0:00:04.817,0:00:06.627 Hey everyone, Sinix here. 0:00:06.631,0:00:10.044 It's time for another episode of [br]Anatomy Quick Tips, 0:00:10.056,0:00:13.510 the series that is here to give you [br]some useful observations 0:00:13.510,0:00:15.488 and help you feel more comfortable with 0:00:15.488,0:00:17.681 drawing people from imagination. 0:00:17.687,0:00:20.395 Today, we'll be talking about arms - 0:00:20.395,0:00:22.934 and also, don't be alarmed but 0:00:22.934,0:00:27.018 this all-arm video puts [br]us near the end of this series, 0:00:27.018,0:00:29.457 only two more videos remain. 0:00:29.457,0:00:34.050 Regardless, for now let's just focus [br]on these upper appendages. 0:00:34.276,0:00:37.831 This probably won't be the funniest [br]video in this series or anything, 0:00:37.831,0:00:40.288 but it will be definitely be the [br]most humerus - 0:00:40.288,0:00:43.485 so roll up your sleeves [br]and let's get to work. 0:00:43.485,0:00:45.224 Starting out with structure, 0:00:45.224,0:00:48.715 we've already covered both [br]shoulders and hands 0:00:48.715,0:00:49.600 in other videos, 0:00:49.601,0:00:53.355 so we just need to make sure we [br]can bridge these things together. 0:00:53.355,0:00:58.210 I'm sketching a quick front, side and [br]back view of a shoulder to start. 0:00:58.506,0:01:01.367 Seeing a shoulder [br]and torso without the arm 0:01:01.367,0:01:04.235 always reminds me of a little [br]lamb or something... 0:01:04.235,0:01:06.783 but anyway, we're going to focus on 0:01:06.783,0:01:09.628 the skeletal breakdown of the arm first. 0:01:09.628,0:01:12.377 Of course we have a single major bone 0:01:12.377,0:01:13.562 in the upper arm 0:01:13.562,0:01:15.425 and two in the lower arm 0:01:15.425,0:01:16.983 connected at the elbow. 0:01:16.983,0:01:21.318 But as i draw that, the first thing [br]I actually want to point out 0:01:21.318,0:01:24.090 is that things aren't [br]in a perfect straight line. 0:01:24.090,0:01:26.138 You can even take a moment 0:01:26.138,0:01:27.737 and try to see this yourself - 0:01:27.737,0:01:30.233 just hold one arm out straight 0:01:30.233,0:01:32.341 and close your opposite eye. 0:01:32.341,0:01:35.582 Now do your best to [br]look directly straight down 0:01:35.582,0:01:37.789 the barrel of that massive gun you call 0:01:37.789,0:01:38.967 your upper arm. 0:01:38.967,0:01:42.186 If you line up your [br]sight from shoulder to elbow, 0:01:42.186,0:01:44.687 you'll notice the lower arm doesn't really 0:01:44.687,0:01:47.018 line up as much as you might've thought. 0:01:47.018,0:01:51.181 To get really good at [br]drawing any organic forms, 0:01:51.181,0:01:55.776 it's important to try and identify [br]these types of subtle offsets 0:01:55.776,0:01:57.733 as much as possible. 0:01:57.733,0:01:59.833 Anyway, let's get back to these bones. 0:01:59.833,0:02:01.843 The humerus is of course the bone 0:02:01.843,0:02:03.216 of the upper arm, 0:02:03.216,0:02:05.982 meanwhile the lower arm has the ulna, 0:02:05.982,0:02:08.989 which I would consider [br]the primary lower arm bone. 0:02:08.989,0:02:11.498 It's the one you would [br]be hitting someone with 0:02:11.498,0:02:12.564 if you elbowed them. 0:02:12.609,0:02:15.548 And then the radius, which originates 0:02:15.548,0:02:17.933 on the exterior side of the elbow 0:02:17.933,0:02:20.806 A.K.A the side that's further [br]away from your body - 0:02:20.806,0:02:24.544 and always connects to [br]the thumb-side of your hand. 0:02:24.817,0:02:27.799 So we can do a bit [br]of a rotational twisting 0:02:27.799,0:02:29.303 around the lower arm. 0:02:29.303,0:02:30.761 Hence the name 'radius'. 0:02:30.814,0:02:33.336 The last skeletal thing I want to mention 0:02:33.336,0:02:34.602 is the funny bone. 0:02:34.798,0:02:37.543 This is just an extension of the humerus 0:02:37.543,0:02:40.465 which protrudes on the [br]inner side of the elbow 0:02:40.465,0:02:41.981 closest to the body. 0:02:42.081,0:02:43.390 It's called the funny bone 0:02:43.390,0:02:46.047 because of an exposed [br]nerve ending next to it 0:02:46.047,0:02:48.293 that will send a shock up your arm 0:02:48.293,0:02:50.860 if you hit this part of the [br]elbow against something. 0:02:50.900,0:02:53.158 So if you ever see a chance to whack 0:02:53.158,0:02:55.882 your friend's funny bone [br]with your pencil or stylus 0:02:55.882,0:02:57.636 it's, you know, free comedy. 0:02:57.636,0:03:00.987 Alright, I added some [br]hands to these drawings, 0:03:00.987,0:03:03.532 and I know this isn't the hands video 0:03:03.532,0:03:07.556 but since wrists and organic [br]offsets are so important, 0:03:07.556,0:03:11.067 let's do a quick look at [br]that connection anyway. 0:03:11.140,0:03:13.027 Now keep in mind by the time 0:03:13.027,0:03:15.083 the radius and ulna get to the wrist 0:03:15.083,0:03:17.269 they'll always be side by side, 0:03:17.269,0:03:19.602 and therefore the lower arm connects in 0:03:19.602,0:03:22.296 a much flatter and wider way into the palm 0:03:22.296,0:03:23.289 and back of hand, 0:03:23.289,0:03:26.230 and thinner from the [br]side view of the hand. 0:03:26.412,0:03:28.673 Basic stuff, but the fun part is 0:03:28.673,0:03:31.327 any time you're adding a hand to an arm, 0:03:31.327,0:03:33.814 make sure to give it a bit of an offset 0:03:33.814,0:03:38.198 and step over toward the [br]thumb/radius side of things. 