[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:04.82,0:00:06.63,Default,,0000,0000,0000,,Hey everyone, Sinix here.
Dialogue: 0,0:00:06.63,0:00:10.04,Default,,0000,0000,0000,,It's time for another episode of \NAnatomy Quick Tips,
Dialogue: 0,0:00:10.06,0:00:13.51,Default,,0000,0000,0000,,the series that is here to give you \Nsome useful observations
Dialogue: 0,0:00:13.51,0:00:15.49,Default,,0000,0000,0000,,and help you feel more comfortable with
Dialogue: 0,0:00:15.49,0:00:17.68,Default,,0000,0000,0000,,drawing people from imagination.
Dialogue: 0,0:00:17.69,0:00:20.40,Default,,0000,0000,0000,,Today, we'll be talking about arms -
Dialogue: 0,0:00:20.40,0:00:22.93,Default,,0000,0000,0000,,and also, don't be alarmed but
Dialogue: 0,0:00:22.93,0:00:27.02,Default,,0000,0000,0000,,this all-arm video puts \Nus near the end of this series,
Dialogue: 0,0:00:27.02,0:00:29.46,Default,,0000,0000,0000,,only two more videos remain.
Dialogue: 0,0:00:29.46,0:00:34.05,Default,,0000,0000,0000,,Regardless, for now let's just focus \Non these upper appendages.
Dialogue: 0,0:00:34.28,0:00:37.83,Default,,0000,0000,0000,,This probably won't be the funniest \Nvideo in this series or anything,
Dialogue: 0,0:00:37.83,0:00:40.29,Default,,0000,0000,0000,,but it will be definitely be the \Nmost humerus -
Dialogue: 0,0:00:40.29,0:00:43.48,Default,,0000,0000,0000,,so roll up your sleeves \Nand let's get to work.
Dialogue: 0,0:00:43.48,0:00:45.22,Default,,0000,0000,0000,,Starting out with structure,
Dialogue: 0,0:00:45.22,0:00:48.72,Default,,0000,0000,0000,,we've already covered both \Nshoulders and hands
Dialogue: 0,0:00:48.72,0:00:49.60,Default,,0000,0000,0000,,in other videos,
Dialogue: 0,0:00:49.60,0:00:53.36,Default,,0000,0000,0000,,so we just need to make sure we \Ncan bridge these things together.
Dialogue: 0,0:00:53.36,0:00:58.21,Default,,0000,0000,0000,,I'm sketching a quick front, side and \Nback view of a shoulder to start.
Dialogue: 0,0:00:58.51,0:01:01.37,Default,,0000,0000,0000,,Seeing a shoulder \Nand torso without the arm
Dialogue: 0,0:01:01.37,0:01:04.24,Default,,0000,0000,0000,,always reminds me of a little \Nlamb or something...
Dialogue: 0,0:01:04.24,0:01:06.78,Default,,0000,0000,0000,,but anyway, we're going to focus on
Dialogue: 0,0:01:06.78,0:01:09.63,Default,,0000,0000,0000,,the skeletal breakdown of the arm first.
Dialogue: 0,0:01:09.63,0:01:12.38,Default,,0000,0000,0000,,Of course we have a single major bone
Dialogue: 0,0:01:12.38,0:01:13.56,Default,,0000,0000,0000,,in the upper arm
Dialogue: 0,0:01:13.56,0:01:15.42,Default,,0000,0000,0000,,and two in the lower arm
Dialogue: 0,0:01:15.42,0:01:16.98,Default,,0000,0000,0000,,connected at the elbow.
Dialogue: 0,0:01:16.98,0:01:21.32,Default,,0000,0000,0000,,But as i draw that, the first thing \NI actually want to point out
Dialogue: 0,0:01:21.32,0:01:24.09,Default,,0000,0000,0000,,is that things aren't \Nin a perfect straight line.
Dialogue: 0,0:01:24.09,0:01:26.14,Default,,0000,0000,0000,,You can even take a moment
Dialogue: 0,0:01:26.14,0:01:27.74,Default,,0000,0000,0000,,and try to see this yourself -
Dialogue: 0,0:01:27.74,0:01:30.23,Default,,0000,0000,0000,,just hold one arm out straight
Dialogue: 0,0:01:30.23,0:01:32.34,Default,,0000,0000,0000,,and close your opposite eye.
Dialogue: 0,0:01:32.34,0:01:35.58,Default,,0000,0000,0000,,Now do your best to \Nlook directly straight down
Dialogue: 0,0:01:35.58,0:01:37.79,Default,,0000,0000,0000,,the barrel of that massive gun you call
Dialogue: 0,0:01:37.79,0:01:38.97,Default,,0000,0000,0000,,your upper arm.
