WEBVTT 00:00:04.817 --> 00:00:06.627 Hey everyone, Sinix here. 00:00:06.631 --> 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 --> 00:00:15.488 and help you feel more comfortable with 00:00:15.488 --> 00:00:17.681 drawing people from imagination. 00:00:17.687 --> 00:00:20.395 Today, we'll be talking about arms - 00:00:20.395 --> 00:00:22.934 and also, don't be alarmed but 00:00:22.934 --> 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 --> 00:00:34.050 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 --> 00:00:45.224 Starting out with structure, 00:00:45.224 --> 00:00:48.715 we've already covered both shoulders and hands 00:00:48.715 --> 00:00:49.600 in other videos, 00:00:49.601 --> 00:00:53.355 so we just need to make sure we can bridge these things together. 00:00:53.355 --> 00:00:58.210 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 --> 00:01:04.235 always reminds me of a little lamb or something... 00:01:04.235 --> 00:01:06.783 but anyway, we're going to focus on 00:01:06.783 --> 00:01:09.628 the skeletal breakdown of the arm first. 00:01:09.628 --> 00:01:12.377 Of course we have a single major bone 00:01:12.377 --> 00:01:13.562 in the upper arm 00:01:13.562 --> 00:01:15.425 and two in the lower arm 00:01:15.425 --> 00:01:16.983 connected at the elbow. 00:01:16.983 --> 00:01:21.318 But as i draw that, the first thing I actually want to point out 00:01:21.318 --> 00:01:24.090 is that things aren't in a perfect straight line. 00:01:24.090 --> 00:01:26.138 You can even take a moment 00:01:26.138 --> 00:01:27.737 and try to see this yourself - 00:01:27.737 --> 00:01:30.233 just hold one arm out straight 00:01:30.233 --> 00:01:32.341 and close your opposite eye. 00:01:32.341 --> 00:01:35.582 Now do your best to look directly straight down 00:01:35.582 --> 00:01:37.789 the barrel of that massive gun you call 00:01:37.789 --> 00:01:38.967 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 --> 00:01:44.687 you'll notice the lower arm doesn't really 00:01:44.687 --> 00:01:47.018 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 --> 00:02:01.843 The humerus is of course the bone 00:02:01.843 --> 00:02:03.216 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 --> 00:02:12.564 if you elbowed them. 00:02:12.609 --> 00:02:15.548 And then the radius, which originates 00:02:15.548 --> 00:02:17.933 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 --> 00:02:24.544 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 --> 00:02:34.602 is the funny bone. 00:02:34.798 --> 00:02:37.543 This is just an extension of the humerus 00:02:37.543 --> 00:02:40.465 which protrudes on the inner side of the elbow 00:02:40.465 --> 00:02:41.981 closest to the body. 00:02:42.081 --> 00:02:43.390 It's called the funny bone 00:02:43.390 --> 00:02:46.047 because of an exposed nerve ending next to it 00:02:46.047 --> 00:02:48.293 that will send a shock up your arm 00:02:48.293 --> 00:02:50.860 if you hit this part of the elbow against something. 00:02:50.900 --> 00:02:53.158 So if you ever see a chance to whack 00:02:53.158 --> 00:02:55.882 your friend's funny bone with your pencil or stylus 00:02:55.882 --> 00:02:57.636 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 --> 00:03:11.067 let's do a quick look at that connection anyway. 00:03:11.140 --> 00:03:13.027 Now keep in mind by the time 00:03:13.027 --> 00:03:15.083 the radius and ulna get to the wrist 00:03:15.083 --> 00:03:17.269 they'll always be side by side, 00:03:17.269 --> 00:03:19.602 and therefore the lower arm connects in 00:03:19.602 --> 00:03:22.296 a much flatter and wider way into the palm 00:03:22.296 --> 00:03:23.289 and back of hand, 00:03:23.289 --> 00:03:26.230 and thinner from the side view of the hand. 00:03:26.412 --> 00:03:28.673 Basic stuff, but the fun part is 00:03:28.673 --> 00:03:31.327 any time you're adding a hand to an arm, 00:03:31.327 --> 00:03:33.814 make sure to give it a bit of an offset 00:03:33.814 --> 00:03:38.198 and step over toward the thumb/radius side of things. 