WEBVTT 00:00:04.817 --> 00:00:06.527 Hey everyone, Sinix here. 00:00:06.527 --> 00:00:10.044 It's time for another episode of Anatomy Quick Tips, 00:00:10.056 --> 00:00:13.510 the series that is here to give you some useful observations 00:00:13.510 --> 00:00:17.687 and help you feel more comfortable with drawing people from imagination. 00:00:17.687 --> 00:00:22.746 Today, we'll be talking about arms - and also, don't be alarmed but 00:00:22.746 --> 00:00:27.018 this all-arm video puts us near the end of this series. 00:00:27.018 --> 00:00:29.457 Only two more videos remain. 00:00:29.457 --> 00:00:34.276 Regardless, for now let's just focus on these upper appendages. 00:00:34.276 --> 00:00:37.831 This probably won't be the funniest video in this series or anything, 00:00:37.831 --> 00:00:40.288 but it will be definitely be the most humerus - 00:00:40.288 --> 00:00:43.485 so roll up your sleeves and let's get to work. 00:00:43.485 --> 00:00:47.838 Starting out with structure, we've already covered both shoulders 00:00:47.838 --> 00:00:51.471 and hands in other videos, so we just need to make sure we 00:00:51.471 --> 00:00:53.445 can bridge these things together. 00:00:53.445 --> 00:00:58.506 I'm sketching a quick front, side, and back view of a shoulder to start. 00:00:58.506 --> 00:01:01.367 Seeing a shoulder and torso without the arm 00:01:01.367 --> 00:01:04.922 always reminds me of a little lamb or something, but anyway, 00:01:04.922 --> 00:01:09.628 we're going to focus on the skeletal breakdown of the arm first. 00:01:09.628 --> 00:01:13.562 Of course we have a single major bone in the upper arm 00:01:13.562 --> 00:01:16.983 and two in the lower arm, connected at the elbow. 00:01:16.983 --> 00:01:21.198 But as I draw that, the first thing I actually want to point out 00:01:21.198 --> 00:01:24.090 is that things aren't in a perfect straight line. 00:01:24.090 --> 00:01:27.737 You can even take a moment and try to see this yourself; 00:01:27.737 --> 00:01:32.341 just hold one arm out straight and close your opposite eye. 00:01:32.341 --> 00:01:35.520 Now do your best to look directly straight down 00:01:35.520 --> 00:01:38.967 the barrel of that massive gun you call your upper arm. 00:01:38.967 --> 00:01:42.186 If you line up your sight from shoulder to elbow, 00:01:42.186 --> 00:01:47.018 you'll notice the lower arm doesn't really line up as much as you might've thought. 00:01:47.018 --> 00:01:51.181 To get really good at drawing any organic forms, 00:01:51.181 --> 00:01:55.776 it's important to try and identify these types of subtle offsets 00:01:55.776 --> 00:01:57.733 as much as possible. 00:01:57.733 --> 00:01:59.833 Anyway, let's get back to these bones. 00:01:59.833 --> 00:02:03.216 The humerus is of course the bone of the upper arm, 00:02:03.216 --> 00:02:05.982 meanwhile the lower arm has the ulna, 00:02:05.982 --> 00:02:08.989 which I would consider the primary lower arm bone- 00:02:08.989 --> 00:02:11.498 it's the one you would be hitting someone with 00:02:11.498 --> 00:02:12.609 if you elbowed them- 00:02:12.609 --> 00:02:17.933 and then the radius, which originates on the exterior side of the elbow, 00:02:17.933 --> 00:02:20.806 A.K.A the side that's further away from your body, 00:02:20.806 --> 00:02:24.817 and always connects to the thumb-side of your hand, 00:02:24.817 --> 00:02:27.799 so we can do a bit of a rotational twisting 00:02:27.799 --> 00:02:29.303 around the lower arm: 00:02:29.303 --> 00:02:30.761 Hence the name "radius." 00:02:30.814 --> 00:02:33.336 The last skeletal thing I want to mention 00:02:33.336 --> 00:02:34.798 is the funny bone. 00:02:34.798 --> 00:02:37.423 This is just an extension of the humerus 00:02:37.423 --> 00:02:40.465 which protrudes on the inner side of the elbow, 00:02:40.465 --> 00:02:42.081 closest to the body. 00:02:42.081 --> 00:02:44.601 It's called the funny bone because of an exposed 00:02:44.601 --> 00:02:48.193 nerve ending next to it that will send a shock up your arm 00:02:48.193 --> 00:02:50.900 if you hit this part of the elbow against something. 00:02:50.900 --> 00:02:54.526 So if you ever see a chance to whack your friend's funny bone 00:02:54.526 --> 00:02:57.636 with your pencil or stylus, it's, you know, free comedy. 00:02:57.636 --> 00:03:00.987 Alright, I added some hands to these drawings, 00:03:00.987 --> 00:03:03.532 and I know this isn't the hands video, 00:03:03.532 --> 00:03:07.556 but since wrists and organic offsets are so important, 00:03:07.556 --> 00:03:11.140 let's do a quick look at that connection anyway. 00:03:11.140 --> 00:03:15.083 Now keep in mind by the time the radius and ulna get to the wrist 00:03:15.083 --> 00:03:19.602 they'll always be side by side, and therefore the lower arm connects in 00:03:19.602 --> 00:03:23.289 a much flatter and wider way into the palm and back of hand, 00:03:23.289 --> 00:03:26.412 and thinner from the side view of the hand. 00:03:26.412 --> 00:03:31.327 Basic stuff, but the fun part is any time you're adding a hand to an arm, 00:03:31.327 --> 00:03:35.680 make sure to give it a bit of an offset and step over toward the 00:03:35.680 --> 00:03:38.488 thumb/radius side of things. 