty drained [br]from all the previous arm drawings, 0:23:17.699,0:23:20.981 so there are definitely a couple of [br]moments where I've made up an arm 0:23:20.981,0:23:24.786 and then moments later realised it was [br]almost identical to one that was 0:23:24.786,0:23:27.400 already on the page, like this last one. 0:23:27.400,0:23:30.953 But I just decided to adjust the [br]angle of it a bit and move on. 0:23:30.953,0:23:35.114 For colors, I don't know how [br]much I can really say that would be new, 0:23:35.114,0:23:39.917 the skin video as well as the other videos[br]have really covered the general stuff. 0:23:39.917,0:23:43.680 But you can see I've lightened the[br]line art into a lighter reddish tone, 0:23:43.680,0:23:46.853 and then threw in my normal dull[br]minty background. 0:23:46.853,0:23:50.914 I like to mask out everything in order[br]to watch transparency, which can 0:23:50.914,0:23:54.159 be a bit tedious, but usually worth[br]it in the long run. 0:23:54.159,0:23:58.001 A big piece of advice is to make sure[br]you don't instinctually start 0:23:58.001,0:24:00.765 pressing hard with [br]your stylus when blocking. 0:24:00.765,0:24:04.140 This is always the most dangerous time for[br]your hand and wrist health, 0:24:04.140,0:24:07.591 because we tend to dig in harder when[br]filling things in. 0:24:07.591,0:24:09.485 Pressure is bad for your tendons. 0:24:09.485,0:24:13.162 Anyway, once everything is blocked in, [br]we can try out a variety 0:24:13.162,0:24:15.729 of skin tones across the page. 0:24:15.729,0:24:19.529 This is also a great time to introduce [br]some hue variety by air brushing 0:24:19.529,0:24:23.778 in reds on areas that might catch more[br]sun damage, and things like that. 0:24:23.778,0:24:27.992 The next step is form rendering, and I [br]know some people like a more 0:24:27.992,0:24:32.428 smooth gradiation and some people like a [br]more chunkier chaotic painting approach. 0:24:32.428,0:24:36.942 But, I'm going to try out some [br]weirder ideas, and just try defining forms 0:24:36.942,0:24:39.629 with blocky, contour tracing strokes. 0:24:39.629,0:24:44.162 Honestly it's a bit weird at times for [br]these videos, because I don't find myself 0:24:44.162,0:24:45.794 with a strong preference. 0:24:45.794,0:24:49.580 In my mind, as long as you have some[br]understanding of the forms 0:24:49.580,0:24:53.358 you can always either step up how[br]abstract and chunky things are, 0:24:53.358,0:24:56.459 or step it back into [br]hypersoft air brushing. 0:24:56.459,0:25:00.579 In any case, the important part is [br]just knowing where the hard edges 0:25:00.579,0:25:02.483 and soft edges should be. 0:25:02.483,0:25:06.107 Now, how do you know which [br]edges are hard and which are soft? 0:25:06.107,0:25:10.885 Well, it's simple. If you would be okay [br]with seeing an actual line at a specific 0:25:10.885,0:25:15.048 spot in your drawing, then that can be[br]a hard edge in your painting. 0:25:15.048,0:25:19.555 If you think a line would look bad in your[br]drawing, then stick to soft edges there. 0:25:19.555,0:25:22.942 I already made pretty much all of the [br]lines I wanted to make 0:25:22.942,0:25:26.461 in the drawing stage, so those will [br]be the only hard edges. 