00:03:38.630 --> 00:03:42.113 Similarly, from the side view the hand should always 00:03:42.113 --> 00:03:46.390 take a noticeable offsetting step toward the palm side. 00:03:46.697 --> 00:03:49.096 By the way when I say the word 'offset' 00:03:49.096 --> 00:03:53.492 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 --> 00:03:59.477 feels more chunkier and substantial 00:03:59.477 --> 00:04:01.366 than the pinky side of the palm. 00:04:01.606 --> 00:04:03.362 With all of these ideas in mind, 00:04:03.362 --> 00:04:06.298 you should be able to develop a quick shorthand 00:04:06.298 --> 00:04:08.834 for getting from the arm into the hand. 00:04:08.834 --> 00:04:10.760 In fact, you should be able to 00:04:10.760 --> 00:04:13.652 quickly deduce everything about the bones 00:04:13.657 --> 00:04:16.787 and orientation of the wrist without ever seeing 00:04:16.787 --> 00:04:20.283 the thumbs or fingers or any interior information. 00:04:20.283 --> 00:04:23.208 So maybe see how quickly you can determine 00:04:23.208 --> 00:04:25.229 where the radius and the ulna are 00:04:25.229 --> 00:04:27.916 in any of these rough sketches I'm making. 00:04:27.916 --> 00:04:31.557 Hopefully that seems easy enough. 00:04:31.557 --> 00:04:35.415 Let's get back to structure and talk about the muscle side of things. 00:04:35.488 --> 00:04:37.509 We're going to make it really easy 00:04:37.509 --> 00:04:38.967 for our drawing purposes 00:04:38.967 --> 00:04:41.759 and only focus on three muscle groups. 00:04:41.834 --> 00:04:45.050 The biceps are on the front of your upper arm 00:04:45.050 --> 00:04:47.307 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 --> 00:04:56.161 and connect to the radius and tissue around the ulna on the other end. 00:04:56.340 --> 00:04:59.181 The triceps are on the back of your arm 00:04:59.181 --> 00:05:01.550 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 --> 00:05:08.532 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 --> 00:05:20.101 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 --> 00:05:27.853 it will be a pivotal part of this video in more ways than one. 00:05:28.322 --> 00:05:32.055 These insertions points are important, so keep them in mind. 00:05:32.055 --> 00:05:35.800 It connects from the lower back of the humerus 00:05:36.178 --> 00:05:39.509 under the triceps and it wraps around a bit 00:05:39.509 --> 00:05:42.015 over parts of the lower biceps and 00:05:42.015 --> 00:05:44.891 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 --> 00:05:55.210 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 --> 00:06:00.567 let's get into some drawing practice. 00:06:00.737 --> 00:06:03.266 A big theme in the land of arms will be 00:06:03.266 --> 00:06:05.521 controlling our organic curves. 00:06:05.563 --> 00:06:09.563 So I guess I will do a quick recap on s-curves and c-curves. 00:06:09.768 --> 00:06:12.095 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 --> 00:06:24.124 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 --> 00:06:29.657 is your ability to weight your curves. 00:06:29.810 --> 00:06:31.924 Weighting a curve means changing up 00:06:31.924 --> 00:06:34.970 the harshness of the 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 --> 00:06:41.033 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 --> 00:06:46.098 or the end of the line 00:06:46.098 --> 00:06:48.571 to give it weight in a specific direction. 00:06:48.924 --> 00:06:52.032 This is very, very important to practise 00:06:52.032 --> 00:06:55.242 because we spend our entire childhoods writing 00:06:55.242 --> 00:06:58.886 letters and shapes which curve in a very balanced way, 00:06:59.243 --> 00:07:01.433 but the more you can break away from that 00:07:01.433 --> 00:07:04.022 the more organic your drawings will be, 00:07:04.022 --> 00:07:06.059 so warm up with these often. 00:07:06.324 --> 00:07:09.642 Alright, let's get into those simplifications and reductions. 00:07:10.157 --> 00:07:13.211 Or, rather maybe mention another little side thing...? 00:07:13.642 --> 00:07:16.692 Sorry, there's a lot of ways to think about arms. 00:07:16.692 --> 00:07:18.199 Such as the chain, 00:07:18.199 --> 00:07:20.353 a common trick for approaching arms 00:07:20.353 --> 00:07:23.183 is to imagine a giant linking chain - 00:07:23.183 --> 00:07:26.366 the idea being that since the upper arm is 00:07:26.366 --> 00:07:29.166 wider from the side view than from a front view, 00:07:29.538 --> 00:07:32.181 and meanwhile the forearm is the opposite, 00:07:32.181 --> 00:07:36.667 it will generally create a nice little back and forth between wide and narrow 00:07:36.667 --> 00:07:39.549 which is definitely good for aesthetic purposes. 