00:03:38.488 --> 00:03:42.113 Similarly, from the side view, the hand should always 00:03:42.113 --> 00:03:46.697 take a noticeable offsetting step towards the palm side. 00:03:46.697 --> 00:03:49.032 By the way when I say the word "offset," 00:03:49.032 --> 00:03:53.698 it usually just means not lined up evenly with surrounding things. 00:03:53.698 --> 00:03:56.802 Anyway, always make sure the thumb side of the hand 00:03:56.802 --> 00:04:01.606 feels more chunkier and substantial than the pinkie side of the palm. 00:04:01.606 --> 00:04:05.600 With all of these ideas in mind, you should be able to develop a quick 00:04:05.600 --> 00:04:08.834 shorthand for getting from the arm into the hand. 00:04:08.834 --> 00:04:13.657 In fact, you should be able to quickly deduce everything about the bones 00:04:13.657 --> 00:04:16.587 and orientation of the wrist without ever seeing 00:04:16.587 --> 00:04:20.283 the thumbs or fingers or any interior information. 00:04:20.283 --> 00:04:23.133 So, maybe see how quickly you can determine 00:04:23.133 --> 00:04:28.106 where the radius and the ulna are in any of these rough sketches I'm making. 00:04:28.106 --> 00:04:31.557 Hopefully that seems easy enough. 00:04:31.557 --> 00:04:35.488 Let's get back to structure and talk about the muscle side of things. 00:04:35.488 --> 00:04:38.946 We're going to make it really easy for our drawing purposes 00:04:38.946 --> 00:04:41.834 and only focus on three muscle groups. 00:04:41.834 --> 00:04:47.375 The biceps are on the front of your upper arm and allow you to curl up your arm. 00:04:47.375 --> 00:04:51.982 They insert under your shoulder muscles and chest muscles on one end 00:04:51.982 --> 00:04:56.340 and connect to the radius and tissue around the ulna on the other end. 00:04:56.340 --> 00:05:01.550 The triceps are on the back of your arm and allow you to pull your arm straight. 00:05:01.550 --> 00:05:06.206 They also come out from under your shoulder muscles and similar back muscles 00:05:06.206 --> 00:05:08.682 and connect to the end of the ulna. 00:05:08.682 --> 00:05:12.532 And yes, the deltoids are of course the shoulder muscles, 00:05:12.532 --> 00:05:17.244 but the third muscle that we're going to be fixating on in this video 00:05:17.244 --> 00:05:20.212 is going to be the brachioradialis. 00:05:20.212 --> 00:05:23.585 You must learn to love the brachioradialis, 00:05:23.585 --> 00:05:28.308 it will be a pivotal part of this video in more ways than one. 00:05:28.308 --> 00:05:32.315 These insertions points are important, so keep them in mind. 00:05:32.315 --> 00:05:35.980 It connects from the lower back of the humerus 00:05:35.980 --> 00:05:39.369 under the triceps and it wraps around a bit 00:05:39.369 --> 00:05:45.167 over parts of the lower biceps and connects to the radius on the other side. 00:05:45.167 --> 00:05:49.536 I will be exaggerating this muscle heavily throughout this video, 00:05:49.536 --> 00:05:52.791 so be aware of that strategic inflation. 00:05:52.791 --> 00:05:55.453 We are going all in on the bray-ray. 00:05:55.453 --> 00:05:58.100 I think that's enough structure though, so 00:05:58.100 --> 00:06:00.737 let's get into some drawing practice. 00:06:00.737 --> 00:06:05.563 A big theme in the land of arms will be controlling our organic curves. 00:06:05.563 --> 00:06:09.768 So I guess I will do a quick recap on s-curves and c-curves. 00:06:09.768 --> 00:06:12.224 Don't let the names throw you off too much, 00:06:12.224 --> 00:06:15.363 most of the s-curves and c-curves you'll be drawing 00:06:15.363 --> 00:06:17.974 are going to be extremely subtle. 00:06:17.974 --> 00:06:21.204 Just a whisper of curvature going on most of the time. 00:06:21.204 --> 00:06:24.291 And it's good to practice that level of control 00:06:24.291 --> 00:06:27.208 but an even more important thing to practise 00:06:27.208 --> 00:06:29.810 is your ability to weight your curves. 00:06:29.810 --> 00:06:33.244 Weighting a curve means changing up the harshness of the 00:06:33.244 --> 00:06:35.395 curvature through the line. 00:06:35.395 --> 00:06:39.091 So, if the curve stays consistent from start to finish, 00:06:39.091 --> 00:06:41.345 that would be a weightless curve. 00:06:41.345 --> 00:06:44.617 You can have the curve be increasingly strong at the start 00:06:44.617 --> 00:06:48.924 or the end of the line to give it weight in a specific direction. 00:06:48.924 --> 00:06:52.032 This is very, very important to practise because we spend our 00:06:52.032 --> 00:06:59.243 entire childhoods writing letters and shapes which curve in a very balanced way; 00:06:59.243 --> 00:07:04.022 but the more you can break away from that, the more organic your drawings will be, 00:07:04.022 --> 00:07:06.324 so warm up with these often. 00:07:06.324 --> 00:07:10.062 Alright, let's get into those simplifications and reductions. 00:07:10.062 --> 00:07:13.689 Or, rather, maybe mention another little side thing...? 