[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:04.82,0:00:06.53,Default,,0000,0000,0000,,Hey everyone, Sinix here.
Dialogue: 0,0:00:06.53,0:00:10.04,Default,,0000,0000,0000,,It's time for another episode of \NAnatomy Quick Tips,
Dialogue: 0,0:00:10.06,0:00:13.51,Default,,0000,0000,0000,,the series that is here to give you \Nsome useful observations
Dialogue: 0,0:00:13.51,0:00:17.69,Default,,0000,0000,0000,,and help you feel more comfortable with\Ndrawing people from imagination.
Dialogue: 0,0:00:17.69,0:00:22.75,Default,,0000,0000,0000,,Today, we'll be talking about arms -\Nand also, don't be alarmed but
Dialogue: 0,0:00:22.75,0:00:27.02,Default,,0000,0000,0000,,this all-arm video puts \Nus near the end of this series,
Dialogue: 0,0:00:27.02,0:00:29.46,Default,,0000,0000,0000,,only two more videos remain.
Dialogue: 0,0:00:29.46,0:00:34.28,Default,,0000,0000,0000,,Regardless, for now let's just focus \Non these upper appendages.
Dialogue: 0,0:00:34.28,0:00:37.83,Default,,0000,0000,0000,,This probably won't be the funniest \Nvideo in this series or anything,
Dialogue: 0,0:00:37.83,0:00:40.29,Default,,0000,0000,0000,,but it will be definitely be the \Nmost humerus -
Dialogue: 0,0:00:40.29,0:00:43.48,Default,,0000,0000,0000,,so roll up your sleeves \Nand let's get to work.
Dialogue: 0,0:00:43.48,0:00:47.84,Default,,0000,0000,0000,,Starting out with structure,\Nwe've already covered both shoulders
Dialogue: 0,0:00:47.84,0:00:51.47,Default,,0000,0000,0000,,and hands in other videos,\Nso we just need to make sure we
Dialogue: 0,0:00:51.47,0:00:53.44,Default,,0000,0000,0000,,can bridge these things together.
Dialogue: 0,0:00:53.44,0:00:58.51,Default,,0000,0000,0000,,I'm sketching a quick front, side and \Nback view of a shoulder to start.
Dialogue: 0,0:00:58.51,0:01:01.37,Default,,0000,0000,0000,,Seeing a shoulder \Nand torso without the arm
Dialogue: 0,0:01:01.37,0:01:04.92,Default,,0000,0000,0000,,always reminds me of a little \Nlamb or something, but anyway,
Dialogue: 0,0:01:04.92,0:01:09.63,Default,,0000,0000,0000,,we're going to focus on the \Nskeletal breakdown of the arm first.
Dialogue: 0,0:01:09.63,0:01:13.56,Default,,0000,0000,0000,,Of course we have a \Nsingle major bone in the upper arm
Dialogue: 0,0:01:13.56,0:01:16.98,Default,,0000,0000,0000,,and two in the lower arm,\Nconnected at the elbow.
Dialogue: 0,0:01:16.98,0:01:21.20,Default,,0000,0000,0000,,But as i draw that, the first thing \NI actually want to point out
Dialogue: 0,0:01:21.20,0:01:24.09,Default,,0000,0000,0000,,is that things aren't \Nin a perfect straight line.
Dialogue: 0,0:01:24.09,0:01:27.74,Default,,0000,0000,0000,,You can even take a moment\Nand try to see this yourself;
Dialogue: 0,0:01:27.74,0:01:32.34,Default,,0000,0000,0000,,just hold one arm out straight\Nand close your opposite eye.
Dialogue: 0,0:01:32.34,0:01:35.52,Default,,0000,0000,0000,,Now do your best to \Nlook directly straight down
Dialogue: 0,0:01:35.52,0:01:38.97,Default,,0000,0000,0000,,the barrel of that massive \Ngun you call your upper arm.
Dialogue: 0,0:01:38.97,0:01:42.19,Default,,0000,0000,0000,,If you line up your \Nsight from shoulder to elbow,
Dialogue: 0,0:01:42.19,0:01:47.02,Default,,0000,0000,0000,,you'll notice the lower arm doesn't really\Nline up as much as you might've thought.
Dialogue: 0,0:01:47.02,0:01:51.18,Default,,0000,0000,0000,,To get really good at \Ndrawing any organic forms,
Dialogue: 0,0:01:51.18,0:01:55.78,Default,,0000,0000,0000,,it's important to try and identify \Nthese types of subtle offsets
Dialogue: 0,0:01:55.78,0:01:57.73,Default,,0000,0000,0000,,as much as possible.
Dialogue: 0,0:01:57.73,0:01:59.83,Default,,0000,0000,0000,,Anyway, let's get back to these bones.
Dialogue: 0,0:01:59.83,0:02:03.22,Default,,0000,0000,0000,,The humerus is of course \Nthe bone of the upper arm,
Dialogue: 0,0:02:03.22,0:02:05.98,Default,,0000,0000,0000,,meanwhile the lower arm has the ulna,
Dialogue: 0,0:02:05.98,0:02:08.99,Default,,0000,0000,0000,,which I would consider \Nthe primary lower arm bone.
Dialogue: 0,0:02:08.99,0:02:11.50,Default,,0000,0000,0000,,It's the one you would \Nbe hitting someone with
Dialogue: 0,0:02:11.50,0:02:12.61,Default,,0000,0000,0000,,if you elbowed them.