00:07:39.733 --> 00:07:43.241 So you can use that as a little mental note when applicable. 00:07:43.491 --> 00:07:46.616 Meanwhile, to go back to what we've just talked about 00:07:46.616 --> 00:07:50.616 with curve weight, the most important mental note I fixate on 00:07:50.616 --> 00:07:54.967 is usually just where to weight the curve for each part of the arm. 00:07:55.150 --> 00:07:57.824 On the bicep side of the upper arm, 00:07:57.824 --> 00:08:00.922 the curve weight is further toward the elbow. 00:08:00.922 --> 00:08:04.405 Whereas on the back or tricep side of things, 00:08:04.405 --> 00:08:07.037 the curve weight is closer to the shoulder. 00:08:07.037 --> 00:08:11.417 The brachioradialis is definitely weighted toward the upper forearm, 00:08:11.417 --> 00:08:14.203 but is more rounded and gradual than 00:08:14.203 --> 00:08:16.015 the opposite side of the forearm. 00:08:16.015 --> 00:08:17.967 All of these things relate to 00:08:17.967 --> 00:08:20.900 the actual muscle bodies of each muscle group, 00:08:20.900 --> 00:08:23.285 the tricep being the most important one 00:08:23.285 --> 00:08:24.645 to always remember, because 00:08:24.645 --> 00:08:28.645 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, pop 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 --> 00:08:44.118 But the lower arm is going to feel 00:08:44.118 --> 00:08:46.516 closer to an upside down bowling pin. 00:08:46.516 --> 00:08:48.355 The important part is that 00:08:48.355 --> 00:08:51.493 the exterior side, with the brachioradialis 00:08:51.493 --> 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 --> 00:09:00.379 It should definitely feel like 00:09:00.379 --> 00:09:03.122 it starts its s-curve above the elbow. 00:09:03.763 --> 00:09:06.330 If we raise the arm up out to the side, 00:09:06.330 --> 00:09:09.350 yes you'll get a bit of the chain concept, 00:09:09.350 --> 00:09:13.212 but since you'll probably not be drawing massive bodybuilders 00:09:13.212 --> 00:09:15.321 it can become pretty minor. 00:09:15.679 --> 00:09:17.599 You do want to make sure that 00:09:17.599 --> 00:09:19.956 you're thinking about weight and gravity though. 00:09:20.300 --> 00:09:23.353 Obviously this gets a lot more extreme with age, 00:09:23.353 --> 00:09:25.236 but on any body type 00:09:25.236 --> 00:09:27.081 you should still be using these ideas 00:09:27.081 --> 00:09:30.490 to give you at least a little bit of subtle curve weight. 00:09:30.706 --> 00:09:33.299 Another useful reference point to think about 00:09:33.299 --> 00:09:34.881 comes from the shoulder muscle. 00:09:35.088 --> 00:09:37.636 The deltoid comes down to a bit 00:09:37.636 --> 00:09:40.540 of a point on the exterior of the arm. 00:09:40.629 --> 00:09:43.162 While not exact, this can still be used 00:09:43.162 --> 00:09:45.519 as a good way to indicate a break 00:09:45.519 --> 00:09:48.326 between the front bicep side of the arm, 00:09:48.326 --> 00:09:50.684 and the rare tricep side. 00:09:50.684 --> 00:09:54.147 Especially when you're dealing with more complex poses 00:09:54.147 --> 00:09:55.582 and off angle views. 00:09:55.582 --> 00:09:59.226 If I draw a quick arm over here on the left 00:09:59.226 --> 00:10:01.444 from a slightly awkward angle, 00:10:01.444 --> 00:10:04.383 adding the deltoid and letting it point a line 00:10:04.383 --> 00:10:06.241 towards the elbow can at least 00:10:06.241 --> 00:10:10.749 help us visualise the tricep and bicep sides of the arm. 00:10:10.908 --> 00:10:13.930 If this drawing looks weirdly off to you at first, 00:10:13.930 --> 00:10:14.914 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 --> 00:10:25.514 under the triceps and over the biceps, 00:10:25.514 --> 00:10:27.993 and using that line from the deltoid 00:10:27.993 --> 00:10:30.266 we can visualise this insertion 00:10:30.266 --> 00:10:31.653 much more clearly. 00:10:31.653 --> 00:10:32.828 Moving along, 00:10:32.828 --> 00:10:34.925 some of these straight armed elbows 00:10:34.925 --> 00:10:37.307 might be looking a bit wonky. 