Dialogue: 0,0:01:38.97,0:01:42.19,Default,,0000,0000,0000,,If you line up your \Nsight from shoulder to elbow,
Dialogue: 0,0:01:42.19,0:01:44.69,Default,,0000,0000,0000,,you'll notice the lower arm doesn't really
Dialogue: 0,0:01:44.69,0:01:47.02,Default,,0000,0000,0000,,line up as much as you might've thought.
Dialogue: 0,0:01:47.02,0:01:51.18,Default,,0000,0000,0000,,To get really good at \Ndrawing any organic forms,
Dialogue: 0,0:01:51.18,0:01:55.78,Default,,0000,0000,0000,,it's important to try and identify \Nthese types of subtle offsets
Dialogue: 0,0:01:55.78,0:01:57.73,Default,,0000,0000,0000,,as much as possible.
Dialogue: 0,0:01:57.73,0:01:59.83,Default,,0000,0000,0000,,Anyway, let's get back to these bones.
Dialogue: 0,0:01:59.83,0:02:01.84,Default,,0000,0000,0000,,The humerus is of course the bone
Dialogue: 0,0:02:01.84,0:02:03.22,Default,,0000,0000,0000,,of the upper arm,
Dialogue: 0,0:02:03.22,0:02:05.98,Default,,0000,0000,0000,,meanwhile the lower arm has the ulna,
Dialogue: 0,0:02:05.98,0:02:08.99,Default,,0000,0000,0000,,which I would consider \Nthe primary lower arm bone.
Dialogue: 0,0:02:08.99,0:02:11.50,Default,,0000,0000,0000,,It's the one you would \Nbe hitting someone with
Dialogue: 0,0:02:11.50,0:02:12.56,Default,,0000,0000,0000,,if you elbowed them.
Dialogue: 0,0:02:12.61,0:02:15.55,Default,,0000,0000,0000,,And then the radius, which originates
Dialogue: 0,0:02:15.55,0:02:17.93,Default,,0000,0000,0000,,on the exterior side of the elbow
Dialogue: 0,0:02:17.93,0:02:20.81,Default,,0000,0000,0000,,A.K.A the side that's further \Naway from your body -
Dialogue: 0,0:02:20.81,0:02:24.54,Default,,0000,0000,0000,,and always connects to \Nthe thumb-side of your hand.
Dialogue: 0,0:02:24.82,0:02:27.80,Default,,0000,0000,0000,,So we can do a bit \Nof a rotational twisting
Dialogue: 0,0:02:27.80,0:02:29.30,Default,,0000,0000,0000,,around the lower arm.
Dialogue: 0,0:02:29.30,0:02:30.76,Default,,0000,0000,0000,,Hence the name 'radius'.
Dialogue: 0,0:02:30.81,0:02:33.34,Default,,0000,0000,0000,,The last skeletal thing I want to mention
Dialogue: 0,0:02:33.34,0:02:34.60,Default,,0000,0000,0000,,is the funny bone.
Dialogue: 0,0:02:34.80,0:02:37.54,Default,,0000,0000,0000,,This is just an extension of the humerus
Dialogue: 0,0:02:37.54,0:02:40.46,Default,,0000,0000,0000,,which protrudes on the \Ninner side of the elbow
Dialogue: 0,0:02:40.46,0:02:41.98,Default,,0000,0000,0000,,closest to the body.
Dialogue: 0,0:02:42.08,0:02:43.39,Default,,0000,0000,0000,,It's called the funny bone
Dialogue: 0,0:02:43.39,0:02:46.05,Default,,0000,0000,0000,,because of an exposed \Nnerve ending next to it
Dialogue: 0,0:02:46.05,0:02:48.29,Default,,0000,0000,0000,,that will send a shock up your arm
Dialogue: 0,0:02:48.29,0:02:50.86,Default,,0000,0000,0000,,if you hit this part of the \Nelbow against something.
Dialogue: 0,0:02:50.90,0:02:53.16,Default,,0000,0000,0000,,So if you ever see a chance to whack
Dialogue: 0,0:02:53.16,0:02:55.88,Default,,0000,0000,0000,,your friend's funny bone \Nwith your pencil or stylus
Dialogue: 0,0:02:55.88,0:02:57.64,Default,,0000,0000,0000,,it's, you know, free comedy.
Dialogue: 0,0:02:57.64,0:03:00.99,Default,,0000,0000,0000,,Alright, I added some \Nhands to these drawings,
Dialogue: 0,0:03:00.99,0:03:03.53,Default,,0000,0000,0000,,and I know this isn't the hands video
Dialogue: 0,0:03:03.53,0:03:07.56,Default,,0000,0000,0000,,but since wrists and organic \Noffsets are so important,
Dialogue: 0,0:03:07.56,0:03:11.07,Default,,0000,0000,0000,,let's do a quick look at \Nthat connection anyway.