0:03:38.630,0:03:42.113 Similarly, from the side view [br]the hand should always 0:03:42.113,0:03:46.390 take a noticeable offsetting[br]step toward the palm side. 0:03:46.697,0:03:49.096 By the way when I say the word 'offset' 0:03:49.096,0:03:53.492 it usually just means not lined [br]up evenly with surrounding things. 0:03:53.698,0:03:56.802 Anyway, always make sure[br]the thumb side of the hand 0:03:56.802,0:03:59.477 feels more chunkier and substantial 0:03:59.477,0:04:01.366 than the pinky side of the palm. 0:04:01.606,0:04:03.362 With all of these ideas in mind, 0:04:03.362,0:04:06.298 you should be able to [br]develop a quick shorthand 0:04:06.298,0:04:08.834 for getting from the arm into the hand. 0:04:08.834,0:04:10.760 In fact, you should be able to 0:04:10.760,0:04:13.652 quickly deduce everything about the bones 0:04:13.657,0:04:16.787 and orientation of the [br]wrist without ever seeing 0:04:16.787,0:04:20.283 the thumbs or fingers or [br]any interior information. 0:04:20.283,0:04:23.208 So maybe see how quickly you can determine 0:04:23.208,0:04:25.229 where the radius and the ulna are 0:04:25.229,0:04:27.916 in any of these rough sketches I'm making. 0:04:27.916,0:04:31.557 Hopefully that seems easy enough. 0:04:31.557,0:04:35.415 Let's get back to structure and [br]talk about the muscle side of things. 0:04:35.488,0:04:37.509 We're going to make it really easy 0:04:37.509,0:04:38.967 for our drawing purposes 0:04:38.967,0:04:41.759 and only focus on three muscle groups. 0:04:41.834,0:04:45.050 The biceps are on [br]the front of your upper arm 0:04:45.050,0:04:47.307 and allow you to curl up your arm. 0:04:47.375,0:04:51.982 They insert under your shoulder [br]muscles and chest muscles on one end 0:04:51.982,0:04:56.161 and connect to the radius and [br]tissue around the ulna on the other end. 0:04:56.340,0:04:59.181 The triceps are on the back of your arm 0:04:59.181,0:05:01.550 and allow you to pull your arm straight. 0:05:01.550,0:05:06.206 They also come out from under your [br]shoulder muscles and similar back muscles 0:05:06.206,0:05:08.532 and connect to the end of the ulna. 0:05:08.682,0:05:12.532 And yes, the deltoids are [br]of course the shoulder muscles, 0:05:12.532,0:05:17.244 but the third muscle that we're[br]going to be fixating on in this video 0:05:17.244,0:05:20.101 is going to be the brachioradialis. 0:05:20.212,0:05:23.585 You must learn to [br]love the brachioradialis, 0:05:23.585,0:05:27.853 it will be a pivotal part of [br]this video in more ways than one. 0:05:28.322,0:05:32.055 These insertions points are [br]important, so keep them in mind. 0:05:32.055,0:05:35.800 It connects from [br]the lower back of the humerus 0:05:36.178,0:05:39.509 under the triceps and[br]it wraps around a bit 0:05:39.509,0:05:42.015 over parts of the lower biceps and 0:05:42.015,0:05:44.891 connects to the radius on the other side. 0:05:45.167,0:05:49.536 I will be exaggerating this [br]muscle heavily throughout this video, 0:05:49.536,0:05:52.791 so be aware of that strategic inflation. 0:05:52.791,0:05:55.210 We are going all in on the bray-ray. 0:05:55.453,0:05:58.100 I think that's enough structure though, so 0:05:58.100,0:06:00.567 let's get into some drawing practice. 0:06:00.737,0:06:03.266 A big theme in the land of arms will be 0:06:03.266,0:06:05.521 controlling our organic curves. 0:06:05.563,0:06:09.563 So I guess I will do a quick recap [br]on s-curves and c-curves. 0:06:09.768,0:06:12.095 Don't let the names [br]throw you off too much, 0:06:12.224,0:06:15.363 most of the s-curves and [br]c-curves you'll be drawing 0:06:15.363,0:06:17.974 are going to be extremely subtle. 0:06:17.974,0:06:21.204 Just a whisper of curvature [br]going on most of the time. 0:06:21.204,0:06:24.124 And it's good to practice [br]that level of control 0:06:24.291,0:06:27.208 but an even more [br]important thing to practise 0:06:27.208,0:06:29.657 is your ability to weight your curves. 0:06:29.810,0:06:31.924 Weighting a curve means changing up 0:06:31.924,0:06:34.970 the harshness of the [br]curvature through the line. 0:06:35.395,0:06:39.091 So if the curve stays [br]consistent from start to finish, 0:06:39.091,0:06:41.033 that would be a weightless curve. 0:06:41.345,0:06:44.617 You can have the curve be [br]increasingly strong at the start 0:06:44.617,0:06:46.098 or the end of the line 0:06:46.098,0:06:48.571 to give it weight in a specific direction. 0:06:48.924,0:06:52.032 This is very, very important to practise 0:06:52.032,0:06:55.242 because we spend our [br]entire childhoods writing 0:06:55.242,0:06:58.886 letters and shapes which [br]curve in a very balanced way, 0:06:59.243,0:07:01.433 but the more you can break away from that 0:07:01.433,0:07:04.022 the more organic your drawings will be, 0:07:04.022,0:07:06.059 so warm up with these often. 