00:07:13.689 --> 00:07:16.692 Sorry, there's a lot of ways to think about arms, 00:07:16.692 --> 00:07:20.353 such as the chain: a common trick for approaching arms 00:07:20.353 --> 00:07:26.366 is to imagine a giant linking chain- the idea being that since the upper arm is 00:07:26.366 --> 00:07:31.264 wider from the side view than from a front view, and meanwhile the forearm is 00:07:31.264 --> 00:07:34.901 the opposite, it will generally create a nice little back and forth 00:07:34.901 --> 00:07:39.733 between wide and narrow, which is definitely good for aesthetic purposes. 00:07:39.733 --> 00:07:43.491 So, you can use that as a little mental note when applicable. 00:07:43.491 --> 00:07:46.516 Meanwhile, to go back to what we've just talked about 00:07:46.516 --> 00:07:50.616 with curve weight, the most important mental note I fixate on 00:07:50.616 --> 00:07:55.150 is usually just where to weight the curve for each part of the arm. 00:07:55.150 --> 00:08:00.922 On the bicep side of the upper arm, the curve weight is further toward the elbow, 00:08:00.922 --> 00:08:05.535 whereas on the back or tricep side of things, the curve weight is 00:08:05.535 --> 00:08:07.037 closer to the shoulder. 00:08:07.037 --> 00:08:11.537 The brachioradialis is definitely weighted toward the upper forearm, 00:08:11.537 --> 00:08:16.015 but is more rounded and gradual than the opposite side of the forearm. 00:08:16.015 --> 00:08:20.900 All of these things relate to the actual muscle bodies of each muscle group, 00:08:20.900 --> 00:08:24.138 the tricep being the most important one to always remember, 00:08:24.138 --> 00:08:28.645 because the muscle bodies are located in the top half of the upper arm. 00:08:28.645 --> 00:08:32.247 Okay, so let's sum up the straight arm simplifications 00:08:32.247 --> 00:08:33.738 a bit more directly. 00:08:33.738 --> 00:08:36.976 Back view of the arm, palm forward, minimal twisting: 00:08:36.976 --> 00:08:40.758 The upper arm might as well just be a simple cylinder 00:08:40.758 --> 00:08:42.303 with minimal tapering, 00:08:42.303 --> 00:08:46.516 but the lower arm is going to feel closer to an upside down bowling pin. 00:08:46.516 --> 00:08:51.675 The important part is that the exterior side, with the brachioradialis 00:08:51.675 --> 00:08:55.616 is going to not only curve outward more than the interior side, 00:08:55.616 --> 00:08:58.498 but also come up a bit higher than it. 00:08:58.498 --> 00:09:03.523 It should definitely feel like it starts its s-curve above the elbow. 00:09:03.523 --> 00:09:09.350 If we raise the arm up out to the side, yes you'll get a bit of the chain concept, 00:09:09.350 --> 00:09:13.392 but since you'll probably not be drawing massive bodybuilders, 00:09:13.392 --> 00:09:15.679 it can become pretty minor. 00:09:15.679 --> 00:09:20.300 You do want to make sure that you're thinking about weight and gravity though. 00:09:20.300 --> 00:09:25.236 Obviously, this gets a lot more extreme with age, but on any body type 00:09:25.236 --> 00:09:28.861 you should still be using these ideas to give you at least a little 00:09:28.861 --> 00:09:30.706 bit of subtle curve weight. 00:09:30.706 --> 00:09:35.088 Another useful reference point to think about comes from the shoulder muscle. 00:09:35.088 --> 00:09:40.629 The deltoid comes down to a bit of a point on the exterior of the arm. 00:09:40.629 --> 00:09:45.519 While not exact, this can still be used as a good way to indicate a break 00:09:45.519 --> 00:09:50.684 between the front bicep side of the arm and the rear tricep side- 00:09:50.684 --> 00:09:55.582 especially when you're dealing with more complex poses and off angle views. 00:09:55.582 --> 00:10:01.444 If I draw a quick arm over here on the left from a slightly awkward angle, 00:10:01.444 --> 00:10:06.241 adding the deltoid and letting it point a line towards the elbow can at least 00:10:06.241 --> 00:10:10.908 help us visualise the tricep and bicep sides of the arm. 00:10:10.908 --> 00:10:14.914 If this drawing looks weirdly off to you at first, that's good! 00:10:14.914 --> 00:10:18.914 The brachioradialis was not coming from the correct spot. 00:10:18.914 --> 00:10:22.666 Let's first recall that the brachioradialis should come from 00:10:22.666 --> 00:10:27.993 under the triceps and over the biceps, and using that line from the deltoid 00:10:27.993 --> 00:10:31.653 we can visualise this insertion much more clearly. 00:10:31.653 --> 00:10:34.925 Moving along, some of these straight armed elbows 00:10:34.925 --> 00:10:39.041 might be looking a bit wonky, so let's briefly mention them. 00:10:39.041 --> 00:10:43.911 The most important part of simplifying the elbow will definitely come 00:10:43.911 --> 00:10:48.524 from seeing the triceps and humerus all come together in a mass 00:10:48.524 --> 00:10:52.328 that leads straight down through the elbow and into the ulna. 00:10:52.328 --> 00:10:57.377 The funny bone and radius both become a bit indented on a straight arm, 00:10:57.377 --> 00:11:02.142 so you'll mostly see these little pockets of depth off to both sides of the 00:11:02.142 --> 00:11:06.510 triceps and ulna, with the forearm muscles pulling the forms back out 00:11:06.510 --> 00:11:09.431 and really solidifying those crevices. 