00:10:37.307 --> 00:10:39.041 So let's briefly mention them. 00:10:39.041 --> 00:10:42.910 The most important part of simplifying the elbow' 00:10:42.910 --> 00:10:44.635 will definitely come from seeing 00:10:44.635 --> 00:10:48.524 the triceps and humerus all come together in a mass 00:10:48.524 --> 00:10:51.000 that leads straight down through the elbow 00:10:51.000 --> 00:10:52.058 and into the ulna. 00:10:52.058 --> 00:10:55.481 The funny bone and radius both become a bit 00:10:55.481 --> 00:10:57.377 indented on a straight arm, 00:10:57.377 --> 00:10:59.012 so you'll mostly see these 00:10:59.012 --> 00:11:00.870 little pockets of depth off to 00:11:00.870 --> 00:11:03.919 both sides of the triceps and ulna, with 00:11:03.919 --> 00:11:06.510 the forearm muscles pulling the forms back out 00:11:06.510 --> 00:11:09.219 and really solidifying those crevices. 00:11:09.431 --> 00:11:12.116 There's definitely a lot of skin going on 00:11:12.116 --> 00:11:14.726 in this area, so it tends to become quite 00:11:14.726 --> 00:11:17.790 wrinkly. There's even a slang name for this 00:11:17.790 --> 00:11:20.191 folded up skin - it's called the wenis. 00:11:20.545 --> 00:11:24.223 So, everybody should draw the wenis, the wenis is not a dance, 00:11:24.223 --> 00:11:26.580 and I'm happy to tell you this in advance. 00:11:26.580 --> 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 --> 00:11:38.609 without ever feeling like they're going to cross each other 00:11:38.609 --> 00:11:40.935 or pass through the extended implied 00:11:40.935 --> 00:11:42.626 lines of other curves. 00:11:42.626 --> 00:11:44.951 You can compress a bunch of them into 00:11:44.951 --> 00:11:49.654 a small space, or just a couple, but I recommend wrinkling things up 00:11:49.654 --> 00:11:52.271 a bit above the elbow with perhaps some 00:11:52.271 --> 00:11:55.376 more drapery style folds hanging underneath. 00:11:55.376 --> 00:11:58.131 You can definitely develop your own stylistic 00:11:58.131 --> 00:12:03.117 approach to wrinkles, 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 --> 00:12:08.095 Just keep in mind, like with clothing folds, 00:12:08.095 --> 00:12:10.800 doing less is usually better when learning. 00:12:10.800 --> 00:12:15.091 Alright, a little bit more drawing in this section, because I want to 00:12:15.091 --> 00:12:18.633 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 --> 00:12:32.010 arms as a length that goes from the top of the shoulder to the elbow. 00:12:32.262 --> 00:12:34.531 The top third of that length can be the 00:12:34.531 --> 00:12:37.370 distance of the 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 --> 00:12:44.620 really have two main visible muscle bodies on the back of the arm. 00:12:44.620 --> 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 --> 00:12:56.123 while the exterior one is even more focussed 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 --> 00:13:05.004 occurs roughly halfway down the upper arm unit, that we mentioned going 00:13:05.004 --> 00:13:06.974 from top of shoulder to elbow. 00:13:06.974 --> 00:13:11.477 You can kind of indicate this with a little butt shape on the back of the arm, 00:13:11.477 --> 00:13:15.327 especially if it's being flexed. The arm, not the butt. 00:13:15.327 --> 00:13:19.090 Okay, moving along to the world of movement, 00:13:19.090 --> 00:13:22.199 the elbow is basically just a fancy hinge 00:13:22.199 --> 00:13:27.274 joint with the funny bone on the interior, the ulna being the king in the center, 00:13:27.274 --> 00:13:31.854 and the radius on the exterior. When the arm is straight, they somewhat 00:13:31.854 --> 00:13:34.189 line up with the ulna sticking out a bit. 00:13:34.189 --> 00:13:36.744 From the interior view though, once 00:13:36.744 --> 00:13:41.237 we start curling the arm, obviously the funny bone isn't going anywhere. 00:13:41.237 --> 00:13:46.666 But the ulna is going to hinge around it and form a very boxy and angular 00:13:46.666 --> 00:13:51.688 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 --> 00:14:01.751 form a bit of a line that points mostly toward the funny bone side of things. 00:14:01.797 --> 00:14:07.267 The important take away is that interior arm equals boxy shape and long crease. 00:14:07.267 --> 00:14:11.067 Also, when you raise your arm with your bicep toward the sky, 00:14:11.067 --> 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 towards 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 --> 00:14:36.811 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 --> 00:14:42.683 arm bones are going to be traveling together. 