Dialogue: 0,0:03:11.14,0:03:13.03,Default,,0000,0000,0000,,Now keep in mind by the time
Dialogue: 0,0:03:13.03,0:03:15.08,Default,,0000,0000,0000,,the radius and ulna get to the wrist
Dialogue: 0,0:03:15.08,0:03:17.27,Default,,0000,0000,0000,,they'll always be side by side,
Dialogue: 0,0:03:17.27,0:03:19.60,Default,,0000,0000,0000,,and therefore the lower arm connects in
Dialogue: 0,0:03:19.60,0:03:22.30,Default,,0000,0000,0000,,a much flatter and wider way into the palm
Dialogue: 0,0:03:22.30,0:03:23.29,Default,,0000,0000,0000,,and back of hand,
Dialogue: 0,0:03:23.29,0:03:26.23,Default,,0000,0000,0000,,and thinner from the \Nside view of the hand.
Dialogue: 0,0:03:26.41,0:03:28.67,Default,,0000,0000,0000,,Basic stuff, but the fun part is
Dialogue: 0,0:03:28.67,0:03:31.33,Default,,0000,0000,0000,,any time you're adding a hand to an arm,
Dialogue: 0,0:03:31.33,0:03:33.81,Default,,0000,0000,0000,,make sure to give it a bit of an offset
Dialogue: 0,0:03:33.81,0:03:38.20,Default,,0000,0000,0000,,and step over toward the \Nthumb/radius side of things.
Dialogue: 0,0:03:38.63,0:03:42.11,Default,,0000,0000,0000,,Similarly, from the side view \Nthe hand should always
Dialogue: 0,0:03:42.11,0:03:46.39,Default,,0000,0000,0000,,take a noticeable offsetting\Nstep toward the palm side.
Dialogue: 0,0:03:46.70,0:03:49.10,Default,,0000,0000,0000,,By the way when I say the word 'offset'
Dialogue: 0,0:03:49.10,0:03:53.49,Default,,0000,0000,0000,,it usually just means not lined \Nup evenly with surrounding things.
Dialogue: 0,0:03:53.70,0:03:56.80,Default,,0000,0000,0000,,Anyway, always make sure\Nthe thumb side of the hand
Dialogue: 0,0:03:56.80,0:03:59.48,Default,,0000,0000,0000,,feels more chunkier and substantial
Dialogue: 0,0:03:59.48,0:04:01.37,Default,,0000,0000,0000,,than the pinky side of the palm.
Dialogue: 0,0:04:01.61,0:04:03.36,Default,,0000,0000,0000,,With all of these ideas in mind,
Dialogue: 0,0:04:03.36,0:04:06.30,Default,,0000,0000,0000,,you should be able to \Ndevelop a quick shorthand
Dialogue: 0,0:04:06.30,0:04:08.83,Default,,0000,0000,0000,,for getting from the arm into the hand.
Dialogue: 0,0:04:08.83,0:04:10.76,Default,,0000,0000,0000,,In fact, you should be able to
Dialogue: 0,0:04:10.76,0:04:13.65,Default,,0000,0000,0000,,quickly deduce everything about the bones
Dialogue: 0,0:04:13.66,0:04:16.79,Default,,0000,0000,0000,,and orientation of the \Nwrist without ever seeing
Dialogue: 0,0:04:16.79,0:04:20.28,Default,,0000,0000,0000,,the thumbs or fingers or \Nany interior information.
Dialogue: 0,0:04:20.28,0:04:23.21,Default,,0000,0000,0000,,So maybe see how quickly you can determine
Dialogue: 0,0:04:23.21,0:04:25.23,Default,,0000,0000,0000,,where the radius and the ulna are
Dialogue: 0,0:04:25.23,0:04:27.92,Default,,0000,0000,0000,,in any of these rough sketches I'm making.
Dialogue: 0,0:04:27.92,0:04:31.56,Default,,0000,0000,0000,,Hopefully that seems easy enough.
Dialogue: 0,0:04:31.56,0:04:35.42,Default,,0000,0000,0000,,Let's get back to structure and \Ntalk about the muscle side of things.
Dialogue: 0,0:04:35.49,0:04:37.51,Default,,0000,0000,0000,,We're going to make it really easy
Dialogue: 0,0:04:37.51,0:04:38.97,Default,,0000,0000,0000,,for our drawing purposes
Dialogue: 0,0:04:38.97,0:04:41.76,Default,,0000,0000,0000,,and only focus on three muscle groups.
Dialogue: 0,0:04:41.83,0:04:45.05,Default,,0000,0000,0000,,The biceps are on \Nthe front of your upper arm
Dialogue: 0,0:04:45.05,0:04:47.31,Default,,0000,0000,0000,,and allow you to curl up your arm.
Dialogue: 0,0:04:47.38,0:04:51.98,Default,,0000,0000,0000,,They insert under your shoulder \Nmuscles and chest muscles on one end
Dialogue: 0,0:04:51.98,0:04:56.16,Default,,0000,0000,0000,,and connect to the radius and \Ntissue around the ulna on the other end.