00:11:09.431 --> 00:11:13.044 There's definitely a lot of skin going on in this area, 00:11:13.044 --> 00:11:15.670 so it tends to become quite wrinkly. 00:11:15.670 --> 00:11:17.790 There's even a slang name for this 00:11:17.790 --> 00:11:20.545 folded up skin - it's called the wenis. 00:11:20.545 --> 00:11:24.403 So, everybody should draw the wenis, the wenis is not a dance, 00:11:24.403 --> 00:11:26.760 and I'm happy to tell you this in advance. 00:11:26.760 --> 00:11:31.633 [laughs] Anyway, wrinkles are tricky. The general rule is to fold the skin with 00:11:31.633 --> 00:11:35.789 c-curves and s-curves in a way that squishes the curves together 00:11:35.789 --> 00:11:39.580 without ever feeling like they're going to cross each other, or pass through 00:11:39.580 --> 00:11:42.656 the extended implied lines of other curves. 00:11:42.656 --> 00:11:45.947 You can compress a bunch of them into a small space, 00:11:45.947 --> 00:11:51.271 or just a couple, but I recommend wrinkling things up a bit above the elbow 00:11:51.271 --> 00:11:55.376 with perhaps some more drapery style folds hanging underneath. 00:11:55.376 --> 00:11:59.238 You can definitely develop your own stylistic approach to wrinkles, 00:11:59.238 --> 00:12:03.117 and they should feel similar in theory to clothing folds, 00:12:03.117 --> 00:12:05.481 but more organic with the lines. 00:12:05.481 --> 00:12:08.170 Just keep in mind, like with clothing folds, 00:12:08.170 --> 00:12:11.180 doing less is usually better when learning. 00:12:11.180 --> 00:12:14.362 Alright, a little bit more drawing in this section, 00:12:14.362 --> 00:12:18.881 because I want to also just quickly mention some size relations. 00:12:18.881 --> 00:12:23.377 I'm a serial offender of making my deltoids too small in drawings, 00:12:23.377 --> 00:12:27.815 so I'm trying to correct that. I think it can be useful to think of the upper 00:12:27.815 --> 00:12:32.262 arms as a length that goes from the top of the shoulder to the elbow. 00:12:32.262 --> 00:12:35.567 The top third of that length can be the distance of the 00:12:35.567 --> 00:12:37.370 deltoid going down the arm. 00:12:37.370 --> 00:12:40.165 I barely mentioned it before, but the triceps 00:12:40.165 --> 00:12:44.840 really have two main visible muscle bodies on the back of the arm. 00:12:44.840 --> 00:12:47.844 While they both have those high up muscle bodies, 00:12:47.844 --> 00:12:51.965 the interior side one is a bit longer down toward the elbow, 00:12:51.965 --> 00:12:56.227 while the exterior one is even more focused at the top. 00:12:56.227 --> 00:13:00.434 The bottom of these muscle bodies and strong separation of them 00:13:00.434 --> 00:13:03.794 occurs roughly halfway down the upper arm unit 00:13:03.794 --> 00:13:07.294 that we mentioned going from top of shoulder to elbow. 00:13:07.294 --> 00:13:11.627 You can kind of indicate this with a little butt shape on the back of the arm, 00:13:11.627 --> 00:13:15.327 especially if it's being flexed. The arm... not the butt. 00:13:15.327 --> 00:13:19.390 Okay, moving along to the world of movement, 00:13:19.390 --> 00:13:25.182 the elbow is basically just a fancy hinge joint with the funny bone on the interior, 00:13:25.182 --> 00:13:29.644 the ulna being the king in the center, and the radius on the exterior. 00:13:29.644 --> 00:13:34.559 When the arm is straight, they somewhat line up with the ulna sticking out a bit. 00:13:34.559 --> 00:13:38.558 From the interior view though, once we start curling the arm, 00:13:38.558 --> 00:13:41.597 obviously the funny bone isn't going anywhere, 00:13:41.597 --> 00:13:46.666 but the ulna is going to hinge around it and form a very boxy and angular 00:13:46.666 --> 00:13:51.951 silhouette by letting your brain fixate on the line from funny bone to ulna. 00:13:51.951 --> 00:13:57.105 All of the tissue of the arm is going to crease at the insertion of the bicep and 00:13:57.105 --> 00:14:01.950 form a bit of a line that points mostly toward the funny bone side of things. 00:14:01.950 --> 00:14:07.537 The important take away is that interior arm equals boxy shape and long crease. 00:14:07.537 --> 00:14:11.297 Also, when you raise your arm with your bicep toward the sky, 00:14:11.297 --> 00:14:15.473 that means the deltoid is going to be pulled to the back of the shoulder. 00:14:15.473 --> 00:14:19.556 As it, once again, needs to be pointing toward the exterior line between 00:14:19.556 --> 00:14:20.973 bicep and tricep. 00:14:20.973 --> 00:14:24.843 Anyway, the exterior elbow view is a bit interesting. 00:14:24.843 --> 00:14:28.454 You'll of course be seeing the deltoid a lot more in this view 00:14:28.454 --> 00:14:30.259 where the exterior is facing back, 00:14:30.259 --> 00:14:33.208 but the interesting part is that you're now seeing 00:14:33.208 --> 00:14:36.910 both the radius and ulna in the straightened arm view. 00:14:36.910 --> 00:14:39.939 This means that when you curl your arm, those two lower 00:14:39.939 --> 00:14:42.933 arm bones are going to be traveling together. 