0:07:06.324,0:07:09.642 Alright, let's get into those [br]simplifications and reductions. 0:07:10.157,0:07:13.211 Or, rather maybe mention[br]another little side thing...? 0:07:13.642,0:07:16.692 Sorry, there's a lot of [br]ways to think about arms. 0:07:16.692,0:07:18.199 Such as the chain, 0:07:18.199,0:07:20.353 a common trick for approaching arms 0:07:20.353,0:07:23.183 is to imagine a giant linking chain - 0:07:23.183,0:07:26.366 the idea being that since the upper arm is 0:07:26.366,0:07:29.166 wider from the side [br]view than from a front view, 0:07:29.538,0:07:32.181 and meanwhile the forearm is the opposite, 0:07:32.181,0:07:36.667 it will generally create a nice little [br]back and forth between wide and narrow 0:07:36.667,0:07:39.549 which is definitely [br]good for aesthetic purposes. 0:07:39.733,0:07:43.241 So you can use that as a little[br]mental note when applicable. 0:07:43.491,0:07:46.616 Meanwhile, to go back to [br]what we've just talked about 0:07:46.616,0:07:50.616 with curve weight, the most [br]important mental note I fixate on 0:07:50.616,0:07:54.967 is usually just where to weight the [br]curve for each part of the arm. 0:07:55.150,0:07:57.824 On the bicep side of the upper arm, 0:07:57.824,0:08:00.922 the curve weight is [br]further toward the elbow. 0:08:00.922,0:08:04.405 Whereas on the [br]back or tricep side of things, 0:08:04.405,0:08:07.037 the curve weight [br]is closer to the shoulder. 0:08:07.037,0:08:11.417 The brachioradialis is definitely [br]weighted toward the upper forearm, 0:08:11.417,0:08:14.203 but is more rounded and gradual than 0:08:14.203,0:08:16.015 the opposite side of the forearm. 0:08:16.015,0:08:17.967 All of these things relate to 0:08:17.967,0:08:20.900 the actual muscle [br]bodies of each muscle group, 0:08:20.900,0:08:23.285 the tricep being the most important one 0:08:23.285,0:08:24.645 to always remember, because 0:08:24.645,0:08:28.645 the muscle bodies are located [br]in the top half of the upper arm. 0:08:28.645,0:08:32.247 Okay so let's sum up the [br]straight arm simplifications 0:08:32.247,0:08:33.738 a bit more directly. 0:08:33.738,0:08:36.976 Back view of the arm, pop [br]forward, minimal twisting. 0:08:36.976,0:08:40.758 The upper arm might as well [br]just be a simple cylinder 0:08:40.758,0:08:42.303 with minimal tapering. 0:08:42.303,0:08:44.118 But the lower arm is going to feel 0:08:44.118,0:08:46.516 closer to an upside down bowling pin. 0:08:46.516,0:08:48.355 The important part is that 0:08:48.355,0:08:51.493 the exterior side, [br]with the brachioradialis 0:08:51.493,0:08:55.616 is going to not only curve outward [br]more than the interior side, 0:08:55.616,0:08:58.498 but also come up a bit higher than it. 0:08:58.498,0:09:00.379 It should definitely feel like 0:09:00.379,0:09:03.122 it starts its s-curve above the elbow. 0:09:03.763,0:09:06.330 If we raise the arm up out to the side, 0:09:06.330,0:09:09.350 yes you'll get a bit of the chain concept, 0:09:09.350,0:09:13.212 but since you'll probably [br]not be drawing massive bodybuilders 0:09:13.212,0:09:15.321 it can become pretty minor. 0:09:15.679,0:09:17.599 You do want to make sure that 0:09:17.599,0:09:19.956 you're thinking about [br]weight and gravity though. 0:09:20.300,0:09:23.353 Obviously this gets a lot [br]more extreme with age, 0:09:23.353,0:09:25.236 but on any body type 0:09:25.236,0:09:27.081 you should still be using these ideas 0:09:27.081,0:09:30.490 to give you at least a little [br]bit of subtle curve weight. 0:09:30.706,0:09:33.299 Another useful reference [br]point to think about 0:09:33.299,0:09:34.881 comes from the shoulder muscle. 0:09:35.088,0:09:37.636 The deltoid comes down to a bit 0:09:37.636,0:09:40.540 of a point on the exterior of the arm. 0:09:40.629,0:09:43.162 While not exact, this can still be used 0:09:43.162,0:09:45.519 as a good way to indicate a break 0:09:45.519,0:09:48.326 between the front bicep side of the arm, 0:09:48.326,0:09:50.684 and the rare tricep side. 0:09:50.684,0:09:54.147 Especially when you're dealing [br]with more complex poses 0:09:54.147,0:09:55.582 and off angle views. 0:09:55.582,0:09:59.226 If I draw a quick [br]arm over here on the left 0:09:59.226,0:10:01.444 from a slightly awkward angle, 0:10:01.444,0:10:04.383 adding the deltoid and [br]letting it point a line 0:10:04.383,0:10:06.241 towards the elbow can at least 0:10:06.241,0:10:10.749 help us visualise the [br]tricep and bicep sides of the arm. 0:10:10.908,0:10:13.930 If this drawing looks [br]weirdly off to you at first, 0:10:13.930,0:10:14.914 that's good! 0:10:14.914,0:10:18.914 The brachioradialis was not [br]coming from the correct spot. 0:10:18.914,0:10:22.666 Let's first recall that the [br]brachioradialis should come from 0:10:22.666,0:10:25.514 under the triceps and over the biceps, 0:10:25.514,0:10:27.993 and using that line from the deltoid 0:10:27.993,0:10:30.266 we can visualise this insertion 0:10:30.266,0:10:31.653 much more clearly. 0:10:31.653,0:10:32.828 Moving along, 0:10:32.828,0:10:34.925 some of these straight armed elbows 0:10:34.925,0:10:37.307 might be looking a bit wonky. 