1
00:00:04,817 --> 00:00:06,627
Hey everyone, Sinix here.

2
00:00:06,631 --> 00:00:10,044
It's time for another episode of 
Anatomy Quick Tips,

3
00:00:10,056 --> 00:00:13,510
the series that is here to give you 
some useful observations

4
00:00:13,510 --> 00:00:17,687
and help you feel more comfortable with
drawing people from imagination.

5
00:00:17,687 --> 00:00:22,746
Today, we'll be talking about arms -
and also, don't be alarmed but

6
00:00:22,746 --> 00:00:27,018
this all-arm video puts 
us near the end of this series,

7
00:00:27,018 --> 00:00:29,457
only two more videos remain.

8
00:00:29,457 --> 00:00:34,276
Regardless, for now let's just focus 
on these upper appendages.

9
00:00:34,276 --> 00:00:37,831
This probably won't be the funniest 
video in this series or anything,

10
00:00:37,831 --> 00:00:40,288
but it will be definitely be the 
most humerus -

11
00:00:40,288 --> 00:00:43,485
so roll up your sleeves 
and let's get to work.

12
00:00:43,485 --> 00:00:47,838
Starting out with structure,
we've already covered both shoulders

13
00:00:47,838 --> 00:00:51,471
and hands in other videos,
so we just need to make sure we

14
00:00:51,471 --> 00:00:53,445
can bridge these things together.

15
00:00:53,445 --> 00:00:58,506
I'm sketching a quick front, side and 
back view of a shoulder to start.

16
00:00:58,506 --> 00:01:01,367
Seeing a shoulder 
and torso without the arm

17
00:01:01,367 --> 00:01:04,922
always reminds me of a little 
lamb or something, but anyway,

18
00:01:04,922 --> 00:01:09,628
we're going to focus on the 
skeletal breakdown of the arm first.

19
00:01:09,628 --> 00:01:13,562
Of course we have a 
single major bone in the upper arm

20
00:01:13,562 --> 00:01:16,983
and two in the lower arm,
connected at the elbow.

21
00:01:16,983 --> 00:01:21,198
But as i draw that, the first thing 
I actually want to point out

22
00:01:21,198 --> 00:01:24,090
is that things aren't 
in a perfect straight line.

23
00:01:24,090 --> 00:01:27,737
You can even take a moment
and try to see this yourself;

24
00:01:27,737 --> 00:01:32,341
just hold one arm out straight
and close your opposite eye.

25
00:01:32,341 --> 00:01:35,520
Now do your best to 
look directly straight down

26
00:01:35,520 --> 00:01:38,967
the barrel of that massive 
gun you call your upper arm.

27
00:01:38,967 --> 00:01:42,186
If you line up your 
sight from shoulder to elbow,

28
00:01:42,186 --> 00:01:47,018
you'll notice the lower arm doesn't really
line up as much as you might've thought.

29
00:01:47,018 --> 00:01:51,181
To get really good at 
drawing any organic forms,

30
00:01:51,181 --> 00:01:55,776
it's important to try and identify 
these types of subtle offsets

31
00:01:55,776 --> 00:01:57,733
as much as possible.

32
00:01:57,733 --> 00:01:59,833
Anyway, let's get back to these bones.

33
00:01:59,833 --> 00:02:03,216
The humerus is of course 
the bone of the upper arm,

34
00:02:03,216 --> 00:02:05,982
meanwhile the lower arm has the ulna,

35
00:02:05,982 --> 00:02:08,989
which I would consider 
the primary lower arm bone.

36
00:02:08,989 --> 00:02:11,498
It's the one you would 
be hitting someone with

37
00:02:11,498 --> 00:02:12,609
if you elbowed them.

38
00:02:12,609 --> 00:02:17,933
And then the radius, which originates
on the exterior side of the elbow,

39
00:02:17,933 --> 00:02:20,806
A.K.A the side that's further 
away from your body -

40
00:02:20,806 --> 00:02:24,817
and always connects to 
the thumb-side of your hand.

41
00:02:24,817 --> 00:02:27,799
So we can do a bit 
of a rotational twisting

42
00:02:27,799 --> 00:02:29,303
around the lower arm.

43
00:02:29,303 --> 00:02:30,761
Hence the name 'radius'.

44
00:02:30,814 --> 00:02:33,336
The last skeletal thing I want to mention

45
00:02:33,336 --> 00:02:34,798
is the funny bone.

46
00:02:34,798 --> 00:02:37,423
This is just an extension of the humerus

47
00:02:37,423 --> 00:02:40,465
which protrudes on the 
inner side of the elbow,

48
00:02:40,465 --> 00:02:42,081
closest to the body.

49
00:02:42,081 --> 00:02:44,601
It's called the funny bone
because of an exposed

50
00:02:44,601 --> 00:02:48,193
nerve ending next to it
that will send a shock up your arm

51
00:02:48,193 --> 00:02:50,900
if you hit this part of the 
elbow against something.

52
00:02:50,900 --> 00:02:54,526
So if you ever see a chance 
to whack your friend's funny bone

53
00:02:54,526 --> 00:02:57,636
with your pencil or stylus, it's
you know, free comedy.

54
00:02:57,636 --> 00:03:00,987
Alright, I added some 
hands to these drawings,

55
00:03:00,987 --> 00:03:03,532
and I know this isn't the hands video

56
00:03:03,532 --> 00:03:07,556
but since wrists and organic 
offsets are so important,

57
00:03:07,556 --> 00:03:11,140
let's do a quick look at 
that connection anyway.

58
00:03:11,140 --> 00:03:15,083
Now keep in mind by the time
the radius and ulna get to the wrist

59
00:03:15,083 --> 00:03:19,602
they'll always be side by side,
and therefore the lower arm connects in

60
00:03:19,602 --> 00:03:23,289
a much flatter and wider way 
into the palm and back of hand,

61
00:03:23,289 --> 00:03:26,412
and thinner from the 
side view of the hand.