00:14:42.933 --> 00:14:46.494 Even though the silhouette will fundamentally be the same, 00:14:46.494 --> 00:14:50.514 I find it very useful to acknowledge this anatomy by making the elbow 00:14:50.514 --> 00:14:53.740 feel like it just rounds up to and around these bones, 00:14:53.740 --> 00:14:55.809 instead of feeling boxy. 00:14:55.809 --> 00:15:00.633 You might also remember that the brachioradialis is on the exterior side, 00:15:00.633 --> 00:15:04.740 so that will create a mass in form that will squeeze from upper arm 00:15:04.740 --> 00:15:05.847 to lower arm. 00:15:05.847 --> 00:15:09.549 Because of this mass, the exterior crease here becomes a lot more 00:15:09.549 --> 00:15:11.220 chubbier and compressed. 00:15:11.220 --> 00:15:14.766 I like to use a shorter and splitting crease to hint at this 00:15:14.766 --> 00:15:15.797 thicker form- 00:15:15.797 --> 00:15:18.775 and you should try to hint at these things in any body type. 00:15:18.775 --> 00:15:23.172 From a different view, you can get some idea of how all of these bones 00:15:23.172 --> 00:15:27.072 and muscles are working, but for now let's jump over to the 00:15:27.072 --> 00:15:30.527 forearm movements, because we have rotation to deal with. 00:15:30.527 --> 00:15:34.788 If you stick your right arm out in front of you, palm side up, 00:15:34.788 --> 00:15:37.979 this is the least twisted view of your forearm. 00:15:37.979 --> 00:15:42.403 The muscles and bones just carry forth to the hand in a linear fashion. 00:15:42.403 --> 00:15:46.488 This represents one extreme of your rotational movement. 00:15:46.488 --> 00:15:49.998 As we rotate the hand, the elbow won't be changing much, 00:15:49.998 --> 00:15:53.998 but the radius and brachioradialis will start twisting a bit 00:15:53.998 --> 00:15:56.298 to line up vertically at the wrist. 00:15:56.298 --> 00:15:58.766 The best thing you should observe on your own arm 00:15:58.766 --> 00:16:02.766 is how the s-curves adjust as you rotate your hand. 00:16:02.782 --> 00:16:05.584 I'm not in love with the drawing on the right here, 00:16:05.584 --> 00:16:09.563 but the interior ulna side of things definitely changes up its 00:16:09.563 --> 00:16:14.544 s-curve the most, whereas the exterior side just shifts weight a little. 00:16:14.544 --> 00:16:18.916 Once your palm is facing downwards, the full range of motion is complete. 00:16:18.916 --> 00:16:21.172 This is as far as things can twist. 00:16:21.172 --> 00:16:24.914 The radius and ulna are now on opposite sides from the elbow. 00:16:24.914 --> 00:16:28.348 You might be thinking, "what if I want to give a thumbs down?'" 00:16:28.348 --> 00:16:33.099 Well, physically you can't. So be sure to remember that and like this video. 00:16:33.099 --> 00:16:35.704 If you do really want to point your thumb down, 00:16:35.704 --> 00:16:39.765 it requires you to actually rotate your entire arm so that your 00:16:39.765 --> 00:16:42.258 elbow is facing a different direction. 00:16:42.258 --> 00:16:46.414 Lastly, here I'll just mention, when your arms are at rest at your sides, 00:16:46.414 --> 00:16:50.924 the default comfortable state is that central, half-twisted state, 00:16:50.924 --> 00:16:53.590 not the completely untwisted state. 00:16:53.590 --> 00:16:58.196 Alright, let's go back to reducing information and recap what we've learned. 00:16:58.196 --> 00:17:01.958 Of course, it's pretty fun to draw giant musclebound arms, 00:17:01.958 --> 00:17:05.348 especially when you're trying to commit all these concepts to memory, 00:17:05.348 --> 00:17:08.588 but we also want to be able to simplify these things down 00:17:08.588 --> 00:17:10.961 into little anime stick arms. 00:17:10.961 --> 00:17:15.182 When you start out in art, it's fine to just think of the upper and lower arms 00:17:15.182 --> 00:17:18.590 as just cylinders, and as you get more comfortable, 00:17:18.590 --> 00:17:21.717 you can introduce some tapering into these forms. 00:17:21.717 --> 00:17:25.009 Eventually, you will want to be capable of some level 00:17:25.009 --> 00:17:29.009 of form complexity. These cross sections are never just round. 00:17:29.009 --> 00:17:33.146 They have weird oblong shapes and blobby looking contours. 00:17:33.146 --> 00:17:37.350 I like to practice these things with what I would call "skinny muscle forms." 00:17:37.350 --> 00:17:40.781 Maybe it's just my Samurai Champloo roots coming through again. 00:17:40.781 --> 00:17:44.363 A quick example though, starting with a deltoid and shoulder, 00:17:44.363 --> 00:17:49.192 letting it point toward an elbow, think I'll twist the bicep to the bottom on 00:17:49.192 --> 00:17:54.374 this one, bicep means curve weight closer to elbows, so we can even dive in 00:17:54.374 --> 00:17:55.827 with some angular shapes. 