0:10:37.307,0:10:39.041 So let's briefly mention them. 0:10:39.041,0:10:42.910 The most important part [br]of simplifying the elbow' 0:10:42.910,0:10:44.635 will definitely come from seeing 0:10:44.635,0:10:48.524 the triceps and humerus [br]all come together in a mass 0:10:48.524,0:10:51.000 that leads straight down through the elbow 0:10:51.000,0:10:52.058 and into the ulna. 0:10:52.058,0:10:55.481 The funny bone and [br]radius both become a bit 0:10:55.481,0:10:57.377 indented on a straight arm, 0:10:57.377,0:10:59.012 so you'll mostly see these 0:10:59.012,0:11:00.870 little pockets of depth off to 0:11:00.870,0:11:03.919 both sides of the triceps and ulna, with 0:11:03.919,0:11:06.510 the forearm muscles[br]pulling the forms back out 0:11:06.510,0:11:09.219 and really solidifying those crevices. 0:11:09.431,0:11:12.116 There's definitely a lot of skin going on 0:11:12.116,0:11:14.726 in this area, so it tends to become quite 0:11:14.726,0:11:17.790 wrinkly. There's even [br]a slang name for this 0:11:17.790,0:11:20.191 folded up skin - it's called the wenis. 0:11:20.545,0:11:24.223 So, everybody should draw the wenis,[br]the wenis is not a dance, 0:11:24.223,0:11:26.580 and I'm happy to tell you this in advance. 0:11:26.580,0:11:31.633 [laughs] Anyway, wrinkles are tricky. The[br]general rule is to fold the skin with 0:11:31.633,0:11:35.789 c-curves and s-curves in a way [br]that squishes the curves together 0:11:35.789,0:11:38.609 without ever feeling like they're going to[br]cross each other 0:11:38.609,0:11:40.935 or pass through the extended implied 0:11:40.935,0:11:42.626 lines of other curves. 0:11:42.626,0:11:44.951 You can compress a bunch of them into 0:11:44.951,0:11:49.654 a small space, or just a couple, but I[br]recommend wrinkling things up 0:11:49.654,0:11:52.271 a bit above the elbow with perhaps some 0:11:52.271,0:11:55.376 more drapery style [br]folds hanging underneath. 0:11:55.376,0:11:58.131 You can definitely [br]develop your own stylistic 0:11:58.131,0:12:03.117 approach to wrinkles, and they should feel[br]similar in theory to clothing folds, 0:12:03.117,0:12:05.481 but more organic with the lines. 0:12:05.481,0:12:08.095 Just keep in mind, [br]like with clothing folds, 0:12:08.095,0:12:10.800 doing less is usually [br]better when learning. 0:12:10.800,0:12:15.091 Alright, a little bit more drawing[br]in this section, because I want to 0:12:15.091,0:12:18.633 also just quickly mention some size[br]relations. 0:12:18.881,0:12:23.377 I'm a serial offender of [br]making my deltoids too small in drawings, 0:12:23.377,0:12:27.815 so I'm trying to correct that. I think it[br]can be useful to think of the upper 0:12:27.815,0:12:32.010 arms as a length that goes from the top[br]of the shoulder to the elbow. 0:12:32.262,0:12:34.531 The top third of that length can be the 0:12:34.531,0:12:37.370 distance of the deltoid [br]going down the arm. 0:12:37.370,0:12:40.165 I barely mentioned it [br]before, but the triceps 0:12:40.165,0:12:44.620 really have two main visible muscle [br]bodies on the back of the arm. 0:12:44.620,0:12:47.844 While they both have those high up muscle[br]bodies, 0:12:47.844,0:12:51.965 the interior side one is a bit longer down[br]toward the elbow, 0:12:51.965,0:12:56.123 while the exterior one is even more[br]focussed at the top. 0:12:56.227,0:13:00.434 The bottom of these muscle bodies and[br]strong separation of them 0:13:00.434,0:13:05.004 occurs roughly halfway down the upper[br]arm unit, that we mentioned going 0:13:05.004,0:13:06.974 from top of shoulder to elbow. 0:13:06.974,0:13:11.477 You can kind of indicate this with a [br]little butt shape on the back of the arm, 0:13:11.477,0:13:15.327 especially if it's being flexed. The arm, [br]not the butt. 0:13:15.327,0:13:19.090 Okay, moving along to the world of [br]movement, 0:13:19.090,0:13:22.199 the elbow is basically just a fancy hinge 0:13:22.199,0:13:27.274 joint with the funny bone on the interior,[br]the ulna being the king in the center, 0:13:27.274,0:13:31.854 and the radius on the exterior. [br]When the arm is straight, they somewhat 0:13:31.854,0:13:34.189 line up with the ulna sticking out a bit. 0:13:34.189,0:13:36.744 From the interior view though, once 0:13:36.744,0:13:41.237 we start curling the arm, obviously the[br]funny bone isn't going anywhere. 0:13:41.237,0:13:46.666 But the ulna is going to hinge around it [br]and form a very boxy and angular 0:13:46.666,0:13:51.688 silhouette, by letting your brain fixate[br]on the line from funny bone to ulna. 0:13:51.951,0:13:57.105 All of the tissue of the arm is going to [br]crease at the insertion of the bicep and 0:13:57.105,0:14:01.751 form a bit of a line that points mostly [br]toward the funny bone side of things. 0:14:01.797,0:14:07.267 The important take away is that interior[br]arm equals boxy shape and long crease. 0:14:07.267,0:14:11.067 Also, when you raise your arm with your[br]bicep toward the sky, 0:14:11.067,0:14:15.473 that means the deltoid is going to be [br]pulled to the back of the shoulder. 0:14:15.473,0:14:19.556 As it, once again, needs to be pointing[br]towards the exterior line between 0:14:19.556,0:14:20.973 bicep and tricep. 