00:14:42.683 --> 00:14:46.343 Even though the silhouette will fundamentally be the same, 00:14:46.343 --> 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 --> 00:14:55.394 instead of feeling boxy. 00:14:55.659 --> 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 --> 00:15:05.533 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 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 --> 00:15:33.346 If you stick your right arm out in front of you, 00:15:33.346 --> 00:15:37.712 palm side up, this is the least twisted view of your forearm. 00:15:37.899 --> 00:15:42.233 The muscles and bones just carry forth to the hand in a linear fashion. 00:15:42.233 --> 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 --> 00:15:56.002 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 are just 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 --> 00:16:09.713 but the interior ulna side of things definitely changes up its 00:16:09.713 --> 00:16:12.802 s-curve the most, whereas the exterior side 00:16:12.802 --> 00:16:14.167 just shifts weight a little. 00:16:14.544 --> 00:16:18.740 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 --> 00:16:24.813 The radius and ulna are now on opposite sides from the elbow. 00:16:24.914 --> 00:16:28.341 You might be thinking, 'what if I want to give a thumbs down?' 00:16:28.348 --> 00:16:32.919 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 --> 00:16:53.196 not the completely untwisted state. 00:16:53.590 --> 00:16:57.892 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 --> 00:17:10.640 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 --> 00:17:33.009 They have weird oblong shapes and blobby looking contours. 00:17:33.146 --> 00:17:35.124 I like to practice these things with what 00:17:35.124 --> 00:17:37.166 I would call "skinny muscle forms". 00:17:37.350 --> 00:17:40.448 Maybe it's just my Samurai Champloo roots coming through again. 00:17:40.781 --> 00:17:44.223 A quick example though, starting with a deltoid and shoulder, 00:17:44.223 --> 00:17:49.410 letting it point toward an elbow, think I'll twist the bicep to the bottom on 00:17:49.410 --> 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 --> 00:18:13.796 and then we can decide on the hand rotation and 00:18:13.796 --> 00:18:15.483 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 --> 00:18:21.444 shapes and angular shapes. 00:18:21.585 --> 00:18:25.375 We alluded earlier to the exterior side feeling more rounded 00:18:25.375 --> 00:18:27.520 and the interior feeling more angular, when 00:18:27.520 --> 00:18:28.832 discussing the elbow hinge, 00:18:28.930 --> 00:18:31.075 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 --> 00:18:39.429 by playing up rounded exteriors and angular interiors in the forearm? 00:18:39.828 --> 00:18:43.981 I just noticed that that letter pointing towards the tricep is a D instead of a T. 00:18:43.981 --> 00:18:47.057 Clearly getting a bit delirious at this point. 00:18:47.107 --> 00:18:49.022 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 --> 00:19:02.173 would be playing around with perspective and dynamic angles. 00:19:02.173 --> 00:19:06.290 If we imagine a Spiderman type arm pose, we could still 00:19:06.290 --> 00:19:09.744 think about where we could exaggerate our forearm muscles. 00:19:09.744 --> 00:19:13.362 I'll be honest though, I sort of got distracted right after starting 00:19:13.362 --> 00:19:16.293 this one, because I thought of some more stuff to mention. 00:19:16.586 --> 00:19:18.867 Such as, what does it look like if you 00:19:18.867 --> 00:19:21.449 just have your elbow sticking up in the air 00:19:21.449 --> 00:19:23.333 with your arm curled behind it? 00:19:23.333 --> 00:19:25.840 A lot of tricep weight at the bottom, 00:19:25.840 --> 00:19:29.220 but it really thins out into a very skeletal look 00:19:29.220 --> 00:19:33.390 at the elbow. It does give a nice look at the radius, ulna and funny bone. 00:19:33.522 --> 00:19:36.473 This becomes instantly obscured by the forearm 00:19:36.473 --> 00:19:40.211 once you straighten the arm out a bit with those forearm muscles 00:19:40.211 --> 00:19:42.585 just taking over both sides of the elbow. 