00:17:55.827 --> 00:17:59.326 With the bicep facing forward, that means the deltoid 00:17:59.326 --> 00:18:02.518 can be a bit further on top instead of on the back, 00:18:02.518 --> 00:18:06.972 and we can even hint at some tricep form above the separating line. 00:18:06.972 --> 00:18:10.972 That line will let us know where to pull the brachioradialis from, 00:18:10.972 --> 00:18:15.554 and then we can decide on the hand rotation and make everything line up. 00:18:15.554 --> 00:18:19.673 Design wise, it's good to play around with the ratios of rounded 00:18:19.673 --> 00:18:21.585 shapes and angular shapes. 00:18:21.585 --> 00:18:25.165 We alluded earlier to the exterior side feeling more rounded 00:18:25.165 --> 00:18:28.930 and the interior feeling more angular, when discussing the elbow hinge, 00:18:28.930 --> 00:18:31.357 so let's just run with that a bit more. 00:18:31.357 --> 00:18:34.609 What if we just always simplified things around the elbow 00:18:34.609 --> 00:18:39.828 by playing up rounded exteriors and angular interiors in the forearm? 00:18:39.828 --> 00:18:44.581 I just noticed that that letter pointing towards the tricep is a D instead of a T. 00:18:44.581 --> 00:18:47.107 Clearly getting a bit delirious at this point. 00:18:47.107 --> 00:18:49.208 Regardless, let's keep sketching. 00:18:49.208 --> 00:18:54.025 Here's a quick side view, still mostly practicing curve weights and that 00:18:54.025 --> 00:18:58.583 brachioradialis. Some slightly more exciting things we could try 00:18:58.583 --> 00:19:02.453 would be playing around with perspective and dynamic angles. 00:19:02.453 --> 00:19:06.290 If we imagine a Spiderman type arm pose, we could still 00:19:06.290 --> 00:19:10.015 think about where we could exaggerate our forearm muscles. 00:19:10.015 --> 00:19:12.310 I'll be honest though, I sort of got distracted 00:19:12.310 --> 00:19:16.586 right after starting this one, because I thought of some more stuff to mention. 00:19:16.586 --> 00:19:20.360 Such as: what does it look like if you just have your elbow 00:19:20.360 --> 00:19:23.563 sticking up in the air with your arm curled behind it? 00:19:23.563 --> 00:19:27.363 A lot of tricep weight at the bottom, but it really thins out 00:19:27.363 --> 00:19:30.270 into a very skeletal look at the elbow. 00:19:30.270 --> 00:19:33.522 It does give a nice look at the radius, ulna, and funny bone. 00:19:33.522 --> 00:19:36.982 This becomes instantly obscured by the forearm once you 00:19:36.982 --> 00:19:40.344 straighten the arm out a bit, with those forearm muscles just 00:19:40.344 --> 00:19:42.927 taking over both sides of the elbow. 00:19:42.927 --> 00:19:45.483 But, this made me think of another scenario: 00:19:45.483 --> 00:19:49.730 how about when you're resting your weight on your elbow at a desk or table? 00:19:49.730 --> 00:19:52.226 Where do those forearm muscles go then? 00:19:52.226 --> 00:19:55.756 Well, since the brachioradialis connects to the humerus, 00:19:55.756 --> 00:20:01.103 it actually sits up higher, away from the elbow on the exterior side of things. 00:20:01.103 --> 00:20:02.826 I guess that's obvious enough, 00:20:02.826 --> 00:20:06.044 kind of like how it would look if you were drinking something. 00:20:06.044 --> 00:20:10.038 Just always be keeping track of where the thumb is, and where the exterior 00:20:10.038 --> 00:20:13.265 and interior of the elbow are, and you'll be fine. 00:20:13.265 --> 00:20:16.569 Now, we always have a common mistakes part in these videos, 00:20:16.569 --> 00:20:21.982 but I think I've gone over things so much that we can try a pop quiz instead. 00:20:21.982 --> 00:20:26.120 I'll show a quick drawing with some weird mistake, and we'll see if 00:20:26.120 --> 00:20:28.291 you can deduce the problem. 00:20:28.291 --> 00:20:31.061 Like this. What's wrong with this? 00:20:31.061 --> 00:20:36.861 Well, you have two possible answers on this one, since we can't see the shoulder. 00:20:36.861 --> 00:20:41.830 We seem to be looking at the front of an arm, so either the brachioradialis 00:20:41.830 --> 00:20:45.643 is on the wrong side, or the hand should be mirrored. 00:20:45.643 --> 00:20:48.640 How about this one? Anything seem off to you? 00:20:48.640 --> 00:20:52.200 Well, I'm messing with you a bit, because it's the same thing, 00:20:52.200 --> 00:20:57.113 except this time you can see the deltoid, so there's only one answer. 00:20:57.113 --> 00:21:00.591 The brachioradialis is on the wrong side again. 00:21:00.591 --> 00:21:03.782 It should be on the exterior, not interior. 00:21:03.782 --> 00:21:06.613 Alright, I promise this one will be different. 00:21:06.613 --> 00:21:08.572 What's wrong this time? 00:21:08.572 --> 00:21:14.505 Doesn't seem too far off, the deltoid and forearm stuff seem okayish. 00:21:14.505 --> 00:21:18.034 This might be a subtle one, but I reversed the weight on the 00:21:18.034 --> 00:21:20.424 bicep and tricep curves. 00:21:20.424 --> 00:21:25.033 Remember, the tricep should have mass closer to the shoulder, and the bicep 00:21:25.033 --> 00:21:27.040 curves closer to the elbow. 00:21:27.040 --> 00:21:28.397 That's a bit better. 00:21:28.397 --> 00:21:30.150 One last one. 00:21:30.150 --> 00:21:31.762 What's wrong now? 00:21:31.762 --> 00:21:36.112 Hmm, the brachioradialis is on the exterior, so that's fine. 00:21:36.112 --> 00:21:39.361 But it still looks a little strange. 