62
00:03:26,412 --> 00:03:31,327
Basic stuff, but the fun part is
any time you're adding a hand to an arm,

63
00:03:31,327 --> 00:03:35,680
make sure to give it a bit of 
an offset and step over toward the

64
00:03:35,680 --> 00:03:38,488
thumb/radius side of things.

65
00:03:38,488 --> 00:03:42,113
Similarly, from the side view 
the hand should always

66
00:03:42,113 --> 00:03:46,697
take a noticeable offsetting
step toward the palm side.

67
00:03:46,697 --> 00:03:49,032
By the way when I say the word 'offset'

68
00:03:49,032 --> 00:03:53,698
it usually just means not lined 
up evenly with surrounding things.

69
00:03:53,698 --> 00:03:56,802
Anyway, always make sure
the thumb side of the hand

70
00:03:56,802 --> 00:04:01,606
feels more chunkier and substantial
than the pinkie side of the palm.

71
00:04:01,606 --> 00:04:05,600
With all of these ideas in mind, 
you should be able to develop a quick

72
00:04:05,600 --> 00:04:08,834
shorthand for getting 
from the arm into the hand.

73
00:04:08,834 --> 00:04:13,657
In fact, you should be able to
quickly deduce everything about the bones

74
00:04:13,657 --> 00:04:16,587
and orientation of the 
wrist without ever seeing

75
00:04:16,587 --> 00:04:20,283
the thumbs or fingers or 
any interior information.

76
00:04:20,283 --> 00:04:23,133
So maybe see how quickly you can determine

77
00:04:23,133 --> 00:04:28,106
where the radius and the ulna are
in any of these rough sketches I'm making.

78
00:04:28,106 --> 00:04:31,557
Hopefully that seems easy enough.

79
00:04:31,557 --> 00:04:35,488
Let's get back to structure and 
talk about the muscle side of things.

80
00:04:35,488 --> 00:04:38,946
We're going to make it really 
easy for our drawing purposes

81
00:04:38,946 --> 00:04:41,834
and only focus on three muscle groups.

82
00:04:41,834 --> 00:04:47,375
The biceps are on the front of your upper 
arm and allow you to curl up your arm.

83
00:04:47,375 --> 00:04:51,982
They insert under your shoulder 
muscles and chest muscles on one end

84
00:04:51,982 --> 00:04:56,340
and connect to the radius and 
tissue around the ulna on the other end.

85
00:04:56,340 --> 00:05:01,550
The triceps are on the back of your arm
and allow you to pull your arm straight.

86
00:05:01,550 --> 00:05:06,206
They also come out from under your 
shoulder muscles and similar back muscles

87
00:05:06,206 --> 00:05:08,682
and connect to the end of the ulna.

88
00:05:08,682 --> 00:05:12,532
And yes, the deltoids are 
of course the shoulder muscles,

89
00:05:12,532 --> 00:05:17,244
but the third muscle that we're
going to be fixating on in this video

90
00:05:17,244 --> 00:05:20,212
is going to be the brachioradialis.

91
00:05:20,212 --> 00:05:23,585
You must learn to 
love the brachioradialis,

92
00:05:23,585 --> 00:05:28,308
it will be a pivotal part of 
this video in more ways than one.

93
00:05:28,308 --> 00:05:32,315
These insertions points are 
important, so keep them in mind.

94
00:05:32,315 --> 00:05:35,980
It connects from 
the lower back of the humerus

95
00:05:35,980 --> 00:05:39,369
under the triceps and
it wraps around a bit

96
00:05:39,369 --> 00:05:45,167
over parts of the lower biceps and
connects to the radius on the other side.

97
00:05:45,167 --> 00:05:49,536
I will be exaggerating this 
muscle heavily throughout this video,

98
00:05:49,536 --> 00:05:52,791
so be aware of that strategic inflation.

99
00:05:52,791 --> 00:05:55,453
We are going all in on the bray-ray.

100
00:05:55,453 --> 00:05:58,100
I think that's enough structure though, so

101
00:05:58,100 --> 00:06:00,737
let's get into some drawing practice.

102
00:06:00,737 --> 00:06:05,563
A big theme in the land of arms 
will be controlling our organic curves.

103
00:06:05,563 --> 00:06:09,768
So I guess I will do a quick recap 
on s-curves and c-curves.

104
00:06:09,768 --> 00:06:12,224
Don't let the names 
throw you off too much,

105
00:06:12,224 --> 00:06:15,363
most of the s-curves and 
c-curves you'll be drawing

106
00:06:15,363 --> 00:06:17,974
are going to be extremely subtle.

107
00:06:17,974 --> 00:06:21,204
Just a whisper of curvature 
going on most of the time.

108
00:06:21,204 --> 00:06:24,291
And it's good to practice 
that level of control

109
00:06:24,291 --> 00:06:27,208
but an even more 
important thing to practise

110
00:06:27,208 --> 00:06:29,810
is your ability to weight your curves.

111
00:06:29,810 --> 00:06:33,244
Weighting a curve means 
changing up the harshness of the

112
00:06:33,244 --> 00:06:35,395
curvature through the line.

113
00:06:35,395 --> 00:06:39,091
So if the curve stays 
consistent from start to finish,

114
00:06:39,091 --> 00:06:41,345
that would be a weightless curve.

115
00:06:41,345 --> 00:06:44,617
You can have the curve be 
increasingly strong at the start

116
00:06:44,617 --> 00:06:48,924
or the end of the line to 
give it weight in a specific direction.

117
00:06:48,924 --> 00:06:52,032
This is very, very important to 
practise because we spend our

118
00:06:52,032 --> 00:06:59,243
entire childhoods writing letters and
shapes which curve in a very balanced way,

119
00:06:59,243 --> 00:07:04,022
but the more you can break away from that
the more organic your drawings will be,

120
00:07:04,022 --> 00:07:06,324
so warm up with these often.

121
00:07:06,324 --> 00:07:10,062
Alright, let's get into those 
simplifications and reductions.

