WEBVTT

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Hey everyone, Sinix here.

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It's time for another episode of 
Anatomy Quick Tips,

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the series that is here to give you 
some useful observations

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and help you feel more comfortable with

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drawing people from imagination.

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Today, we'll be talking about arms

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and also dont be alarmed but

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this all-arm video puts us near the end of this series,

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only two more videos remain

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regardless for now let's just focus on these upper appendages

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This probably wont be the funniest video in this series or anything

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but it will be definitely be the most humourous

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so roll up your sleeves and lets get to work

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starting out with structure

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weve alreday covered both shoulders and hands

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in other videos

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so we just need to make sure we can bridge these things together

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im sketching a quick front side and back few of the shoulders to start

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seeing a shoulder and torso without the arm

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always reminds me of a little lamb or something

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but anyway were going to focus on

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the skeletal breakdown of the arm first

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of course we have a single major bone

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in the upper arm

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and two in the lower arm

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connected at the elbow

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but as i draw that, the first thing i actually want to point out

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is that things arent in a perfect straight line

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you can even take a moment

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and try to see this yourself

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just hold one arm out straight

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and close your opposite eye

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now do your best to look directly straight down

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the barrel of that massive gun you call

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your upper arm

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if you line up your sight from shoulder to elbow

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you'll notice the lower arm doesn't really

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line up as much as you might've thought.

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To get really good at drawing any organic forms,

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it's important to try and identify these types of subtle offsets

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as much as possible.

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Anyway, let's get back to these bones.

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The humerus is of course the bone

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of the upper arm

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meanwhile the lower arm has the ulna

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which I would consider the primary lower arm bone

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it's the one you would be hitting someone with

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if you elbowed them

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and then the radius which orginates

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from the exterior side of the elbow

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aka the side thats further away from your body

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and always connects to the thumb-side of your hand

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so we can do a bit of a rotational twisting

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around the lower arm

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hence the name radius

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the last skeletal thing i want to mention

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is the funny bone

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this is just an extention of the humerus

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which protrudes from the inner side of the elbow

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closest to the thigh

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it's called the funny bone

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because of an exposed nerve ending next to it

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that will send a shock up your arm

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if you hit this part of the elbow against something

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so if you ever see a chance to whack

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your friends' funny bone with your pencil or stylus

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its, you know, free comedy

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alright i added some hands to these drawings

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and i know this isnt the hands video

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but since wrists and organic offsets are so important

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lets do a quick recap at that connection anyway

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now keep in mind by the time

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the radius and ulna get to the wrist

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theyll always be side by side

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and therefore the lower arm connects in

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a much flatter and wider way into the palm

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and back of hand

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and thinner from the side view of the hand

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basic stuff but the fun part is

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any time youre adding a hand to an arm

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make sure to give it a bit of an offset

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and step over toward the thumb/ radius side of things

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similarly from the side view the hand should always

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take a noticeable offsetting step toward the palm side

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by the way when i say the word offset

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it usually just means not lined up evenly with surrounding things

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anyway always make sure the thumb side of the hand

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feels more chunkier and substantial

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than the pinky side of the palm

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with all of these ideas in mind

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you should be able to develop a quick shorthand

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for getting from the arm into the hand

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in fact you should be able to

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quickly deduce everything about the bones

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and orientation of the wrist without ever seeing

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the thumbs or fingers or any interior information

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so maybe see how quickly you can determine

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where the radius and the ulna are

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in any of these rough sketches im making

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hopefully that seems easy enough

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lets get back to structure and talk about the muscle side of things

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were going to make it really easy

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for our drawing purposes

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and only focus on three muscle groups

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the biceps are on the front of your upper arm

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and allow you to curl up your arm

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they insert under your shoulder muscles chest muscles on one end

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and connect to the radius and tissue around the ulna on the other end

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the triceps are on the back of your arm

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and allow you to pull your arm straight

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they also come out from under your shoulder muscles and similar back muscles

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and connect to the back of the ulna

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and yes the deltoids of course the shoulder muscles

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but the third muscle that were going to be fixated on in this video

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is going to be the brachioradialis

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you must learn to love the brachioradialis

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it will be a pivotal part of this video in more ways than one

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these insertions points are important so keep them in mind