Dialogue: 0,0:04:56.34,0:04:59.18,Default,,0000,0000,0000,,The triceps are on the back of your arm
Dialogue: 0,0:04:59.18,0:05:01.55,Default,,0000,0000,0000,,and allow you to pull your arm straight.
Dialogue: 0,0:05:01.55,0:05:06.21,Default,,0000,0000,0000,,They also come out from under your \Nshoulder muscles and similar back muscles
Dialogue: 0,0:05:06.21,0:05:08.53,Default,,0000,0000,0000,,and connect to the end of the ulna.
Dialogue: 0,0:05:08.68,0:05:12.53,Default,,0000,0000,0000,,And yes, the deltoids are \Nof course the shoulder muscles,
Dialogue: 0,0:05:12.53,0:05:17.24,Default,,0000,0000,0000,,but the third muscle that we're\Ngoing to be fixating on in this video
Dialogue: 0,0:05:17.24,0:05:20.10,Default,,0000,0000,0000,,is going to be the brachioradialis.
Dialogue: 0,0:05:20.21,0:05:23.58,Default,,0000,0000,0000,,You must learn to \Nlove the brachioradialis,
Dialogue: 0,0:05:23.58,0:05:27.85,Default,,0000,0000,0000,,it will be a pivotal part of \Nthis video in more ways than one.
Dialogue: 0,0:05:28.32,0:05:32.06,Default,,0000,0000,0000,,These insertions points are \Nimportant, so keep them in mind.
Dialogue: 0,0:05:32.06,0:05:35.80,Default,,0000,0000,0000,,It connects from \Nthe lower back of the humerus
Dialogue: 0,0:05:36.18,0:05:39.51,Default,,0000,0000,0000,,under the triceps and\Nit wraps around a bit
Dialogue: 0,0:05:39.51,0:05:42.02,Default,,0000,0000,0000,,over parts of the lower biceps and
Dialogue: 0,0:05:42.02,0:05:44.89,Default,,0000,0000,0000,,connects to the radius on the other side.
Dialogue: 0,0:05:45.17,0:05:49.54,Default,,0000,0000,0000,,I will be exaggerating this \Nmuscle heavily throughout this video,
Dialogue: 0,0:05:49.54,0:05:52.79,Default,,0000,0000,0000,,so be aware of that strategic inflation.
Dialogue: 0,0:05:52.79,0:05:55.21,Default,,0000,0000,0000,,We are going all in on the bray-ray.
Dialogue: 0,0:05:55.45,0:05:58.10,Default,,0000,0000,0000,,I think that's enough structure though, so
Dialogue: 0,0:05:58.10,0:06:00.57,Default,,0000,0000,0000,,let's get into some drawing practice.
Dialogue: 0,0:06:00.74,0:06:03.27,Default,,0000,0000,0000,,A big theme in the land of arms will be
Dialogue: 0,0:06:03.27,0:06:05.52,Default,,0000,0000,0000,,controlling our organic curves.
Dialogue: 0,0:06:05.56,0:06:09.56,Default,,0000,0000,0000,,So I guess I will do a quick recap \Non s-curves and c-curves.
Dialogue: 0,0:06:09.77,0:06:12.10,Default,,0000,0000,0000,,Don't let the names \Nthrow you off too much,
Dialogue: 0,0:06:12.22,0:06:15.36,Default,,0000,0000,0000,,most of the s-curves and \Nc-curves you'll be drawing
Dialogue: 0,0:06:15.36,0:06:17.97,Default,,0000,0000,0000,,are going to be extremely subtle.
Dialogue: 0,0:06:17.97,0:06:21.20,Default,,0000,0000,0000,,Just a whisper of curvature \Ngoing on most of the time.
Dialogue: 0,0:06:21.20,0:06:24.12,Default,,0000,0000,0000,,And it's good to practice \Nthat level of control
Dialogue: 0,0:06:24.29,0:06:27.21,Default,,0000,0000,0000,,but an even more \Nimportant thing to practise
Dialogue: 0,0:06:27.21,0:06:29.66,Default,,0000,0000,0000,,is your ability to weight your curves.
Dialogue: 0,0:06:29.81,0:06:31.92,Default,,0000,0000,0000,,Weighting a curve means changing up
Dialogue: 0,0:06:31.92,0:06:34.97,Default,,0000,0000,0000,,the harshness of the \Ncurvature through the line.
Dialogue: 0,0:06:35.40,0:06:39.09,Default,,0000,0000,0000,,So if the curve stays \Nconsistent from start to finish,
Dialogue: 0,0:06:39.09,0:06:41.03,Default,,0000,0000,0000,,that would be a weightless curve.
Dialogue: 0,0:06:41.34,0:06:44.62,Default,,0000,0000,0000,,You can have the curve be \Nincreasingly strong at the start
Dialogue: 0,0:06:44.62,0:06:46.10,Default,,0000,0000,0000,,or the end of the line
Dialogue: 0,0:06:46.10,0:06:48.57,Default,,0000,0000,0000,,to give it weight in a specific direction.