122
00:07:10,062 --> 00:07:13,689
Or, rather maybe mention
another little side thing...?

123
00:07:13,689 --> 00:07:16,692
Sorry, there's a lot of 
ways to think about arms.

124
00:07:16,692 --> 00:07:20,353
Such as the chain,
a common trick for approaching arms

125
00:07:20,353 --> 00:07:26,366
is to imagine a giant linking chain;
the idea being that since the upper arm is

126
00:07:26,366 --> 00:07:31,264
wider from the side view than from 
a front view, and meanwhile the forearm is

127
00:07:31,264 --> 00:07:34,901
the opposite, it will generally 
create a nice little back and forth

128
00:07:34,901 --> 00:07:39,733
between wide and narrow, which is 
definitely good for aesthetic purposes.

129
00:07:39,733 --> 00:07:43,491
So you can use that as a little
mental note when applicable.

130
00:07:43,491 --> 00:07:46,516
Meanwhile, to go back to 
what we've just talked about

131
00:07:46,516 --> 00:07:50,616
with curve weight, the most 
important mental note I fixate on

132
00:07:50,616 --> 00:07:55,150
is usually just where to weight the 
curve for each part of the arm.

133
00:07:55,150 --> 00:08:00,922
On the bicep side of the upper arm, the
curve weight is further toward the elbow.

134
00:08:00,922 --> 00:08:05,535
Whereas on the back or tricep side of 
things, the curve weight is

135
00:08:05,535 --> 00:08:07,037
closer to the shoulder.

136
00:08:07,037 --> 00:08:11,537
The brachioradialis is definitely 
weighted toward the upper forearm,

137
00:08:11,537 --> 00:08:16,015
but is more rounded and gradual than
the opposite side of the forearm.

138
00:08:16,015 --> 00:08:20,900
All of these things relate to the 
actual muscle bodies of each muscle group,

139
00:08:20,900 --> 00:08:24,138
the tricep being the most 
important one to always remember,

140
00:08:24,138 --> 00:08:28,645
because the muscle bodies are 
located in the top half of the upper arm.

141
00:08:28,645 --> 00:08:32,247
Okay so let's sum up the 
straight arm simplifications

142
00:08:32,247 --> 00:08:33,738
a bit more directly.

143
00:08:33,738 --> 00:08:36,976
Back view of the arm, pop 
forward, minimal twisting.

144
00:08:36,976 --> 00:08:40,758
The upper arm might as well 
just be a simple cylinder

145
00:08:40,758 --> 00:08:42,303
with minimal tapering.

146
00:08:42,303 --> 00:08:46,516
But the lower arm is going to feel
closer to an upside down bowling pin.

147
00:08:46,516 --> 00:08:51,675
The important part is that the 
exterior side, with the brachioradialis

148
00:08:51,675 --> 00:08:55,616
is going to not only curve 
outward more than the interior side,

149
00:08:55,616 --> 00:08:58,498
but also come up a bit higher than it.

150
00:08:58,498 --> 00:09:03,683
It should definitely feel like
it starts its s-curve above the elbow.

151
00:09:03,683 --> 00:09:09,350
If we raise the arm up out to the side,
yes you'll get a bit of the chain concept,

152
00:09:09,350 --> 00:09:13,392
but since you'll probably 
not be drawing massive bodybuilders,

153
00:09:13,392 --> 00:09:15,679
it can become pretty minor.

154
00:09:15,679 --> 00:09:20,300
You do want to make sure that you're 
thinking about weight and gravity though.

155
00:09:20,300 --> 00:09:25,236
Obviously this gets a lot more 
extreme with age, but on any body type

156
00:09:25,236 --> 00:09:28,861
you should still be using these 
ideas to give you at least a little

157
00:09:28,861 --> 00:09:30,706
bit of subtle curve weight.

158
00:09:30,706 --> 00:09:35,088
Another useful reference point to think 
about comes from the shoulder muscle.

159
00:09:35,088 --> 00:09:40,629
The deltoid comes down to a bit
of a point on the exterior of the arm.

160
00:09:40,629 --> 00:09:45,519
While not exact, this can still be used
as a good way to indicate a break

161
00:09:45,519 --> 00:09:50,684
between the front bicep side of the arm,
and the rare tricep side.

162
00:09:50,684 --> 00:09:55,582
Especially when you're dealing with 
more complex poses and off angle views.

163
00:09:55,582 --> 00:10:01,444
If I draw a quick arm over here 
on the left from a slightly awkward angle,

164
00:10:01,444 --> 00:10:06,241
adding the deltoid and letting it point 
a line towards the elbow can at least

165
00:10:06,241 --> 00:10:10,908
help us visualise the 
tricep and bicep sides of the arm.

166
00:10:10,908 --> 00:10:14,914
If this drawing looks weirdly 
off to you at first, that's good!

167
00:10:14,914 --> 00:10:18,914
The brachioradialis was not 
coming from the correct spot.

168
00:10:18,914 --> 00:10:22,666
Let's first recall that the 
brachioradialis should come from

169
00:10:22,666 --> 00:10:27,993
under the triceps and over the biceps,
and using that line from the deltoid

170
00:10:27,993 --> 00:10:31,653
we can visualise this 
insertion much more clearly.

171
00:10:31,653 --> 00:10:34,925
Moving along, some of 
these straight armed elbows

172
00:10:34,925 --> 00:10:39,041
might be looking a bit wonky,
so let's briefly mention them.

173
00:10:39,041 --> 00:10:43,911
The most important part of 
simplifying the elbow will definitely come

174
00:10:43,911 --> 00:10:48,524
from seeing the triceps and 
humerus, all come together in a mass

175
00:10:48,524 --> 00:10:52,328
that leads straight down 
through the elbow and into the ulna.