0:14:20.973,0:14:24.843 Anyway, the exterior elbow view is a bit[br]interesting. 0:14:24.843,0:14:28.454 You'll of course be seeing the [br]deltoid a lot more in this view 0:14:28.454,0:14:30.259 where the exterior is facing back, 0:14:30.259,0:14:33.208 but the interesting part [br]is that you're now seeing 0:14:33.208,0:14:36.811 both the radius and ulna [br]in the straightened arm view. 0:14:36.910,0:14:39.939 This means that when you [br]curl your arm, those two lower 0:14:39.939,0:14:42.683 arm bones are going [br]to be traveling together. 0:14:42.683,0:14:46.343 Even though the silhouette [br]will fundamentally be the same, 0:14:46.343,0:14:50.514 I find it very useful to acknowledge[br]this anatomy by making the elbow 0:14:50.514,0:14:53.740 feel like it just rounds up[br]to and around these bones, 0:14:53.740,0:14:55.394 instead of feeling boxy. 0:14:55.659,0:15:00.633 You might also remember that the [br]brachioradialis is on the exterior side, 0:15:00.633,0:15:04.740 so that will create a mass in form[br]that will squeeze from upper arm 0:15:04.740,0:15:05.533 to lower arm. 0:15:05.847,0:15:09.549 Because of this mass, the exterior [br]crease here becomes a lot more 0:15:09.549,0:15:11.220 chubbier and compressed. 0:15:11.220,0:15:14.766 I like to use a shorter and [br]splitting crease to hint at this 0:15:14.766,0:15:15.797 thicker form. 0:15:15.797,0:15:18.775 And you should try to hint[br]at these things in any body type. 0:15:18.775,0:15:23.172 From a different view, you can[br]get some idea how all of these bones 0:15:23.172,0:15:27.072 and muscles are working, [br]but for now let's jump over to the 0:15:27.072,0:15:30.527 forearm movements, because [br]we have rotation to deal with. 0:15:30.527,0:15:33.346 If you stick your right[br]arm out in front of you, 0:15:33.346,0:15:37.712 palm side up, this is the [br]least twisted view of your forearm. 0:15:37.899,0:15:42.233 The muscles and bones just carry [br]forth to the hand in a linear fashion. 0:15:42.233,0:15:46.488 This represents one [br]extreme of your rotational movement. 0:15:46.488,0:15:49.998 As we rotate the hand, [br]the elbow won't be changing much, 0:15:49.998,0:15:53.998 but the radius and [br]brachioradialis will start twisting a bit 0:15:53.998,0:15:56.002 to line up vertically at the wrist. 0:15:56.298,0:15:58.766 The best thing you should [br]observe on your own arm 0:15:58.766,0:16:02.766 is how the s-curves are [br]just as you rotate your hand. 0:16:02.782,0:16:05.584 I'm not in love with [br]the drawing on the right here, 0:16:05.584,0:16:09.713 but the interior ulna side of [br]things definitely changes up its 0:16:09.713,0:16:12.802 s-curve the most, [br]whereas the exterior side 0:16:12.802,0:16:14.167 just shifts weight a little. 0:16:14.544,0:16:18.740 Once your palm is facing downwards, [br]the full range of motion is complete. 0:16:18.916,0:16:21.172 This is as far as things can twist. 0:16:21.172,0:16:24.813 The radius and ulna are now [br]on opposite sides from the elbow. 0:16:24.914,0:16:28.341 You might be thinking, [br]'what if I want to give a thumbs down?' 0:16:28.348,0:16:32.919 Well, physically you can't. So be sure [br]to remember that and like this video. 0:16:33.099,0:16:35.704 If you do really want [br]to point your thumb down, 0:16:35.704,0:16:39.765 it requires you to actually [br]rotate your entire arm so that your 0:16:39.765,0:16:42.258 elbow is facing a different direction. 0:16:42.258,0:16:46.414 Lastly, here I'll just mention, when [br]your arms are at rest at your sides, 0:16:46.414,0:16:50.924 the default comfortable state [br]is that central, half-twisted state, 0:16:50.924,0:16:53.196 not the completely untwisted state. 0:16:53.590,0:16:57.892 Alright, let's go back to reducing [br]information and recap what we've learned. 0:16:58.196,0:17:01.958 Of course, it's pretty fun [br]to draw giant musclebound arms, 0:17:01.958,0:17:05.348 especially when you're trying to[br]commit all these concepts to memory, 0:17:05.348,0:17:08.588 but we also want to be [br]able to simplify these things down 0:17:08.588,0:17:10.640 into little anime stick arms. 0:17:10.961,0:17:15.182 When you start out in art, it's fine [br]to just think of the upper and lower arms 0:17:15.182,0:17:18.590 as just cylinders, and as [br]you get more comfortable, 0:17:18.590,0:17:21.717 you can introduce some [br]tapering into these forms. 0:17:21.717,0:17:25.009 Eventually you will want to [br]be capable of some level 0:17:25.009,0:17:29.009 of form complexity. These cross [br]sections are never just round. 0:17:29.009,0:17:33.009 They have weird oblong [br]shapes and blobby looking contours. 0:17:33.146,0:17:35.124 I like to practice these [br]things with what 0:17:35.124,0:17:37.166 I would call "skinny muscle forms". 0:17:37.350,0:17:40.448 Maybe it's just my Samurai [br]Champloo roots coming through again. 0:17:40.781,0:17:44.223 A quick example though, [br]starting with a deltoid and shoulder, 0:17:44.223,0:17:49.410 letting it point toward an elbow, think [br]I'll twist the bicep to the bottom on 0:17:49.410,0:17:54.374 this one, bicep means curve weight [br]closer to elbows, so we can even dive in 0:17:54.374,0:17:55.827 with some angular shapes. 