Dialogue: 0,0:06:48.92,0:06:52.03,Default,,0000,0000,0000,,This is very, very important to practise
Dialogue: 0,0:06:52.03,0:06:55.24,Default,,0000,0000,0000,,because we spend our \Nentire childhoods writing
Dialogue: 0,0:06:55.24,0:06:58.89,Default,,0000,0000,0000,,letters and shapes which \Ncurve in a very balanced way,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but the more you can break away from that
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the more organic your drawings will be,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,so warm up with these often.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Alright, let's get into those \Nsimplifications and reductions.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Or, rather maybe mention\Nanother little side thing...?
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Sorry, there's a lot of ways to think about arms.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Such as the chain,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,a common trick for approaching arms
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,is to imagine a giant linking chain -
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the idea being that since the upper arm is
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,wider from the side view than from a front view,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and meanwhile the forearm is the opposite,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,it will generally create a nice little \Nback and forth between wide and narrow
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,which is definitely good for aesthetic purposes.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So you can use that as a little\Nmental note when applicable.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Meanwhile, to go back to \Nwhat we've just talked about
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,with curve weight, the most \Nimportant mental note I fixate on
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,is usually just where to weight the \Ncurve for each part of the arm.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,On the bicep side of the upper arm,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the curve weight is further toward the elbow.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Whereas on the back or tricep side of things,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the curve weight is closer to the shoulder.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The brachioradialis is definitely \Nweighted toward the upper forearm,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but is more rounded and gradual than
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the opposite side of the forearm.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,All of these things relate to
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the actual muscle bodies of each muscle group,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the tricep being the most important one
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,to always remember, because
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the muscle bodies are located \Nin the top half of the upper arm.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Okay so let's sum up the \Nstraight arm simplifications
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,a bit more directly.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Back view of the arm, pop \Nforward, minimal twisting.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The upper arm might as well \Njust be a simple cylinder
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,with minimal tapering.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,But the lower arm is going to feel
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,closer to an upside down bowling pin.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The important part is that
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the exterior side, with the brachioradialis
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,is going to not only curve outward \Nmore than the interior side,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but also come up a bit higher than it.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,It should definitely feel like
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,it starts its s-curve above the elbow.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,If we raise the arm up out to the side,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,yes you'll get a bit of the chain concept,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but since you'll probably \Nnot be drawing massive bodybuilders
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,it can become pretty minor.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,You do want to make sure that
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,you're thinking about weight and gravity though.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Obviously this gets a lot more extreme with age,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but on any body type
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,you should still be using these ideas
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,to give you at least a little \Nbit of subtle curve weight.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Another useful reference point to think about
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,comes from the shoulder muscle.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The deltoid comes down to a bit
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,of a point on the exterior of the arm.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,While not exact, this can still be used
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,as a good way to indicate a break
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,between the front bicep side of the arm,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and the rare tricep side.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Especially when you're dealing \Nwith more complex poses
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and off angle views.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,If I draw a quick arm over here on the left
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,from a slightly awkward angle,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,adding a deltoid and letting it point a line
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,towards the elbow can at least
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,help us visualise the tricep and bicep sides of the arm.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,If this drawing looks weirdly off to you at first,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,that's good!
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The brachioradialis was not \Ncoming from the correct spot.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Let's first recall that the \Nbrachioradialis should come from
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,under the triceps and over the biceps,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and using that line from the deltoid
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,we can visualise this insertion
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,much more clearly.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Moving along,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,some of these straight armed elbows
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,might be looking a bit wonky.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So let's briefly mention them.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The most important part \Nof simple 'find the elbow'
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,will definitely come from seeing
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the triceps and humerus \Nall come together in a mass
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,that leads straight down through the elbow
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and into the ulna.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The funny bone and radius both become a bit
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,indented on a straight arm,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,so you'll mostly see these
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,little pockets of depth off to
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,both sides of the triceps and ulna, with
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the forearm muscles pulling the forms back out
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and really solidifying those crevices.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,There's definitely a lot of skin going on
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,in this area, so it tends to become quite
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,wrinkly. There's even a slang name for this
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,folded up skin - it's called the wenis.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,So, everybody should draw the wenis,\Nthe wenis is not a dance,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and I'm happy to tell you this in advance.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,[laughs] Anyway, wrinkles are tricky. The\Ngeneral rule is to fold the skin with
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,c-curves and s-curves in a way that squishes\Nthe curves together
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,without ever feeling like they're going to\Ncross each other
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,or pass through the extended implied
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,lines of other curves.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,You can compress a bunch of them into
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,a small space, or just a couple, but I\Nrecommend wrinkling things up
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,a bit above the elbow with perhaps some
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,more drapery style folds hanging underneath.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,You can definitely develop your own stylistic
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,approach to wrinkles, and they should feel\Nsimilar in theory to clothing folds,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but more organic with the lines.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Just keep in mind, like with clothing folds,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,doing less is usually better when learning.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Alright, a little bit more drawing in this \Nsection, because I want to
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,also just quickly mention some size\Nrelations.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I'm a serial offender of making my deltoids\Ntoo small in drawings,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,so I'm trying to correct that. I think it\Ncan be useful to think of the upper