176
00:10:52,328 --> 00:10:57,377
The funny bone and radius both 
become a bit indented on a straight arm,

177
00:10:57,377 --> 00:11:02,142
so you'll mostly see these little 
pockets of depth off to both sides of the

178
00:11:02,142 --> 00:11:06,510
triceps and ulna, with the 
forearm muscles pulling the forms back out

179
00:11:06,510 --> 00:11:09,431
and really solidifying those crevices.

180
00:11:09,431 --> 00:11:13,044
There's definitely a lot 
of skin going on in this area,

181
00:11:13,044 --> 00:11:15,670
so it tends to become quite wrinkly.

182
00:11:15,670 --> 00:11:17,790
There's even 
a slang name for this

183
00:11:17,790 --> 00:11:20,545
folded up skin - it's called the wenis.

184
00:11:20,545 --> 00:11:24,403
So, everybody should draw the wenis,
the wenis is not a dance,

185
00:11:24,403 --> 00:11:26,760
and I'm happy to tell you this in advance.

186
00:11:26,760 --> 00:11:31,633
[laughs] Anyway, wrinkles are tricky. The
general rule is to fold the skin with

187
00:11:31,633 --> 00:11:35,789
c-curves and s-curves in a way 
that squishes the curves together

188
00:11:35,789 --> 00:11:39,580
without ever feeling like they're 
going to cross each other, or pass through

189
00:11:39,580 --> 00:11:42,656
the extended implied 
lines of other curves.

190
00:11:42,656 --> 00:11:45,947
You can compress a bunch 
of them into a small space,

191
00:11:45,947 --> 00:11:51,271
or just a couple, but I recommend 
wrinkling things up a bit above the elbow

192
00:11:51,271 --> 00:11:55,376
with perhaps some more 
drapery style folds hanging underneath.

193
00:11:55,376 --> 00:11:59,238
You can definitely develop your 
own stylistic approach to wrinkles,

194
00:11:59,238 --> 00:12:03,117
and they should feel
similar in theory to clothing folds,

195
00:12:03,117 --> 00:12:05,481
but more organic with the lines.

196
00:12:05,481 --> 00:12:08,170
Just keep in mind, 
like with clothing folds,

197
00:12:08,170 --> 00:12:11,180
doing less is usually 
better when learning.

198
00:12:11,180 --> 00:12:14,362
Alright, a little bit 
more drawing in this section,

199
00:12:14,362 --> 00:12:18,881
because I want to also just quickly 
mention some size relations.

200
00:12:18,881 --> 00:12:23,377
I'm a serial offender of 
making my deltoids too small in drawings,

201
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

202
00:12:27,815 --> 00:12:32,262
arms as a length that goes from the top
of the shoulder to the elbow.

203
00:12:32,262 --> 00:12:35,567
The top third of that length 
can be the distance of the

204
00:12:35,567 --> 00:12:37,370
deltoid going down the arm.

205
00:12:37,370 --> 00:12:40,165
I barely mentioned it 
before, but the triceps

206
00:12:40,165 --> 00:12:44,840
really have two main visible muscle 
bodies on the back of the arm.

207
00:12:44,840 --> 00:12:47,844
While they both have 
those high up muscle bodies,

208
00:12:47,844 --> 00:12:51,965
the interior side one is a bit 
longer down toward the elbow,

209
00:12:51,965 --> 00:12:56,227
while the exterior one is even more
focused at the top.

210
00:12:56,227 --> 00:13:00,434
The bottom of these muscle bodies 
and strong separation of them

211
00:13:00,434 --> 00:13:03,794
occurs roughly halfway 
down the upper arm unit,

212
00:13:03,794 --> 00:13:07,294
that we mentioned going 
from top of shoulder to elbow.

213
00:13:07,294 --> 00:13:11,627
You can kind of indicate this with a 
little butt shape on the back of the arm,

214
00:13:11,627 --> 00:13:15,327
especially if it's being flexed. 
The arm... not the butt.

215
00:13:15,327 --> 00:13:19,390
Okay, moving along 
to the world of movement,

216
00:13:19,390 --> 00:13:25,182
the elbow is basically just a fancy hinge
joint with the funny bone on the interior,

217
00:13:25,182 --> 00:13:29,644
the ulna being the king in the center,
and the radius on the exterior.

218
00:13:29,644 --> 00:13:34,559
When the arm is straight, they somewhat
line up with the ulna sticking out a bit.

219
00:13:34,559 --> 00:13:38,558
From the interior view though, 
once we start curling the arm,

220
00:13:38,558 --> 00:13:41,597
obviously the funny bone 
isn't going anywhere.

221
00:13:41,597 --> 00:13:46,666
But the ulna is going to hinge around it 
and form a very boxy and angular

222
00:13:46,666 --> 00:13:51,951
silhouette, by letting your brain fixate
on the line from funny bone to ulna.

223
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

224
00:13:57,105 --> 00:14:01,950
form a bit of a line that points mostly 
toward the funny bone side of things.

225
00:14:01,950 --> 00:14:07,537
The important take away is that interior
arm equals boxy shape and long crease.

226
00:14:07,537 --> 00:14:11,297
Also, when you raise your arm 
with your bicep toward the sky,

227
00:14:11,297 --> 00:14:15,473
that means the deltoid is going to be 
pulled to the back of the shoulder.

228
00:14:15,473 --> 00:14:19,556
As it, once again, needs to be pointing
towards the exterior line between

229
00:14:19,556 --> 00:14:20,973
bicep and tricep.

230
00:14:20,973 --> 00:14:24,843
Anyway, the exterior elbow 
view is a bit interesting.

231
00:14:24,843 --> 00:14:28,454
You'll of course be seeing the 
deltoid a lot more in this view

232
00:14:28,454 --> 00:14:30,259
where the exterior is facing back,

233
00:14:30,259 --> 00:14:33,208
but the interesting part 
is that you're now seeing

234
00:14:33,208 --> 00:14:36,910
both the radius and ulna 
in the straightened arm view.

235
00:14:36,910 --> 00:14:39,939
This means that when you 
curl your arm, those two lower

236
00:14:39,939 --> 00:14:42,933
arm bones are going 
to be traveling together.