0:17:55.827,0:17:59.326 With the bicep facing forward,[br]that means the deltoid 0:17:59.326,0:18:02.518 can be a bit further on [br]top instead of on the back, 0:18:02.518,0:18:06.972 and we can even hint at some [br]tricep form above the separating line. 0:18:06.972,0:18:10.972 That line will let us know [br]where to pull the brachioradialis from, 0:18:10.972,0:18:13.796 and then we can [br]decide on the hand rotation and 0:18:13.796,0:18:15.483 make everything line up. 0:18:15.554,0:18:19.673 Design wise, it's good to play [br]around with the ratios of rounded 0:18:19.673,0:18:21.444 shapes and angular shapes. 0:18:21.585,0:18:25.375 We alluded earlier to the [br]exterior side feeling more rounded 0:18:25.375,0:18:27.520 and the interior [br]feeling more angular, when 0:18:27.520,0:18:28.832 discussing the elbow hinge, 0:18:28.930,0:18:31.075 so let's just run with that a bit more. 0:18:31.357,0:18:34.609 What if we just always [br]simplified things around the elbow 0:18:34.609,0:18:39.429 by playing up rounded exteriors [br]and angular interiors in the forearm? 0:18:39.828,0:18:43.981 I just noticed that that letter pointing [br]towards the tricep is a D instead of a T. 0:18:43.981,0:18:47.057 Clearly getting a bit [br]delirious at this point. 0:18:47.107,0:18:49.022 Regardless, let's keep sketching. 0:18:49.208,0:18:54.025 Here's a quick side view, still mostly [br]practicing curve weights and that 0:18:54.025,0:18:58.583 brachioradialis. Some slightly [br]more exciting things we could try 0:18:58.583,0:19:02.173 would be playing around [br]with perspective and dynamic angles. 0:19:02.173,0:19:06.290 If we imagine a Spiderman [br]type arm pose, we could still 0:19:06.290,0:19:09.744 think about where we could [br]exaggerate our forearm muscles. 0:19:09.744,0:19:13.362 I'll be honest though, I sort of [br]got distracted right after starting 0:19:13.362,0:19:16.293 this one, because I [br]thought of some more stuff to mention. 0:19:16.586,0:19:18.867 Such as, what does it look like if you 0:19:18.867,0:19:21.449 just have your elbow[br]sticking up in the air 0:19:21.449,0:19:23.333 with your arm curled behind it? 0:19:23.333,0:19:25.840 A lot of tricep weight at the bottom, 0:19:25.840,0:19:29.220 but it really thins out [br]into a very skeletal look 0:19:29.220,0:19:33.390 at the elbow. It does give a nice[br]look at the radius, ulna and funny bone. 0:19:33.522,0:19:36.473 This becomes instantly [br]obscured by the forearm 0:19:36.473,0:19:40.211 once you straighten the arm out a bit[br]with those forearm muscles 0:19:40.211,0:19:42.585 just taking over both sides of the elbow. 0:19:42.585,0:19:45.483 But, this made me [br]think of another scenario, 0:19:45.483,0:19:47.565 how about when you're resting your weight 0:19:47.565,0:19:49.574 on your elbow at a desk or table? 0:19:49.730,0:19:51.964 Where do those forearm muscles go then? 0:19:52.226,0:19:55.756 Well, since the brachioradialis connects[br]to the humerus, 0:19:55.756,0:20:00.813 it actually sits up higher, away from[br]the elbow on the exterior side of things. 0:20:00.813,0:20:04.730 I guess that's obvious enough, kind of [br]like how it would look if you were 0:20:04.730,0:20:05.896 drinking something. 0:20:06.044,0:20:08.857 Just always be keeping track of where[br]the thumb is, 0:20:08.857,0:20:11.705 and where the exterior and interior[br]of the elbow are, 0:20:11.705,0:20:12.953 and you'll be fine. 0:20:13.023,0:20:16.389 Now, we always have a common mistakes[br]part in these videos. 0:20:16.389,0:20:21.602 But, I think I've gone over things so much[br]that we can try a pop quiz instead. 0:20:21.792,0:20:26.120 I'll show a quick drawing with some[br]weird mistake, and we'll see if 0:20:26.120,0:20:27.824 you can deduce the problem. 0:20:28.291,0:20:30.104 Like this. What's wrong with this? 0:20:31.051,0:20:36.491 Well, you have two possible answers on [br]this one, since we can't see the shoulder. 0:20:36.491,0:20:41.980 We seem to be looking at the front of an [br]arm, so either the brachioradialis 0:20:41.980,0:20:45.309 is on the wrong side, or the hand[br]should be mirrored. 0:20:45.643,0:20:48.301 How about this one? Anything seem off[br]to you? 0:20:48.440,0:20:50.846 Well, I'm messing with you a bit, because 0:20:50.846,0:20:54.895 it's the same thing, except this time you [br]can see the deltoid, 0:20:54.895,0:20:56.849 so there's only one answer. 0:20:57.113,0:21:02.200 The brachioradialis is on the wrong side[br]again. It should be on the exterior, 0:21:02.200,0:21:03.366 not interior. 0:21:03.782,0:21:06.217 Alright, I promise this[br]one will be different. 0:21:06.613,0:21:08.179 What's wrong this time? 0:21:08.572,0:21:14.004 Doesn't seem too far off, the deltoid[br]and forearm stuff seem okayish, 0:21:14.505,0:21:18.034 this might be a subtle one, but I [br]reversed the weight on the 0:21:18.034,0:21:20.223 bicep and tricep curves. 