00:19:42.585 --> 00:19:45.483 But, this made me think of another scenario, 00:19:45.483 --> 00:19:47.565 how about when you're resting your weight 00:19:47.565 --> 00:19:49.574 on your elbow at a desk or table? 00:19:49.730 --> 00:19:51.964 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 --> 00:20:00.813 it actually sits up higher, away from the elbow on the exterior side of things. 00:20:00.813 --> 00:20:04.730 I guess that's obvious enough, kind of like how it would look if you were 00:20:04.730 --> 00:20:05.896 drinking something. 00:20:06.044 --> 00:20:08.857 Just always be keeping track of where the thumb is, 00:20:08.857 --> 00:20:11.705 and where the exterior and interior of the elbow are, 00:20:11.705 --> 00:20:12.953 and you'll be fine. 00:20:13.023 --> 00:20:16.389 Now, we always have a common mistakes part in these videos. 00:20:16.389 --> 00:20:21.602 But, I think I've gone over things so much that we can try a pop quiz instead. 00:20:21.792 --> 00:20:26.120 I'll show a quick drawing with some weird mistake, and we'll see if 00:20:26.120 --> 00:20:27.824 you can deduce the problem. 00:20:28.291 --> 00:20:30.104 Like this. What's wrong with this? 00:20:31.051 --> 00:20:36.491 Well, you have two possible answers on this one, since we can't see the shoulder. 00:20:36.491 --> 00:20:41.980 We seem to be looking at the front of an arm, so either the brachioradialis 00:20:41.980 --> 00:20:45.309 is on the wrong side, or the hand should be mirrored. 00:20:45.643 --> 00:20:48.301 How about this one? Anything seem off to you? 00:20:48.440 --> 00:20:50.846 Well, I'm messing with you a bit, because 00:20:50.846 --> 00:20:54.895 it's the same thing, except this time you can see the deltoid, 00:20:54.895 --> 00:20:56.849 so there's only one answer. 00:20:57.113 --> 00:21:02.200 The brachioradialis is on the wrong side again. It should be on the exterior, 00:21:02.200 --> 00:21:03.366 not interior. 00:21:03.782 --> 00:21:06.217 Alright, I promise this one will be different. 00:21:06.613 --> 00:21:08.179 What's wrong this time? 00:21:08.572 --> 00:21:14.004 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 --> 00:21:20.223 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 --> 00:21:27.007 curves closer to the elbow. 00:21:27.040 --> 00:21:28.216 That's a bit better. 00:21:28.397 --> 00:21:29.762 One last one. 00:21:30.150 --> 00:21:31.408 What's wrong now? 00:21:31.802 --> 00:21:36.112 Hmm, the brachioradialis is on the exterior, so that's fine. 00:21:36.112 --> 00:21:38.941 But it still looks a little strange. 00:21:38.941 --> 00:21:42.941 Well, that's because it needs to go over the bicep, not under it. 99:59:59.999 --> 99:59:59.999 And with that, I think we're done learning. 99:59:59.999 --> 99:59:59.999 You have graduated to the part of the video where we just take everything 99:59:59.999 --> 99:59:59.999 we learned and try to draw and paint arms from imagination. 99:59:59.999 --> 99:59:59.999 Hopefully they wind up looking alright. 99:59:59.999 --> 99:59:59.999 I will be using a simple flat brush for these lines, with pressure sensitivity 99:59:59.999 --> 99:59:59.999 mostly on size, but with a bit on opacity. 99:59:59.999 --> 99:59:59.999 That should make it feel pretty comfy and natural. 99:59:59.999 --> 99:59:59.999 One big concern I had going into this final section, 99:59:59.999 --> 99:59:59.999 is trying to make sure it stays focused on arms. 99:59:59.999 --> 99:59:59.999 Shoulders are a bit unavoidable, but I tried experimenting 99:59:59.999 --> 99:59:59.999 with ways to make the hands get less attention. 99:59:59.999 --> 99:59:59.999 Literal disjointed fingers and whatnot. 99:59:59.999 --> 99:59:59.999 Unfortunately, that actually made them stand out more, 99:59:59.999 --> 99:59:59.999 in rules of focus and contrast and whatnot, 99:59:59.999 --> 99:59:59.999 so eventually I'll get rid of that idea. 99:59:59.999 --> 99:59:59.999 What actually wound up being the biggest issue 99:59:59.999 --> 99:59:59.999 is just trying to come up with a good variety of poses. 99:59:59.999 --> 99:59:59.999 Once again, I considered crazy foreshortening, 99:59:59.999 --> 99:59:59.999 but then the page might feel less cohesive with the more traditional 99:59:59.999 --> 99:59:59.999 perspectives. 