237
00:14:42,933 --> 00:14:46,494
Even though the silhouette 
will fundamentally be the same,

238
00:14:46,494 --> 00:14:50,514
I find it very useful to acknowledge
this anatomy by making the elbow

239
00:14:50,514 --> 00:14:53,740
feel like it just rounds up
to and around these bones,

240
00:14:53,740 --> 00:14:55,809
instead of feeling boxy.

241
00:14:55,809 --> 00:15:00,633
You might also remember that the 
brachioradialis is on the exterior side,

242
00:15:00,633 --> 00:15:04,740
so that will create a mass in form
that will squeeze from upper arm

243
00:15:04,740 --> 00:15:05,847
to lower arm.

244
00:15:05,847 --> 00:15:09,549
Because of this mass, the exterior 
crease here becomes a lot more

245
00:15:09,549 --> 00:15:11,220
chubbier and compressed.

246
00:15:11,220 --> 00:15:14,766
I like to use a shorter and 
splitting crease to hint at this

247
00:15:14,766 --> 00:15:15,797
thicker form.

248
00:15:15,797 --> 00:15:18,775
And you should try to hint
at these things in any body type.

249
00:15:18,775 --> 00:15:23,172
From a different view, you can
get some idea how all of these bones

250
00:15:23,172 --> 00:15:27,072
and muscles are working, 
but for now let's jump over to the

251
00:15:27,072 --> 00:15:30,527
forearm movements, because 
we have rotation to deal with.

252
00:15:30,527 --> 00:15:34,788
If you stick your right arm out 
in front of you, palm side up,

253
00:15:34,788 --> 00:15:37,979
this is the least twisted 
view of your forearm.

254
00:15:37,979 --> 00:15:42,403
The muscles and bones just carry 
forth to the hand in a linear fashion.

255
00:15:42,403 --> 00:15:46,488
This represents one extreme 
of your rotational movement.

256
00:15:46,488 --> 00:15:49,998
As we rotate the hand, 
the elbow won't be changing much,

257
00:15:49,998 --> 00:15:53,998
but the radius and brachioradialis
will start twisting a bit

258
00:15:53,998 --> 00:15:56,298
to line up vertically at the wrist.

259
00:15:56,298 --> 00:15:58,766
The best thing you should 
observe on your own arm

260
00:15:58,766 --> 00:16:02,766
is how the s-curves adjust 
as you rotate your hand.

261
00:16:02,782 --> 00:16:05,584
I'm not in love with 
the drawing on the right here,

262
00:16:05,584 --> 00:16:09,563
but the interior ulna side of 
things definitely changes up its

263
00:16:09,563 --> 00:16:14,544
s-curve the most, whereas the 
exterior side just shifts weight a little.

264
00:16:14,544 --> 00:16:18,916
Once your palm is facing downwards, 
the full range of motion is complete.

265
00:16:18,916 --> 00:16:21,172
This is as far as things can twist.

266
00:16:21,172 --> 00:16:24,914
The radius and ulna are now 
on opposite sides from the elbow.

267
00:16:24,914 --> 00:16:28,348
You might be thinking, 
"what if I want to give a thumbs down?'"

268
00:16:28,348 --> 00:16:33,099
Well, physically you can't. So be sure 
to remember that and like this video.

269
00:16:33,099 --> 00:16:35,704
If you do really want 
to point your thumb down,

270
00:16:35,704 --> 00:16:39,765
it requires you to actually 
rotate your entire arm so that your

271
00:16:39,765 --> 00:16:42,258
elbow is facing a different direction.

272
00:16:42,258 --> 00:16:46,414
Lastly, here I'll just mention, when 
your arms are at rest at your sides,

273
00:16:46,414 --> 00:16:50,924
the default comfortable state 
is that central, half-twisted state,

274
00:16:50,924 --> 00:16:53,590
not the completely untwisted state.

275
00:16:53,590 --> 00:16:58,196
Alright, let's go back to reducing 
information and recap what we've learned.

276
00:16:58,196 --> 00:17:01,958
Of course, it's pretty fun 
to draw giant musclebound arms,

277
00:17:01,958 --> 00:17:05,348
especially when you're trying to
commit all these concepts to memory,

278
00:17:05,348 --> 00:17:08,588
but we also want to be 
able to simplify these things down

279
00:17:08,588 --> 00:17:10,961
into little anime stick arms.

280
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

281
00:17:15,182 --> 00:17:18,590
as just cylinders, and as 
you get more comfortable,

282
00:17:18,590 --> 00:17:21,717
you can introduce some 
tapering into these forms.

283
00:17:21,717 --> 00:17:25,009
Eventually you will want to 
be capable of some level

284
00:17:25,009 --> 00:17:29,009
of form complexity. These cross 
sections are never just round.

285
00:17:29,009 --> 00:17:33,146
They have weird oblong 
shapes and blobby looking contours.

286
00:17:33,146 --> 00:17:37,350
I like to practice these things with what
I would call "skinny muscle forms".

287
00:17:37,350 --> 00:17:40,781
Maybe it's just my Samurai 
Champloo roots coming through again.

288
00:17:40,781 --> 00:17:44,363
A quick example though, 
starting with a deltoid and shoulder,

289
00:17:44,363 --> 00:17:49,192
letting it point toward an elbow, think 
I'll twist the bicep to the bottom on

290
00:17:49,192 --> 00:17:54,374
this one, bicep means curve weight 
closer to elbows, so we can even dive in

291
00:17:54,374 --> 00:17:55,827
with some angular shapes.

292
00:17:55,827 --> 00:17:59,326
With the bicep facing forward,
that means the deltoid

293
00:17:59,326 --> 00:18:02,518
can be a bit further on 
top instead of on the back,

294
00:18:02,518 --> 00:18:06,972
and we can even hint at some 
tricep form above the separating line.