0:21:20.424,0:21:25.033 Remember the tricep should have mass [br]closer to the shoulder, and the bicep 0:21:25.033,0:21:27.007 curves closer to the elbow. 0:21:27.040,0:21:28.216 That's a bit better. 0:21:28.397,0:21:29.762 One last one. 0:21:30.150,0:21:31.408 What's wrong now? 0:21:31.802,0:21:36.112 Hmm, the brachioradialis is on the [br]exterior, so that's fine. 0:21:36.112,0:21:38.941 But it still looks a little strange. 0:21:38.941,0:21:43.228 Well, that's because it needs to go over[br]the bicep, not under it. 0:21:43.228,0:21:46.499 And with that, I think [br]we're done learning. 0:21:46.499,0:21:50.259 You have graduated to the part of the[br]video where we just take everything 0:21:50.259,0:21:54.259 we learned and try to draw and paint[br]arms from imagination. 0:21:54.408,0:21:56.792 Hopefully they wind up looking alright. 0:21:56.792,0:22:01.423 I will be using a simple flat brush for [br]these lines, with pressure sensitivity 0:22:01.423,0:22:04.744 mostly on size, but with a bit on opacity. 0:22:04.848,0:22:07.433 That should make it feel [br]pretty comfy and natural. 0:22:07.611,0:22:10.823 One big concern I had[br]going into this final section, 0:22:10.823,0:22:14.142 is trying to make sure [br]it stays focused on arms. 0:22:14.295,0:22:17.801 Shoulders are a bit unavoidable, [br]but I tried experimenting 0:22:17.801,0:22:20.354 with ways to make [br]the hands get less attention. 0:22:20.440,0:22:22.960 Literal disjointed fingers and whatnot. 0:22:22.960,0:22:26.298 Unfortunately, that actually made them [br]stand out more, 0:22:26.298,0:22:29.176 in rules of focus [br]and contrast and whatnot, 0:22:29.176,0:22:31.821 so eventually I'll get rid of that idea. 0:22:32.390,0:22:34.879 What actually wound [br]up being the biggest issue 0:22:34.879,0:22:38.190 is just trying to come up with a good [br]variety of poses. 0:22:38.190,0:22:41.176 Once again, I [br]considered crazy foreshortening, 0:22:41.176,0:22:44.684 but then the page might feel[br]less cohesive with the more traditional 0:22:44.684,0:22:45.684 perspectives. 0:22:45.927,0:22:49.452 I don't know. But I'm definitely enjoying[br]the line art quality. 0:22:49.522,0:22:52.290 There are a couple of disjointed lines [br]here and there, 0:22:52.290,0:22:55.955 but I tried to hit a good number of[br]the c-curves and s-curves 0:22:55.955,0:22:57.340 in single strokes. 0:22:57.735,0:23:01.323 That can result in a lot of putting [br]something down and then undoing it, 0:23:01.323,0:23:04.445 redoing it, until I figure out what [br]I want it to look like, 0:23:04.445,0:23:06.766 but I'm mostly okay with that method. 0:23:06.986,0:23:11.270 I can't be too chaotic with styles, but[br]I did try to at least vary up 0:23:11.270,0:23:13.976 the muscularity [br]levels a bit as it goes on. 0:23:14.116,0:23:17.699 My brain was pretty drained from all the[br]previous arm drawings, 0:23:17.699,0:23:21.086 so there are definitely a couple of [br]moments where I've made up an arm 0:23:21.086,0:23:24.786 and then moments later realised it was [br]almost identical to one that was 0:23:24.786,0:23:27.214 already on the page, like this last one. 0:23:27.400,0:23:30.871 But I just decided to adjust the angle of [br]it a bit and move on. 0:23:30.953,0:23:35.114 For colors, I don't know how much I can [br]really say that would be new, 0:23:35.114,0:23:39.259 the skin video as well as the other [br]videos have really covered the general 0:23:39.259,0:23:43.760 stuff. But you can see I've lightened the[br]line art into a lighter reddish tone, 0:23:43.760,0:23:46.703 and then threw in my normal dull[br]minty background. 0:23:46.853,0:23:50.914 I like to mask out everything in order[br]to watch transparency, which can 0:23:50.914,0:23:54.159 be a bit tedious, but usually worth[br]it in the long run. 0:23:54.159,0:23:58.001 A big piece of advice is to make sure[br]you don't instinctually start 0:23:58.001,0:24:00.635 pressing hard with [br]your stylus when blocking. 0:24:00.765,0:24:04.140 This is always the most dangerous time for[br]your hand and wrist health, 0:24:04.140,0:24:07.316 because we tend to dig in harder when[br]filling things in. 0:24:07.591,0:24:09.408 Pressure is bad for your tendons. 0:24:09.485,0:24:13.222 Anyway, once everything is blocked in, [br]we can try out a variety 0:24:13.222,0:24:15.508 of skin tones across the page. 0:24:15.729,0:24:19.529 This is also a great time to introduce [br]some hue variety by air brushing 0:24:19.529,0:24:23.769 in reds on areas that might catch more[br]sun damage, and things like that. 0:24:23.778,0:24:27.992 The next step is form rendering, and I [br]know some people like a more 0:24:27.992,0:24:32.428 smooth gradiation and some people like a [br]more chunkier chaotic painting approach. 0:24:32.428,0:24:35.125 But, I'm going to try [br]out some weirder ideas, 0:24:35.125,0:24:39.629 and just try defining forms with blocky,[br]contour tracing strokes. 0:24:39.629,0:24:44.162 Honestly it's a bit weird at times for [br]these videos, because I don't find myself 0:24:44.162,0:24:45.599 with a strong preference. 