99:59:59.999 --> 99:59:59.999 I don't know. But I'm definitely enjoying the line art quality. 99:59:59.999 --> 99:59:59.999 There are a couple of disjointed lines here and there, 99:59:59.999 --> 99:59:59.999 but I tried to hit a good number of the c-curves and s-curves 99:59:59.999 --> 99:59:59.999 in single strokes. 99:59:59.999 --> 99:59:59.999 That can result in a lot of putting something down and then undoing it, 99:59:59.999 --> 99:59:59.999 redoing it, until I figure out what I want it to look like, 99:59:59.999 --> 99:59:59.999 but I'm mostly okay with that method. 99:59:59.999 --> 99:59:59.999 I can't be too chaotic with styles, but I did try to at least vary up 99:59:59.999 --> 99:59:59.999 the muscularity levels a bit as it goes on. 99:59:59.999 --> 99:59:59.999 My brain was pretty drained from all the previous arm drawings, 99:59:59.999 --> 99:59:59.999 so there are definitely a couple of moments where I've made up an arm 99:59:59.999 --> 99:59:59.999 and then moments later realised it was almost identical to one that was 99:59:59.999 --> 99:59:59.999 already on the page, like this last one. 99:59:59.999 --> 99:59:59.999 But I just decided to adjust the angle of it a bit and move on. 99:59:59.999 --> 99:59:59.999 For colors, I don't know how much I can really say that would be new, 99:59:59.999 --> 99:59:59.999 the skin video as well as the other videos have really covered the general 99:59:59.999 --> 99:59:59.999 stuff. But you can see I've lightened the line art into a lighter reddish tone, 99:59:59.999 --> 99:59:59.999 and then threw in my normal dull minty background. 99:59:59.999 --> 99:59:59.999 I like to mask out everything in order to watch transparency, which can 99:59:59.999 --> 99:59:59.999 be a bit tedious, but usually worth it in the long run. 99:59:59.999 --> 99:59:59.999 A big piece of advice is to make sure you don't instinctually start 99:59:59.999 --> 99:59:59.999 pressing hard with your stylus when blocking. 99:59:59.999 --> 99:59:59.999 This is always the most dangerous time for your hand and wrist health, 99:59:59.999 --> 99:59:59.999 because we tend to dig in harder when filling things in. 99:59:59.999 --> 99:59:59.999 Pressure is bad for your tendons. 99:59:59.999 --> 99:59:59.999 Anyway, once everything is blocked in, we can try out a variety 99:59:59.999 --> 99:59:59.999 of skin tones across the page. 99:59:59.999 --> 99:59:59.999 This is also a great time to introduce some hue variety by air brushing 99:59:59.999 --> 99:59:59.999 in reds on areas that might catch more sun damage, and things like that. 99:59:59.999 --> 99:59:59.999 The next step is form rendering, and I know some people like a more 99:59:59.999 --> 99:59:59.999 smooth gradiation and some people like a more chunkier chaotic painting approach. 99:59:59.999 --> 99:59:59.999 But, I'm going to try out some weirder ideas, 99:59:59.999 --> 99:59:59.999 and just try defining forms with blocky, contour tracing strokes. 99:59:59.999 --> 99:59:59.999 Honestly it's a bit weird at times for these videos, because I don't find myself 99:59:59.999 --> 99:59:59.999 with a strong preference. 99:59:59.999 --> 99:59:59.999 In my mind, as long as you have some understanding of the forms 99:59:59.999 --> 99:59:59.999 you can always either step up how abstract and chunky things are, 99:59:59.999 --> 99:59:59.999 or step it back into hypersoft air brushing. 99:59:59.999 --> 99:59:59.999 In any case, the important part is just knowing where the hard edges 99:59:59.999 --> 99:59:59.999 and soft edges should be. 99:59:59.999 --> 99:59:59.999 Now, how do you know which edges are hard and which are soft? 99:59:59.999 --> 99:59:59.999 Well, it's simple. If you would be okay with seeing an actual line at a specific 99:59:59.999 --> 99:59:59.999 spot in your drawing, then that can be a hard edge in your painting. 99:59:59.999 --> 99:59:59.999 If you think a line would look bad in your drawing, then stick to soft edges there. 99:59:59.999 --> 99:59:59.999 I already made pretty much all of the lines I wanted to make in the drawing stage, 99:59:59.999 --> 99:59:59.999 so those will be the only hard edges. 