295
00:18:06,972 --> 00:18:10,972
That line will let us know 
where to pull the brachioradialis from,

296
00:18:10,972 --> 00:18:15,554
and then we can decide on the 
hand rotation and make everything line up.

297
00:18:15,554 --> 00:18:19,673
Design wise, it's good to play 
around with the ratios of rounded

298
00:18:19,673 --> 00:18:21,585
shapes and angular shapes.

299
00:18:21,585 --> 00:18:25,165
We alluded earlier to the 
exterior side feeling more rounded

300
00:18:25,165 --> 00:18:28,930
and the interior feeling more angular, 
when discussing the elbow hinge,

301
00:18:28,930 --> 00:18:31,357
so let's just run with that a bit more.

302
00:18:31,357 --> 00:18:34,609
What if we just always 
simplified things around the elbow

303
00:18:34,609 --> 00:18:39,828
by playing up rounded exteriors 
and angular interiors in the forearm?

304
00:18:39,828 --> 00:18:44,581
I just noticed that that letter pointing 
towards the tricep is a D instead of a T.

305
00:18:44,581 --> 00:18:47,107
Clearly getting a bit 
delirious at this point.

306
00:18:47,107 --> 00:18:49,208
Regardless, let's keep sketching.

307
00:18:49,208 --> 00:18:54,025
Here's a quick side view, still mostly 
practicing curve weights and that

308
00:18:54,025 --> 00:18:58,583
brachioradialis. Some slightly 
more exciting things we could try

309
00:18:58,583 --> 00:19:02,453
would be playing around 
with perspective and dynamic angles.

310
00:19:02,453 --> 00:19:06,290
If we imagine a Spiderman 
type arm pose, we could still

311
00:19:06,290 --> 00:19:10,015
think about where we could 
exaggerate our forearm muscles.

312
00:19:10,015 --> 00:19:12,310
I'll be honest though, 
I sort of got distracted

313
00:19:12,310 --> 00:19:16,586
right after starting this one, because I 
thought of some more stuff to mention.

314
00:19:16,586 --> 00:19:20,360
Such as, what does it look like 
if you just have your elbow

315
00:19:20,360 --> 00:19:23,563
sticking up in the air with 
your arm curled behind it?

316
00:19:23,563 --> 00:19:27,363
A lot of tricep weight at 
the bottom, but it really thins out

317
00:19:27,363 --> 00:19:30,270
into a very skeletal look at the elbow.

318
00:19:30,270 --> 00:19:33,522
It does give a nice look at 
the radius, ulna and funny bone.

319
00:19:33,522 --> 00:19:36,982
This becomes instantly 
obscured by the forearm once you

320
00:19:36,982 --> 00:19:40,344
straighten the arm out a bit, 
with those forearm muscles just

321
00:19:40,344 --> 00:19:42,927
taking both sides of the elbow.

322
00:19:42,927 --> 00:19:45,483
But, this made me 
think of another scenario,

323
00:19:45,483 --> 00:19:49,730
how about when you're resting your 
weight on your elbow at a desk or table?

324
00:19:49,730 --> 00:19:52,226
Where do those forearm muscles go then?

325
00:19:52,226 --> 00:19:55,756
Well, since the brachioradialis 
connects to the humerus,

326
00:19:55,756 --> 00:20:01,103
it actually sits up higher, away from
the elbow on the exterior side of things.

327
00:20:01,103 --> 00:20:02,826
I guess that's obvious enough,

328
00:20:02,826 --> 00:20:06,044
kind of like how it would look 
if you were drinking something.

329
00:20:06,044 --> 00:20:10,038
Just always be keeping track of where 
the thumb is, and where the exterior

330
00:20:10,038 --> 00:20:13,265
and interior of the elbow are,
and you'll be fine.

331
00:20:13,265 --> 00:20:16,569
Now, we always have a common mistakes
part in these videos.

332
00:20:16,569 --> 00:20:21,982
But, I think I've gone over things so much
that we can try a pop quiz instead.

333
00:20:21,982 --> 00:20:26,120
I'll show a quick drawing with some
weird mistake, and we'll see if

334
00:20:26,120 --> 00:20:28,291
you can deduce the problem.

335
00:20:28,291 --> 00:20:31,061
Like this. What's wrong with this?

336
00:20:31,061 --> 00:20:36,861
Well, you have two possible answers on 
this one, since we can't see the shoulder.

337
00:20:36,861 --> 00:20:41,830
We seem to be looking at the front of an 
arm, so either the brachioradialis

338
00:20:41,830 --> 00:20:45,643
is on the wrong side, or the hand
should be mirrored.

339
00:20:45,643 --> 00:20:48,640
How about this one? 
Anything seem off to you?

340
00:20:48,640 --> 00:20:52,200
Well, I'm messing with you a bit, 
because it's the same thing,

341
00:20:52,200 --> 00:20:57,113
except this time you can see the deltoid,
so there's only one answer.

342
00:20:57,113 --> 00:21:00,591
The brachioradialis is 
on the wrong side again.

343
00:21:00,591 --> 00:21:03,782
It should be on the 
exterior, not interior.

344
00:21:03,782 --> 00:21:06,613
Alright, I promise this
one will be different.

345
00:21:06,613 --> 00:21:08,572
What's wrong this time?

346
00:21:08,572 --> 00:21:14,505
Doesn't seem too far off, the deltoid
and forearm stuff seem okayish,

347
00:21:14,505 --> 00:21:18,034
this might be a subtle one, but I 
reversed the weight on the

348
00:21:18,034 --> 00:21:20,424
bicep and tricep curves.

349
00:21:20,424 --> 00:21:25,033
Remember the tricep should have mass 
closer to the shoulder, and the bicep

350
00:21:25,033 --> 00:21:27,040
curves closer to the elbow.

351
00:21:27,040 --> 00:21:28,397
That's a bit better.

352
00:21:28,397 --> 00:21:30,150
One last one.

353
00:21:30,150 --> 00:21:31,762
What's wrong now?