0:25:26.461,0:25:30.813 Anyway, I started out pretty experimental,[br]with some of the painting stuff early on, 0:25:30.813,0:25:35.723 but I wasn't that into it this time, so [br]I'm slowly going to be dialling that back 0:25:35.723,0:25:40.236 as we go. Almost all of these arms[br]are going to be out of direct light, 0:25:40.236,0:25:44.468 you know, just ambient light for the [br]most part, aside from the one on the right 0:25:44.468,0:25:46.155 that is reaching toward us. 0:25:46.155,0:25:50.325 Doing this somewhat makes the whole image[br]a bit darker and more saturated than 0:25:50.325,0:25:54.852 I wanted, so I'll be desaturating and [br]lightening it a bit as we go. 0:25:54.852,0:25:58.051 Other than that, [br]I definitely kept the line art in play 0:25:58.051,0:26:00.365 for a lot longer than I normally do. 0:26:00.365,0:26:04.185 It's not until most of the form [br]rendering is complete that I actually 0:26:04.185,0:26:07.030 flatten things down and [br]start painting out the lines. 0:26:07.030,0:26:10.780 This is also when I start playing with [br]slightly more interesting shapes 0:26:10.780,0:26:11.888 in some of them. 0:26:11.888,0:26:15.129 The rim light is going [br]to be pretty subtle today, 0:26:15.129,0:26:19.797 I definitely made it more limelight than[br]I usually recommend to people, 0:26:19.797,0:26:23.477 but still trying to at least taper[br]those lines and find some 0:26:23.477,0:26:24.917 chunkier shapes with it. 0:26:24.917,0:26:29.120 To bring back some of the other fun stuff[br]from the skin rendering video, 0:26:29.120,0:26:32.750 I decided to put in some [br]body hair on the top left arm. 0:26:32.750,0:26:37.070 Just a bit of fun with desaturating colors[br]and pattern-based brushwork. 0:26:37.070,0:26:41.090 This was also when I decided to at least[br]connect the fingers that I had there, 0:26:41.090,0:26:45.134 but we're almost done, so the last[br]thing I want to have fun with is bringing 0:26:45.134,0:26:48.017 some of that body hair into the rim light. 0:26:48.017,0:26:51.046 It makes the rim light a lot more fun. 0:26:51.046,0:26:53.689 Definitely recommend [br]trying it when you can! 0:26:53.689,0:26:58.923 And, with that, this monster [br]of a video is finally complete. 0:26:58.923,0:27:02.771 It has been a journey, and while the [br]drawings and paintings might 0:27:02.771,0:27:06.919 not be perfect, hopefully you [br]at least feel a bit more confident 0:27:06.919,0:27:11.029 about being able to draw [br]some fun arms from imagination. 0:27:11.029,0:27:15.240 As always, the best way [br]to fully learn is to mix in equal parts 0:27:15.240,0:27:20.710 of drawing from human reference, doing[br]master copies of other artists you like, 0:27:20.710,0:27:23.212 and drawing from imagination. 0:27:23.212,0:27:27.596 No matter how good or bad you might [br]feel about one of these three parts, 0:27:27.596,0:27:30.508 do them all evenly regardless. 0:27:30.508,0:27:34.551 We only focused on [br]three main muscles in this video, 0:27:34.551,0:27:38.058 so if you find yourself [br]wanting to build up more complexity, 0:27:38.058,0:27:42.316 just go check out one of the other [br]amazing art YouTube channels that dives 0:27:42.316,0:27:43.652 a bit deeper. 0:27:43.652,0:27:48.806 Alright, I want to thank you all so much[br]for at least giving this video a chance, 0:27:48.806,0:27:52.810 I'm not a frequent uploader, [br]so be sure to subscribe if you don't want 0:27:52.810,0:27:56.412 to miss out on the handful [br]of videos I put out each year. 0:27:56.412,0:28:00.903 Of course, if you want some fun, [br]specialised content the brainstorm classes 0:28:00.903,0:28:04.907 have been going really well and [br]its definitely worth your time and money 0:28:04.907,0:28:08.697 if you haven't tried them out yet.[br]Info is down in the description. 0:28:08.697,0:28:12.024 I also, of course, do want [br]to give an earnest thank you 0:28:12.024,0:28:16.208 to the Patreon supporters that chip in[br]money to keep these videos coming. 0:28:16.208,0:28:17.767 You guys are wondeful. 0:28:17.767,0:28:18.681 See you, everyone.