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it connects from the lower back of the humerus

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under the triceps and it wraps around a bit

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over parts of the lower biceps and

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connects to the radius on the other side

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i will be exaggerating this muscle heavily throughout this video

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so be aware of that strategic inflation

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were going all in on the bre-bre (brachioradialis)

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i think thats enough structure so

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lets get into some drawing practice

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a big theme in the land of arms will be

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controlling our organic curves

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so i guess i will do a quick recap on s-curves and c-curves

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dont let the names throw you off too much

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most of the s-curves and c-curves you'll be drawing

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are going to be extremely subtle

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just a whisper of curvature going on most of the time

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and its good to practice that level of control

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but an even more important thing to practise

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is your ability to weight your cuves

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weighting your curves means changing of

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the harshness of the curvature through the line

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so if the curve stays consistent from start to finish

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that would be a weightless curve

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you can have the curve be increasingly strong at the start

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or the end of the line

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to give it weight in a specific direction

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this is very very important to practise

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because we spend our entire childhoods writing

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letters and shapes which curve and in a very balanced way

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but the more you can break away from that

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the more organic your drawings will be

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so warm up with these often

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alright lets get into those simplifications and reductions

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or rather maybe mention another little side thing

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sorry theres a lot of ways to think about arms

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such as the chain

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a common trick for approaching arms

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is to imagine a giant linking chain

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the idea being that since the upper arm is

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wider from the side view than from the front view

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and meanwhile the forearm is the opposite

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it will generally create a nice little back and forth between wide and narrow

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which is definitely good for aesthetic purposes

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so you can use that as a little mental note when applicable

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meanwhile to go back to what weve just talked about

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with curve weight the most important mental note i fixate on

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is usually just where to weight the curve for each part of the arm

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on the bicep side of the upper arm

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the curve weight is further toward the elbow

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whereas on the back or tricep side of things

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the curve weight is closer to the shoulder

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the brachioradialis is definitely weighted toward the upper forearm

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but its more rounded and gradual than the opposite

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side of the forearm

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all of these things relate to

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the actual muscle bodies of each muscle group

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the tricep being the most important one

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to always remember because

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the muscle bodies are located in the top half of the upper arm

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okay so lets sum up the straight arm simplications

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a bit more directly

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back view of the arm pop forward minimal twisting

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the upper arm might as well be a simple cylinder

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with minimal tapering

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but the lower arm is going to feel

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closer to an upside down bowling pin

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the important part is that

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the exterior side of the brachioradialis

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is going to not only curve outward more than the interior side

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but also come up a bit higher than it

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it should definitely feel like

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it starts its s-curve above the elbow

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if we raise the arm up out to the side

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yes youll get a bit of the chain concept

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but since youll probably not be drawing massive bodybuilders

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it can become pretty minor

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you do want to make sure that

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youre thinking of weight and gravity though

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obviously this gets a lot more extreme with age

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but on any body type

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you should still be using these ideas

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to give you at least a little bit of subtle curve weight

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another useful reference point to think about

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comes from the shoulder muscle

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the deltoid comes down to a bit

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of a point on the exterior of the arm

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while not exact this can still be used

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as a good way to indicate a break

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between the front bicep side of the arm

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and the rare tricep side

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especially when youre dealing with more complex poses

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and off angle views

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if i draw a quick arm over here on the left

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from a slightly awkward angle

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adding a deltoid and letting it point a line

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towards the elbow can at least

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help us visualise the tricep and bicep sides of the arm

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this drawing looks weirdly off to you at first

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thats good

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the brachioradialis was not coming from the correct spot

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lets first recall that the brachioradialis should come from

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under the triceps and over the biceps

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and using that line from the deltoid

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we can visualise this insertion

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much more clearly

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moving along

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some of these straight arms and elbows

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might be looking a bit wonky

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so lets briefly mention them

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the most important part of simple "find the elbow"

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will definitely come from seeing

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the triceps and humerus all come together in a mass

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that leads straight down through the elbow

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and into the ulna

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the funny bone and radius both become a bit

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indented on a straight arm

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so youll mostly see these

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pockets of depth off to

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both sides of the triceps and ulna

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the forearm muscles pulling the forms back out

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and really solidifying those crevices