354
00:21:31,762 --> 00:21:36,112
Hmm, the brachioradialis is on the 
exterior, so that's fine.

355
00:21:36,112 --> 00:21:39,361
But it still looks a little strange.

356
00:21:39,361 --> 00:21:43,458
Well, that's because it needs 
to go over the bicep, not under it.

357
00:21:43,458 --> 00:21:46,589
And with that, I think 
we're done learning.

358
00:21:46,589 --> 00:21:50,259
You have graduated to the part of the
video where we just take everything

359
00:21:50,259 --> 00:21:54,408
we learned and try to draw and paint
arms from imagination.

360
00:21:54,408 --> 00:21:56,792
Hopefully they wind up looking alright.

361
00:21:56,792 --> 00:22:01,563
I will be using a simple flat brush for 
these lines, with pressure sensitivity

362
00:22:01,563 --> 00:22:04,848
mostly on size, but with a bit on opacity.

363
00:22:04,848 --> 00:22:07,611
That should make it feel 
pretty comfy and natural.

364
00:22:07,611 --> 00:22:10,823
One big concern I had
going into this final section,

365
00:22:10,823 --> 00:22:14,505
is trying to make sure 
it stays focused on arms.

366
00:22:14,505 --> 00:22:17,801
Shoulders are a bit unavoidable, 
but I tried experimenting

367
00:22:17,801 --> 00:22:20,440
with ways to make 
the hands get less attention.

368
00:22:20,440 --> 00:22:23,180
Literal disjointed fingers and whatnot.

369
00:22:23,180 --> 00:22:26,558
Unfortunately, that 
actually made them stand out more,

370
00:22:26,558 --> 00:22:29,176
in rules of focus 
and contrast and whatnot,

371
00:22:29,176 --> 00:22:32,190
so eventually I'll get rid of that idea.

372
00:22:32,190 --> 00:22:34,879
What actually wound 
up being the biggest issue

373
00:22:34,879 --> 00:22:38,190
is just trying to come 
up with a good variety of poses.

374
00:22:38,190 --> 00:22:42,286
Once again, I considered crazy 
foreshortening, but then the page might

375
00:22:42,286 --> 00:22:45,807
feel less cohesive with the 
more traditional perspectives.

376
00:22:45,807 --> 00:22:49,522
I don't know. But I'm definitely 
enjoying the line art quality.

377
00:22:49,522 --> 00:22:52,290
There are a couple of 
disjointed lines here and there,

378
00:22:52,290 --> 00:22:55,955
but I tried to hit a good number of
the c-curves and s-curves

379
00:22:55,955 --> 00:22:57,735
in single strokes.

380
00:22:57,735 --> 00:23:01,323
That can result in a lot of putting 
something down and then undoing it,

381
00:23:01,323 --> 00:23:04,445
redoing it, until I figure out what 
I want it to look like,

382
00:23:04,445 --> 00:23:06,986
but I'm mostly okay with that method.

383
00:23:06,986 --> 00:23:11,080
I can't be too chaotic with styles, but
I did try to at least vary up

384
00:23:11,080 --> 00:23:14,116
the muscularity 
levels a bit as it goes on.

385
00:23:14,116 --> 00:23:17,699
My brain was pretty drained 
from all the previous arm drawings,

386
00:23:17,699 --> 00:23:20,981
so there are definitely a couple of 
moments where I've made up an arm

387
00:23:20,981 --> 00:23:24,786
and then moments later realised it was 
almost identical to one that was

388
00:23:24,786 --> 00:23:27,400
already on the page, like this last one.

389
00:23:27,400 --> 00:23:30,953
But I just decided to adjust the 
angle of it a bit and move on.

390
00:23:30,953 --> 00:23:35,114
For colors, I don't know how 
much I can really say that would be new,

391
00:23:35,114 --> 00:23:39,917
the skin video as well as the other videos
have really covered the general stuff.

392
00:23:39,917 --> 00:23:43,680
But you can see I've lightened the
line art into a lighter reddish tone,

393
00:23:43,680 --> 00:23:46,853
and then threw in my normal dull
minty background.

394
00:23:46,853 --> 00:23:50,914
I like to mask out everything in order
to watch transparency, which can

395
00:23:50,914 --> 00:23:54,159
be a bit tedious, but usually worth
it in the long run.

396
00:23:54,159 --> 00:23:58,001
A big piece of advice is to make sure
you don't instinctually start

397
00:23:58,001 --> 00:24:00,765
pressing hard with 
your stylus when blocking.

398
00:24:00,765 --> 00:24:04,140
This is always the most dangerous time for
your hand and wrist health,

399
00:24:04,140 --> 00:24:07,591
because we tend to dig in harder when
filling things in.

400
00:24:07,591 --> 00:24:09,485
Pressure is bad for your tendons.

401
00:24:09,485 --> 00:24:13,162
Anyway, once everything is blocked in, 
we can try out a variety

402
00:24:13,162 --> 00:24:15,729
of skin tones across the page.

403
00:24:15,729 --> 00:24:19,529
This is also a great time to introduce 
some hue variety by air brushing

404
00:24:19,529 --> 00:24:23,778
in reds on areas that might catch more
sun damage, and things like that.

405
00:24:23,778 --> 00:24:27,992
The next step is form rendering, and I 
know some people like a more

406
00:24:27,992 --> 00:24:32,428
smooth gradiation and some people like a 
more chunkier chaotic painting approach.

407
00:24:32,428 --> 00:24:36,942
But, I'm going to try out some 
weirder ideas, and just try defining forms

408
00:24:36,942 --> 00:24:39,629
with blocky, contour tracing strokes.

409
00:24:39,629 --> 00:24:44,162
Honestly it's a bit weird at times for 
these videos, because I don't find myself

410
00:24:44,162 --> 00:24:45,794
with a strong preference.