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,arms as a length that goes from the top\Nof the shoulder to the elbow.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The top third of that length can be the
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,distance of the deltoid going down the arm.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I barely mentioned it before, but the triceps
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,really have two main visible muscle \Nbodies on the back of the arm.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,While they both have those high up muscle\Nbodies,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the interior side one is a bit longer down\Ntoward the elbow,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,while the exterior one is even more\Nfocussed at the top.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The bottom of these muscle bodies and\Nstrong separation of them
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,occurs roughly halfway down the upper\Narm unit, that we mentioned going
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,from top of shoulder to elbow.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,You can kind of indicate this with a little\Nbutt shape on the back of the arm,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,especially if it's being flexed. The arm, \Nnot the butt.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Okay, moving along to the world of \Nmovement,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the elbow is basically just a fancy hinge
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,joint with the funny bone on the interior,\Nthe ulna being the king in the center,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and the radius on the exterior. When the arm\Nis straight, they somewhat
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,line up with the ulna sticking out a bit.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,From the interior view though, once
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,we start curling the arm, obviously the\Nfunny bone isn't going anywhere.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,But the ulna is going to hinge around it \Nand form a very boxy and angular
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,silhouette, by letting your brain fixate\Non the line from funny bone to ulna.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,All of the tissue of the arm is going to \Ncrease at the insertion of the bicep
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and form a bit of a line that points mostly\Ntoward the funny bone side of things.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The important take away is that interior\Narm equals boxy shape and long crease.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Also, when you raise your arm with your\Nbicep toward the sky,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,that means the deltoid is going to be \Npulled to the back of the shoulder.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,As it, once again, needs to be pointing\Ntowards the exterior line between
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,bicep and tricep.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Anyway, the exterior elbow view is a bit\Ninteresting.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,You'll of course be seeing the deltoid a lot more in this view
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,where the exterior is facing back,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but the interesting part is that you're now seeing
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,both the radius and ulna in the straightened arm view.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,This means that when you curl your arm, those two lower
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,arm bones are going to be traveling together.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Even though the silhouette will fundamentally be the same,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I find it very useful to acknowledge this anatomy by making the elbow
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,feel like it just rounds up to and around these bones,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,instead of feeling boxy.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,You might also remember that the brachioradialis is on the exterior side,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,so that will create a mass in form that will squeeze from upper arm
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,to lower arm.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Because of this mass, the exterior crease here becomes a lot more
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,chubbier and compressed.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I like to use a shorter and splitting crease to hint at this
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,thicker form.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,And you should try to hint at these things in any body type.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,From a different view, you can get some idea how all of these bones
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and muscles are working, but for now let's jump over to the
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,forearm movements, because we have rotation to deal with.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,If you stick your right harm out in front of you,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,palm side up, this is the least twisted view of your forearem.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The muscles and bones just carry forth to the hand in a linear fashion.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,This represents one extreme of your rotational movement.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,As we rotate the hand, the elbow won't be changing much,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but the radius and brachioradialis will start twisting a bit
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,to line up vertically at the wrist.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The best thing you should observe on your own arm
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,is how the s-curves are just as you rotate your hand.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I'm not in love with the drawing on the right here,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but the interior ulna side of things definitely changes up its
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,s-curve the most, whereas the exterior side
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,just shifts weight a little.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Once your palm is facing downwards, the full range of motion is complete.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,This is as far as things can twist.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The radius and ulna are now on opposite sides from the elbow.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,You might be thinking, 'what if I want to give a thumbs down?'
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Well, physically you can't. So be sure to remember that and like this video.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,If you do really want to point your thumb down,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,it requires you to actually rotate your entire arm so that your
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,elbow is facing a different direction.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Lastly, here I'll just mention, when your arms are at rest at your sides,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the default comfortable state is that central, half-twisted state,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,not the completely untwisted state.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Alright, let's go back to reducing information and recap what we've learned.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Of course, it's pretty fun to draw giant musclebound arms,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,especially when you're trying to commit all these concepts to memory,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but we also want to be able to simplify these things down
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,into little anime stick arms.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,When you start out in art, it's fine to just think of the upper and lower arms
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,as just cylinders, and as you get more comfortable,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,you can introduce some tapering into these forms.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Eventually you will want to be capable of some level
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,of form complexity. These cross sections are never just round.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,They have weird oblong shapes and blobby looking contours.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I like to practice these things with what I would call
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,skinny muscle forms.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Maybe it's just my Samurai Champloo roots coming through again.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,A quick example though, starting with a deltoid and shoulder,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,letting it point toward an elbow, think I'll twist the bicep to the bottom on this one,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,bicep means curve weight closer to elbows, so we can even dive in
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,with some angular shapes.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,With the bicep facing forward, that means the deltoid
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,can be a bit further on top instead of on the back,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and we can even hint at some tricep form above the separating line.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,That line will let us know where to pull the brachioradialis from,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and then we can decide on the hand rotation and
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,make everything line up.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Design wise, it's good to play around with the ratios of rounded
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,shapes and angular shapes.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,We alluded earlier to the exterior side feeling more rounded
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and the interior feeling more angular, when
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,discussing the elbow hinge,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,so let's just run with that a bit more.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,What if we just always simplified things around the elbow
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,by playing up rounded exteriors and angular interiors in the forearm?