0:24:45.794,0:24:49.580 In my mind, as long as you have some[br]understanding of the forms 0:24:49.580,0:24:53.358 you can always either step up how[br]abstract and chunky things are, 0:24:53.358,0:24:56.459 or step it back into [br]hypersoft air brushing. 0:24:56.459,0:25:00.579 In any case, the important part is [br]just knowing where the hard edges 0:25:00.579,0:25:02.423 and soft edges should be. 0:25:02.445,0:25:06.107 Now, how do you know which edges are hard[br]and which are soft? 9:59:59.000,9:59:59.000 Well, it's simple. If you would be okay with[br]seeing an actual line at a specific 9:59:59.000,9:59:59.000 spot in your drawing, then that can be[br]a hard edge in your painting. 9:59:59.000,9:59:59.000 If you think a line would look bad in your[br]drawing, then stick to soft edges there. 9:59:59.000,9:59:59.000 I already made pretty much all of the lines[br]I wanted to make in the drawing stage, 9:59:59.000,9:59:59.000 so those will be the only hard edges. 9:59:59.000,9:59:59.000 Anyway, I started out pretty experimental, 9:59:59.000,9:59:59.000 with some of the painting stuff early on, 9:59:59.000,9:59:59.000 but I wasn't that into it this time, so I'm [br]slowly going to be dialling that back 9:59:59.000,9:59:59.000 as we go. Almost all of these arms 9:59:59.000,9:59:59.000 are going to be out of direct light, you know,[br]ambient light for the most part, 9:59:59.000,9:59:59.000 aside from the one on the right that is[br]reaching toward us. 9:59:59.000,9:59:59.000 Doing this somewhat makes the whole image[br]a bit darker and more saturated than 9:59:59.000,9:59:59.000 I wanted, so I'll be desaturating and [br]lightening it a bit as we go. 9:59:59.000,9:59:59.000 Other than that, I definitely kept the line[br]art in play for a lot longer than I normally do. 9:59:59.000,9:59:59.000 It's not until most of the form rendering[br]is complete that I actually 9:59:59.000,9:59:59.000 flatten things down and start painting[br]out the lines. 9:59:59.000,9:59:59.000 This is also when I start playing with [br]slightly more interesting shapes 9:59:59.000,9:59:59.000 in some of them. 9:59:59.000,9:59:59.000 The rim light is going to be pretty [br]subtle today, 9:59:59.000,9:59:59.000 I definitely made it more limelight than[br]I normally recommend to people, 9:59:59.000,9:59:59.000 but still trying to at least taper[br]those lines and find some 9:59:59.000,9:59:59.000 chunkier shapes with it. 9:59:59.000,9:59:59.000 To bring back some of the other fun stuff[br]from the skin rendering video, 9:59:59.000,9:59:59.000 I decided to put in some body hair on[br]the top left arm. 9:59:59.000,9:59:59.000 Just a bit of fun with desaturating colors[br]and pattern-based brushwork. 9:59:59.000,9:59:59.000 This was also when I decided to at[br]least connect the fingers that I had there, 9:59:59.000,9:59:59.000 but we're almost done, so the last 9:59:59.000,9:59:59.000 thing I want to have fun with, is bringing[br]some of that body hair into the rim light. 9:59:59.000,9:59:59.000 It makes the rim light a lot more fun. 9:59:59.000,9:59:59.000 Definitely recommend trying it when you can. 9:59:59.000,9:59:59.000 And, with that, this monster of a video is finally complete. 9:59:59.000,9:59:59.000 It has been a journey, and while the drawings and paintings might not be perfect, 9:59:59.000,9:59:59.000 hopefully you at least feel a bit more confident 9:59:59.000,9:59:59.000 about being able to draw some fun arms from imagination. 9:59:59.000,9:59:59.000 As always, the best way to fully learn is to mix in 9:59:59.000,9:59:59.000 equal parts of drawing from human reference, 9:59:59.000,9:59:59.000 doing master copies of other artists you like, 9:59:59.000,9:59:59.000 and drawing from imagination. 9:59:59.000,9:59:59.000 No matter how good or bad you might feel about 9:59:59.000,9:59:59.000 one of these three parts, do them all evenly regardless. 9:59:59.000,9:59:59.000 We only focussed on three main muscles in this video, 9:59:59.000,9:59:59.000 so if you find yourself wanting to build up more complexity, 9:59:59.000,9:59:59.000 just go check out one of the other amazing art YouTube 9:59:59.000,9:59:59.000 channels that dives a bit deeper. 9:59:59.000,9:59:59.000 Alright, I want to thank you all so much 9:59:59.000,9:59:59.000 or at least giving this video a chance, 9:59:59.000,9:59:59.000 I'm not a frequent uploader, so be sure to subecribe 9:59:59.000,9:59:59.000 if you don't want to miss out on the 9:59:59.000,9:59:59.000 handful of videos I put out each year. 9:59:59.000,9:59:59.000 Of course, if you want some fun, specialised content 9:59:59.000,9:59:59.000 the brainstorm classes have been going really well 9:59:59.000,9:59:59.000 and its definitely worth your time and money 9:59:59.000,9:59:59.000 if you haven't tried them out yet. 9:59:59.000,9:59:59.000 Info is down in the description. 9:59:59.000,9:59:59.000 I also, of course, do want to give an earnest thank you 9:59:59.000,9:59:59.000 to the Patreon supporters that chip in 9:59:59.000,9:59:59.000 money to keep these videos coming. 9:59:59.000,9:59:59.000 You guys are wondeful. 9:59:59.000,9:59:59.000 Seeya everyone. 9:59:59.000,9:59:59.000 [Electronic buzz effect]