411
00:24:45,794 --> 00:24:49,580
In my mind, as long as you have some
understanding of the forms

412
00:24:49,580 --> 00:24:53,358
you can always either step up how
abstract and chunky things are,

413
00:24:53,358 --> 00:24:56,459
or step it back into 
hypersoft air brushing.

414
00:24:56,459 --> 00:25:00,579
In any case, the important part is 
just knowing where the hard edges

415
00:25:00,579 --> 00:25:02,483
and soft edges should be.

416
00:25:02,483 --> 00:25:06,107
Now, how do you know which 
edges are hard and which are soft?

417
00:25:06,107 --> 00:25:10,885
Well, it's simple. If you would be okay 
with seeing an actual line at a specific

418
00:25:10,885 --> 00:25:15,048
spot in your drawing, then that can be
a hard edge in your painting.

419
00:25:15,048 --> 00:25:19,555
If you think a line would look bad in your
drawing, then stick to soft edges there.

420
00:25:19,555 --> 00:25:22,942
I already made pretty much all of the 
lines I wanted to make

421
00:25:22,942 --> 00:25:26,461
in the drawing stage, so those will 
be the only hard edges.

422
00:25:26,461 --> 00:25:30,813
Anyway, I started out pretty experimental,
with some of the painting stuff early on,

423
00:25:30,813 --> 00:25:35,723
but I wasn't that into it this time, so 
I'm slowly going to be dialling that back

424
00:25:35,723 --> 00:25:40,236
as we go. Almost all of these arms
are going to be out of direct light,

425
00:25:40,236 --> 00:25:44,468
you know, just ambient light for the 
most part, aside from the one on the right

426
00:25:44,468 --> 00:25:46,325
that is reaching toward us.

427
00:25:46,325 --> 00:25:50,325
Doing this somewhat makes the whole image
a bit darker and more saturated than

428
00:25:50,325 --> 00:25:54,922
I wanted, so I'll be desaturating and 
lightening it a bit as we go.

429
00:25:54,922 --> 00:25:58,051
Other than that, 
I definitely kept the line art in play

430
00:25:58,051 --> 00:26:00,365
for a lot longer than I normally do.

431
00:26:00,365 --> 00:26:04,185
It's not until most of the form 
rendering is complete that I actually

432
00:26:04,185 --> 00:26:07,130
flatten things down and 
start painting out the lines.

433
00:26:07,130 --> 00:26:10,780
This is also when I start playing with 
slightly more interesting shapes

434
00:26:10,780 --> 00:26:11,888
in some of them.

435
00:26:11,888 --> 00:26:15,129
The rim light is going 
to be pretty subtle today,

436
00:26:15,129 --> 00:26:19,797
I definitely made it more limelight than
I normally recommend to people,

437
00:26:19,797 --> 00:26:23,477
but still trying to at least taper
those lines and find some

438
00:26:23,477 --> 00:26:24,917
chunkier shapes with it.

439
00:26:24,917 --> 00:26:29,120
To bring back some of the other fun stuff
from the skin rendering video,

440
00:26:29,120 --> 00:26:32,750
I decided to put in some 
body hair on the top left arm.

441
00:26:32,750 --> 00:26:37,070
Just a bit of fun with desaturating colors
and pattern-based brushwork.

442
00:26:37,070 --> 00:26:41,090
This was also when I decided to at least
connect the fingers that I had there,

443
00:26:41,090 --> 00:26:45,134
but we're almost done, so the last
thing I want to have fun with is bringing

444
00:26:45,134 --> 00:26:48,017
some of that body hair into the rim light.

445
00:26:48,017 --> 00:26:51,046
It makes the rim light a lot more fun.

446
00:26:51,046 --> 00:26:53,689
Definitely recommend 
trying it when you can!

447
00:26:53,689 --> 00:26:58,923
And, with that, this monster 
of a video is finally complete.

448
00:26:58,923 --> 00:27:02,771
It has been a journey, and while the 
drawings and paintings might

449
00:27:02,771 --> 00:27:06,919
not be perfect, hopefully you 
at least feel a bit more confident

450
00:27:06,919 --> 00:27:11,029
about being able to draw 
some fun arms from imagination.

451
00:27:11,029 --> 00:27:15,240
As always, the best way 
to fully learn is to mix in equal parts

452
00:27:15,240 --> 00:27:20,710
of drawing from human reference, doing
master copies of other artists you like,

453
00:27:20,710 --> 00:27:23,212
and drawing from imagination.

454
00:27:23,212 --> 00:27:27,596
No matter how good or bad you might 
feel about one of these three parts,

455
00:27:27,596 --> 00:27:30,508
do them all evenly regardless.

456
00:27:30,508 --> 00:27:34,551
We only focused on 
three main muscles in this video,

457
00:27:34,551 --> 00:27:38,058
so if you find yourself 
wanting to build up more complexity,

458
00:27:38,058 --> 00:27:42,316
just go check out one of the other 
amazing art YouTube channels that dives

459
00:27:42,316 --> 00:27:43,652
a bit deeper.

460
00:27:43,652 --> 00:27:48,806
Alright, I want to thank you all so much
for at least giving this video a chance,

461
00:27:48,806 --> 00:27:52,810
I'm not a frequent uploader, 
so be sure to subscribe if you don't want

462
00:27:52,810 --> 00:27:56,412
to miss out on the handful 
of videos I put out each year.

463
00:27:56,412 --> 00:28:00,903
Of course, if you want some fun, 
specialised content the brainstorm classes

464
00:28:00,903 --> 00:28:04,907
have been going really well and 
its definitely worth your time and money

465
00:28:04,907 --> 00:28:08,697
if you haven't tried them out yet.
Info is down in the description.

466
00:28:08,697 --> 00:28:12,024
I also, of course, do want 
to give an earnest thank you

467
00:28:12,024 --> 00:28:16,208
to the Patreon supporters that chip in
money to keep these videos coming.

468
00:28:16,208 --> 00:28:17,767
You guys are wondeful.

469
00:28:17,767 --> 00:28:18,681
Cya everyone.