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I just noticed that that letter pointing towards the tricep is a D instead of a T.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Clearly getting a bit delirious at this point.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Regardless, let's keep sketching.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Here's a quick side view, still mostly practicing \Ncurve weights and that brachioradialis.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Some slightly more exciting things we could try
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,would be playing around with perspective and dynamic angles.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,If we imagine a Spiderman type arm pose, we could still
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,think about where we could exaggerate our forearm muscles.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I'll be honest though, I sort of got distracted right after starting
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,this one, because I thought of some more stuff to mention.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Such as, what does it look like if you
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,just have your elbow sticking up in the air
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,with your arm curled behind it?
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,A lot of tricep weight at the bottom,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but it really things out into a very skeletal look
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,at the elbow. It does give a nice look at the \Nradius, ulna and funny bone.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,This becomes instantly obscured by the forearm
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,once you straighten the arm out a bit\Nwith those forearm muscles
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,just taking over both sides of the elbow.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,But, this made me think of another scenario,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,how about when you're resting your weight
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,on your elbow at a desk or table?
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Where do those forearm muscles go then?
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Well, since the brachioradialis connects\Nto the humerus,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,it actually sits up higher, away from the elbow\Non the exterior side of things.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I guess that's obvious enough, kind of like\Nhow it would look if you were
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,drinking something.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Just always be keeping track of where\Nthe thumb is,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and where the exterior and interior\Nof the elbow are,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and you'll be fine.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Now, we always have a common mistakes\Npart in these videos.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,But, I think I've gone over things so much\Nthat we can try a pop quiz instead.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I'll show a quick drawing with some\Nweird mistake, and we'll see if
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,you can deduce the problem.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Like this. What's wrong with this?
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Well, you have two possible answers on \Nthis one, since we can't see the shoulder.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,We seem to be looking at the front of an \Narm, so either the brachioradialis
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,is on the wrong side, or the hand\Nshould be mirrored.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,How about this one? Anything seem off\Nto you?
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Well, I'm messing with you a bit, because
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,it's the same thing, except this time you \Ncan see the deltoid,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,so there's only one answer.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The brachioradialis is on the wrong side\Nagain. It should be on the exterior,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,not interior.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Alright, I promise this one will be different.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,What's wrong this time?
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Doesn't seem too far off, the deltoid\Nand forearm stuff seem okayish,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,this might be a subtle one, but I \Nreversed the weight on the
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,bicep and tricep curves.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Remember the tricep should have mass \Ncloser to the shoulder, and the bicep
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,curves closer to the elbow.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,That's a bit better.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,One last one.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,What's wrong now?
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Hmm, the brachioradialis is on the \Nexterior, so that's fine.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,But it still looks a little strange.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Well, that's because it needs to go over\Nthe bicep, not under it.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,And with that, I think we're done learning.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,You have graduated to the part of the\Nvideo where we just take everything
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,we learned and try to draw and paint\Narms from imagination.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Hopefully they wind up looking alright.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I will be using a simple flat brush for these\Nlines, with pressure sensitivity
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,mostly on size, but with a bit on opacity.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,That should make it feel pretty comfy and natural.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,One big concern I had going into this final section,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,is trying to make sure it stays focused on arms.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Shoulders are a bit unavoidable, but I tried experimenting
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,with ways to make the hands get less attention.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Literal disjointed fingers and whatnot.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Unfortunately, that actually made them \Nstand out more,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,in rules of focus and contrast and whatnot,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,so eventually I'll get rid of that idea.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,What actually wound up being the biggest issue
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,is just trying to come up with a good \Nvariety of poses.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Once again, I considered crazy foreshortening,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but then the page might feel less cohesive with the more traditional
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,perspectives.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I don't know. But I'm definitely enjoying\Nthe line art quality.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,There are a couple of disjointed lines \Nhere and there,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but I tried to hit a good number of\Nthe c-curves and s-curves
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,in single strokes.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,That can result in a lot of putting something\Ndown and then undoing it,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,redoing it, until I figure out what \NI want it to look like,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but I'm mostly okay with that method.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I can't be too chaotic with styles, but\NI did try to at least vary up
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the muscularity levels a bit as it goes on.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,My brain was pretty drained from all the\Nprevious arm drawings,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,so there are definitely a couple of \Nmoments where I've made up an arm
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and then moments later realised it was \Nalmost identical to one that was