99:59:59.999 --> 99:59:59.999 Anyway, I started out pretty experimental, 99:59:59.999 --> 99:59:59.999 with some of the painting stuff early on, 99:59:59.999 --> 99:59:59.999 but I wasn't that into it this time, so I'm slowly going to be dialling that back 99:59:59.999 --> 99:59:59.999 as we go. Almost all of these arms 99:59:59.999 --> 99:59:59.999 are going to be out of direct light, you know, ambient light for the most part, 99:59:59.999 --> 99:59:59.999 aside from the one on the right that is reaching toward us. 99:59:59.999 --> 99:59:59.999 Doing this somewhat makes the whole image a bit darker and more saturated than 99:59:59.999 --> 99:59:59.999 I wanted, so I'll be desaturating and lightening it a bit as we go. 99:59:59.999 --> 99:59:59.999 Other than that, I definitely kept the line art in play for a lot longer than I normally do. 99:59:59.999 --> 99:59:59.999 It's not until most of the form rendering is complete that I actually 99:59:59.999 --> 99:59:59.999 flatten things down and start painting out the lines. 99:59:59.999 --> 99:59:59.999 This is also when I start playing with slightly more interesting shapes 99:59:59.999 --> 99:59:59.999 in some of them. 99:59:59.999 --> 99:59:59.999 The rim light is going to be pretty subtle today, 99:59:59.999 --> 99:59:59.999 I definitely made it more limelight than I normally recommend to people, 99:59:59.999 --> 99:59:59.999 but still trying to at least taper those lines and find some 99:59:59.999 --> 99:59:59.999 chunkier shapes with it. 99:59:59.999 --> 99:59:59.999 To bring back some of the other fun stuff from the skin rendering video, 99:59:59.999 --> 99:59:59.999 I decided to put in some body hair on the top left arm. 99:59:59.999 --> 99:59:59.999 Just a bit of fun with desaturating colors and pattern-based brushwork. 99:59:59.999 --> 99:59:59.999 This was also when I decided to at least connect the fingers that I had there, 99:59:59.999 --> 99:59:59.999 but we're almost done, so the last 99:59:59.999 --> 99:59:59.999 thing I want to have fun with, is bringing some of that body hair into the rim light. 99:59:59.999 --> 99:59:59.999 It makes the rim light a lot more fun. 99:59:59.999 --> 99:59:59.999 Definitely recommend trying it when you can. 99:59:59.999 --> 99:59:59.999 And, with that, this monster of a video is finally complete. 99:59:59.999 --> 99:59:59.999 It has been a journey, and while the drawings and paintings might not be perfect, 99:59:59.999 --> 99:59:59.999 hopefully you at least feel a bit more confident 99:59:59.999 --> 99:59:59.999 about being able to draw some fun arms from imagination. 99:59:59.999 --> 99:59:59.999 As always, the best way to fully learn is to mix in 99:59:59.999 --> 99:59:59.999 equal parts of drawing from human reference, 99:59:59.999 --> 99:59:59.999 doing master copies of other artists you like, 99:59:59.999 --> 99:59:59.999 and drawing from imagination. 99:59:59.999 --> 99:59:59.999 No matter how good or bad you might feel about 99:59:59.999 --> 99:59:59.999 one of these three parts, do them all evenly regardless. 99:59:59.999 --> 99:59:59.999 We only focussed on three main muscles in this video, 99:59:59.999 --> 99:59:59.999 so if you find yourself wanting to build up more complexity, 99:59:59.999 --> 99:59:59.999 just go check out one of the other amazing art YouTube 99:59:59.999 --> 99:59:59.999 channels that dives a bit deeper. 99:59:59.999 --> 99:59:59.999 Alright, I want to thank you all so much 99:59:59.999 --> 99:59:59.999 or at least giving this video a chance, 99:59:59.999 --> 99:59:59.999 I'm not a frequent uploader, so be sure to subecribe 99:59:59.999 --> 99:59:59.999 if you don't want to miss out on the 99:59:59.999 --> 99:59:59.999 handful of videos I put out each year. 99:59:59.999 --> 99:59:59.999 Of course, if you want some fun, specialised content 99:59:59.999 --> 99:59:59.999 the brainstorm classes have been going really well 99:59:59.999 --> 99:59:59.999 and its definitely worth your time and money 99:59:59.999 --> 99:59:59.999 if you haven't tried them out yet. 99:59:59.999 --> 99:59:59.999 Info is down in the description. 99:59:59.999 --> 99:59:59.999 I also, of course, do want to give an earnest thank you 99:59:59.999 --> 99:59:59.999 to the Patreon supporters that chip in 99:59:59.999 --> 99:59:59.999 money to keep these videos coming. 99:59:59.999 --> 99:59:59.999 You guys are wondeful. 99:59:59.999 --> 99:59:59.999 Seeya everyone. 99:59:59.999 --> 99:59:59.999 [Electronic buzz effect]