00:21:39.361 --> 00:21:43.458 Well, that's because it needs to go over the bicep, not under it. 00:21:43.458 --> 00:21:46.589 And with that, I think we're done learning. 00:21:46.589 --> 00:21:50.259 You have graduated to the part of the video where we just take everything 00:21:50.259 --> 00:21:54.408 we learned and try to draw and paint arms from imagination. 00:21:54.408 --> 00:21:56.792 Hopefully they wind up looking alright. 00:21:56.792 --> 00:22:01.563 I will be using a simple flat brush for these lines, with pressure sensitivity 00:22:01.563 --> 00:22:04.848 mostly on size, but with a bit on opacity. 00:22:04.848 --> 00:22:07.611 That should make it feel pretty comfy and natural. 00:22:07.611 --> 00:22:10.823 One big concern I had going into this final section 00:22:10.823 --> 00:22:14.505 is trying to make sure it stays focused on arms. 00:22:14.505 --> 00:22:17.801 Shoulders are a bit unavoidable, but I tried experimenting 00:22:17.801 --> 00:22:20.440 with ways to make the hands get less attention. 00:22:20.440 --> 00:22:23.180 Literal disjointed fingers and whatnot. 00:22:23.180 --> 00:22:26.558 Unfortunately, that actually made them stand out more, 00:22:26.558 --> 00:22:29.176 in rules of focus and contrast and whatnot, 00:22:29.176 --> 00:22:32.190 so eventually I'll get rid of that idea. 00:22:32.190 --> 00:22:34.879 What actually wound up being the biggest issue 00:22:34.879 --> 00:22:38.190 is just trying to come up with a good variety of poses. 00:22:38.190 --> 00:22:42.286 Once again, I considered crazy foreshortening, but then the page might 00:22:42.286 --> 00:22:45.807 feel less cohesive with the more traditional perspectives. 00:22:45.807 --> 00:22:49.522 I don't know. But I'm definitely enjoying the line art quality. 00:22:49.522 --> 00:22:52.290 There are a couple of disjointed lines here and there, 00:22:52.290 --> 00:22:55.955 but I tried to hit a good number of the c-curves and s-curves 00:22:55.955 --> 00:22:57.735 in single strokes. 00:22:57.735 --> 00:23:01.323 That can result in a lot of putting something down and then undoing it, 00:23:01.323 --> 00:23:04.445 redoing it, until I figure out what I want it to look like, 00:23:04.445 --> 00:23:06.986 but I'm mostly okay with that method. 00:23:06.986 --> 00:23:11.080 I can't be too chaotic with styles, but I did try to at least vary up 00:23:11.080 --> 00:23:14.116 the muscularity levels a bit as it goes on. 00:23:14.116 --> 00:23:17.699 My brain was pretty drained from all the previous arm drawings, 00:23:17.699 --> 00:23:20.981 so there are definitely a couple of moments where I've made up an arm 00:23:20.981 --> 00:23:24.786 and then moments later realised it was almost identical to one that was 00:23:24.786 --> 00:23:27.400 already on the page, like this last one. 00:23:27.400 --> 00:23:30.953 But I just decided to adjust the angle of it a bit and move on. 00:23:30.953 --> 00:23:35.114 For colors, I don't know how much I can really say that would be new. 00:23:35.114 --> 00:23:39.917 The skin video, as well as the other videos, have really covered the general stuff, 00:23:39.917 --> 00:23:43.680 but you can see I've lightened the line art into a lighter reddish tone, 00:23:43.680 --> 00:23:46.853 and then threw in my normal dull minty background. 00:23:46.853 --> 00:23:50.914 I like to mask out everything in order to watch transparency, which can 00:23:50.914 --> 00:23:54.159 be a bit tedious, but usually worth it in the long run. 00:23:54.159 --> 00:23:58.001 A big piece of advice is to make sure you don't instinctually start 00:23:58.001 --> 00:24:00.765 pressing hard with your stylus when blocking. 00:24:00.765 --> 00:24:04.140 This is always the most dangerous time for your hand and wrist health, 00:24:04.140 --> 00:24:07.591 because we tend to dig in harder when filling things in. 00:24:07.591 --> 00:24:09.485 Pressure is bad for your tendons. 00:24:09.485 --> 00:24:13.162 Anyway, once everything is blocked in, we can try out a variety 00:24:13.162 --> 00:24:15.729 of skin tones across the page. 00:24:15.729 --> 00:24:19.529 This is also a great time to introduce some hue variety by air brushing 00:24:19.529 --> 00:24:23.778 in reds on areas that might catch more sun damage, and things like that. 00:24:23.778 --> 00:24:27.992 The next step is form rendering, and I know some people like a more 00:24:27.992 --> 00:24:32.428 smooth gradiation and some people like a more chunkier chaotic painting approach, 00:24:32.428 --> 00:24:36.942 but, I'm going to try out some weirder ideas, and just try defining forms 00:24:36.942 --> 00:24:39.629 with blocky, contour tracing strokes. 00:24:39.629 --> 00:24:44.162 Honestly it's a bit weird at times for these videos, because I don't find myself 00:24:44.162 --> 00:24:45.794 with a strong preference. 00:24:45.794 --> 00:24:49.580 In my mind, as long as you have some understanding of the forms, 00:24:49.580 --> 00:24:53.358 you can always either step up how abstract and chunky things are, 00:24:53.358 --> 00:24:56.459 or step it back into hypersoft air brushing. 