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,already on the page, like this last one.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,But I just decided to adjust the angle of \Nit a bit and move on.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,For colors, I don't know how much I can \Nreally say that would be new,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the skin video as well as the other \Nvideos have really covered the general
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,stuff. But you can see I've lightened the\Nline art into a lighter reddish tone,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and then threw in my normal dull\Nminty background.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I like to mask out everything in order\Nto watch transparency, which can
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,be a bit tedious, but usually worth\Nit in the long run.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,A big piece of advice is to make sure\Nyou don't instinctually start
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,pressing hard with your stylus when blocking.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,This is always the most dangerous time for\Nyour hand and wrist health,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,because we tend to dig in harder when\Nfilling things in.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Pressure is bad for your tendons.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Anyway, once everything is blocked in, \Nwe can try out a variety
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,of skin tones across the page.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,This is also a great time to introduce some\Nhue variety by air brushing
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,in reds on areas that might catch more\Nsun damage, and things like that.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The next step is form rendering, and I \Nknow some people like a more
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,smooth gradiation and some people like a \Nmore chunkier chaotic painting approach.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,But, I'm going to try out some weirder ideas,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and just try defining forms with blocky,\Ncontour tracing strokes.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Honestly it's a bit weird at times for these\Nvideos, because I don't find myself
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,with a strong preference.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,In my mind, as long as you have some\Nunderstanding of the forms
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,you can always either step up how\Nabstract and chunky things are,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,or step it back into hypersoft air brushing.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,In any case, the important part is \Njust knowing where the hard edges
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and soft edges should be.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Now, how do you know which edges are hard\Nand which are soft?
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Well, it's simple. If you would be okay with\Nseeing an actual line at a specific
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,spot in your drawing, then that can be\Na hard edge in your painting.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,If you think a line would look bad in your\Ndrawing, then stick to soft edges there.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I already made pretty much all of the lines\NI wanted to make in the drawing stage,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,so those will be the only hard edges.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Anyway, I started out pretty experimental,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,with some of the painting stuff early on,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but I wasn't that into it this time, so I'm \Nslowly going to be dialling that back
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,as we go. Almost all of these arms
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,are going to be out of direct light, you know,\Nambient light for the most part,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,aside from the one on the right that is\Nreaching toward us.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Doing this somewhat makes the whole image\Na bit darker and more saturated than
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I wanted, so I'll be desaturating and \Nlightening it a bit as we go.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Other than that, I definitely kept the line\Nart in play for a lot longer than I normally do.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,It's not until most of the form rendering\Nis complete that I actually
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,flatten things down and start painting\Nout the lines.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,This is also when I start playing with \Nslightly more interesting shapes
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,in some of them.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,The rim light is going to be pretty \Nsubtle today,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I definitely made it more limelight than\NI normally recommend to people,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but still trying to at least taper\Nthose lines and find some
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,chunkier shapes with it.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,To bring back some of the other fun stuff\Nfrom the skin rendering video,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I decided to put in some body hair on\Nthe top left arm.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Just a bit of fun with desaturating colors\Nand pattern-based brushwork.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,This was also when I decided to at\Nleast connect the fingers that I had there,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,but we're almost done, so the last
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,thing I want to have fun with, is bringing\Nsome of that body hair into the rim light.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,It makes the rim light a lot more fun.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Definitely recommend trying it when you can.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,And, with that, this monster of a video is finally complete.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,It has been a journey, and while the drawings and paintings might not be perfect,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,hopefully you at least feel a bit more confident
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,about being able to draw some fun arms from imagination.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,As always, the best way to fully learn is to mix in
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,equal parts of drawing from human reference,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,doing master copies of other artists you like,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and drawing from imagination.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,No matter how good or bad you might feel about
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,one of these three parts, do them all evenly regardless.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,We only focussed on three main muscles in this video,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,so if you find yourself wanting to build up more complexity,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,just go check out one of the other amazing art YouTube
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,channels that dives a bit deeper.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Alright, I want to thank you all so much
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,or at least giving this video a chance,
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I'm not a frequent uploader, so be sure to subecribe
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,if you don't want to miss out on the
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,handful of videos I put out each year.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Of course, if you want some fun, specialised content
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,the brainstorm classes have been going really well
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,and its definitely worth your time and money
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,if you haven't tried them out yet.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Info is down in the description.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,I also, of course, do want to give an earnest thank you
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,to the Patreon supporters that chip in
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,money to keep these videos coming.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,You guys are wondeful.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,Seeya everyone.
Dialogue: 0,9:59:59.99,9:59:59.99,Default,,0000,0000,0000,,[Electronic buzz effect]