00:24:56.459 --> 00:25:00.579 In any case, the important part is just knowing where the hard edges 00:25:00.579 --> 00:25:02.483 and soft edges should be. 00:25:02.483 --> 00:25:06.107 Now, how do you know which edges are hard and which are soft? 00:25:06.107 --> 00:25:10.885 Well, it's simple. If you would be okay with seeing an actual line at a specific 00:25:10.885 --> 00:25:15.048 spot in your drawing, then that can be a hard edge in your painting. 00:25:15.048 --> 00:25:19.555 If you think a line would look bad in your drawing, then stick to soft edges there. 00:25:19.555 --> 00:25:22.942 I already made pretty much all of the lines I wanted to make 00:25:22.942 --> 00:25:26.461 in the drawing stage, so those will be the only hard edges. 00:25:26.461 --> 00:25:30.813 Anyway, I started out pretty experimental, with some of the painting stuff early on, 00:25:30.813 --> 00:25:35.723 but I wasn't that into it this time, so I'm slowly going to be dialling that back 00:25:35.723 --> 00:25:40.236 as we go. Almost all of these arms are going to be out of direct light, 00:25:40.236 --> 00:25:44.468 you know, just ambient light for the most part, aside from the one on the right 00:25:44.468 --> 00:25:46.155 that is reaching toward us. 00:25:46.155 --> 00:25:50.325 Doing this somewhat makes the whole image a bit darker and more saturated than 00:25:50.325 --> 00:25:54.852 I wanted, so I'll be desaturating and lightening a bit as we go. NOTE Paragraph 00:25:54.852 --> 00:25:58.051 Other than that, I definitely kept the line art in play 00:25:58.051 --> 00:26:00.365 for a lot longer than I normally do. 00:26:00.365 --> 00:26:04.185 It's not until most of the form rendering is complete that I actually 00:26:04.185 --> 00:26:07.030 flatten things down and start painting out the lines. 00:26:07.030 --> 00:26:10.780 This is also when I start playing with slightly more interesting shapes 00:26:10.780 --> 00:26:11.888 in some of them. 00:26:11.888 --> 00:26:15.129 The rim light is going to be pretty subtle today; 00:26:15.129 --> 00:26:19.797 I definitely made it more limelight than I usually recommend to people, 00:26:19.797 --> 00:26:23.477 but still trying to at least taper those lines and find some 00:26:23.477 --> 00:26:24.917 chunkier shapes with it. 00:26:24.917 --> 00:26:29.120 To bring back some of the other fun stuff from the skin rendering video, 00:26:29.120 --> 00:26:32.750 I decided to put in some body hair on the top left arm. 00:26:32.750 --> 00:26:37.070 Just a bit of fun with desaturating colors and pattern-based brushwork. 00:26:37.070 --> 00:26:41.090 This was also when I decided to at least connect the fingers that I had there, 00:26:41.090 --> 00:26:45.134 but we're almost done, so the last thing I want to have fun with is bringing 00:26:45.134 --> 00:26:48.017 some of that body hair into the rim light. 00:26:48.017 --> 00:26:51.046 It makes the rim light a lot more fun. 00:26:51.046 --> 00:26:53.689 Definitely recommend trying it when you can! 00:26:53.689 --> 00:26:58.923 And, with that, this monster of a video is finally complete. 00:26:58.923 --> 00:27:02.771 It has been a journey, and while the drawings and paintings might 00:27:02.771 --> 00:27:06.919 not be perfect, hopefully you at least feel a bit more confident 00:27:06.919 --> 00:27:11.029 about being able to draw some fun arms from imagination. 00:27:11.029 --> 00:27:15.240 As always, the best way to fully learn is to mix in equal parts 00:27:15.240 --> 00:27:20.710 of drawing from human reference, doing master copies of other artists you like, 00:27:20.710 --> 00:27:23.212 and drawing from imagination. 00:27:23.212 --> 00:27:27.596 No matter how good or bad you might feel about one of these three parts, 00:27:27.596 --> 00:27:30.508 do them all evenly regardless. 00:27:30.508 --> 00:27:34.551 We only focused on three main muscles in this video, 00:27:34.551 --> 00:27:38.058 so if you find yourself wanting to build up more complexity, 00:27:38.058 --> 00:27:42.316 just go check out one of the other amazing art YouTube channels that dives 00:27:42.316 --> 00:27:43.652 a bit deeper. 00:27:43.652 --> 00:27:48.806 Alright, I want to thank you all so much for at least giving this video a chance, 00:27:48.806 --> 00:27:52.810 I'm not a frequent uploader, so be sure to subscribe if you don't want 00:27:52.810 --> 00:27:56.412 to miss out on the handful of videos I put out each year. 00:27:56.412 --> 00:28:00.903 Of course, if you want some fun, specialised content, the brainstorm classes 00:28:00.903 --> 00:28:04.907 have been going really well, and it's definitely worth your time and money 00:28:04.907 --> 00:28:08.697 if you haven't tried them out yet. Info is down in the description. 00:28:08.697 --> 00:28:12.024 I also, of course, do want to give an earnest thank you 00:28:12.024 --> 00:28:16.208 to the Patreon supporters that chip in money to keep these videos coming. 00:28:16.208 --> 00:28:17.767 You guys are wondeful. 00:28:17.767 --> 00:28:18.681 See you, everyone.