Dialogue: 0,0:02:12.61,0:02:17.93,Default,,0000,0000,0000,,And then the radius, which originates\Non the exterior side of the elbow,
Dialogue: 0,0:02:17.93,0:02:20.81,Default,,0000,0000,0000,,A.K.A the side that's further \Naway from your body -
Dialogue: 0,0:02:20.81,0:02:24.82,Default,,0000,0000,0000,,and always connects to \Nthe thumb-side of your hand.
Dialogue: 0,0:02:24.82,0:02:27.80,Default,,0000,0000,0000,,So we can do a bit \Nof a rotational twisting
Dialogue: 0,0:02:27.80,0:02:29.30,Default,,0000,0000,0000,,around the lower arm.
Dialogue: 0,0:02:29.30,0:02:30.76,Default,,0000,0000,0000,,Hence the name 'radius'.
Dialogue: 0,0:02:30.81,0:02:33.34,Default,,0000,0000,0000,,The last skeletal thing I want to mention
Dialogue: 0,0:02:33.34,0:02:34.80,Default,,0000,0000,0000,,is the funny bone.
Dialogue: 0,0:02:34.80,0:02:37.42,Default,,0000,0000,0000,,This is just an extension of the humerus
Dialogue: 0,0:02:37.42,0:02:40.46,Default,,0000,0000,0000,,which protrudes on the \Ninner side of the elbow,
Dialogue: 0,0:02:40.46,0:02:42.08,Default,,0000,0000,0000,,closest to the body.
Dialogue: 0,0:02:42.08,0:02:44.60,Default,,0000,0000,0000,,It's called the funny bone\Nbecause of an exposed
Dialogue: 0,0:02:44.60,0:02:48.19,Default,,0000,0000,0000,,nerve ending next to it\Nthat will send a shock up your arm
Dialogue: 0,0:02:48.19,0:02:50.90,Default,,0000,0000,0000,,if you hit this part of the \Nelbow against something.
Dialogue: 0,0:02:50.90,0:02:54.53,Default,,0000,0000,0000,,So if you ever see a chance \Nto whack your friend's funny bone
Dialogue: 0,0:02:54.53,0:02:57.64,Default,,0000,0000,0000,,with your pencil or stylus, it's\Nyou know, free comedy.
Dialogue: 0,0:02:57.64,0:03:00.99,Default,,0000,0000,0000,,Alright, I added some \Nhands to these drawings,
Dialogue: 0,0:03:00.99,0:03:03.53,Default,,0000,0000,0000,,and I know this isn't the hands video
Dialogue: 0,0:03:03.53,0:03:07.56,Default,,0000,0000,0000,,but since wrists and organic \Noffsets are so important,
Dialogue: 0,0:03:07.56,0:03:11.14,Default,,0000,0000,0000,,let's do a quick look at \Nthat connection anyway.
Dialogue: 0,0:03:11.14,0:03:15.08,Default,,0000,0000,0000,,Now keep in mind by the time\Nthe radius and ulna get to the wrist
Dialogue: 0,0:03:15.08,0:03:19.60,Default,,0000,0000,0000,,they'll always be side by side,\Nand therefore the lower arm connects in
Dialogue: 0,0:03:19.60,0:03:23.29,Default,,0000,0000,0000,,a much flatter and wider way \Ninto the palm and back of hand,
Dialogue: 0,0:03:23.29,0:03:26.41,Default,,0000,0000,0000,,and thinner from the \Nside view of the hand.
Dialogue: 0,0:03:26.41,0:03:31.33,Default,,0000,0000,0000,,Basic stuff, but the fun part is\Nany time you're adding a hand to an arm,
Dialogue: 0,0:03:31.33,0:03:35.68,Default,,0000,0000,0000,,make sure to give it a bit of \Nan offset and step over toward the
Dialogue: 0,0:03:35.68,0:03:38.49,Default,,0000,0000,0000,,thumb/radius side of things.
Dialogue: 0,0:03:38.49,0:03:42.11,Default,,0000,0000,0000,,Similarly, from the side view \Nthe hand should always
Dialogue: 0,0:03:42.11,0:03:46.70,Default,,0000,0000,0000,,take a noticeable offsetting\Nstep toward the palm side.
Dialogue: 0,0:03:46.70,0:03:49.03,Default,,0000,0000,0000,,By the way when I say the word 'offset'
Dialogue: 0,0:03:49.03,0:03:53.70,Default,,0000,0000,0000,,it usually just means not lined \Nup evenly with surrounding things.
Dialogue: 0,0:03:53.70,0:03:56.80,Default,,0000,0000,0000,,Anyway, always make sure\Nthe thumb side of the hand
Dialogue: 0,0:03:56.80,0:04:01.61,Default,,0000,0000,0000,,feels more chunkier and substantial\Nthan the pinkie side of the palm.
Dialogue: 0,0:04:01.61,0:04:05.60,Default,,0000,0000,0000,,With all of these ideas in mind, \Nyou should be able to develop a quick
Dialogue: 0,0:04:05.60,0:04:08.83,Default,,0000,0000,0000,,shorthand for getting \Nfrom the arm into the hand.
Dialogue: 0,0:04:08.83,0:04:13.66,Default,,0000,0000,0000,,In fact, you should be able to\Nquickly deduce everything about the bones
Dialogue: 0,0:04:13.66,0:04:16.59,Default,,0000,0000,0000,,and orientation of the \Nwrist without ever seeing
Dialogue: 0,0:04:16.59,0:04:20.28,Default,,0000,0000,0000,,the thumbs or fingers or \Nany interior information.
Dialogue: 0,0:04:20.28,0:04:23.13,Default,,0000,0000,0000,,So maybe see how quickly you can determine
Dialogue: 0,0:04:23.13,0:04:28.11,Default,,0000,0000,0000,,where the radius and the ulna are\Nin any of these rough sketches I'm making.
Dialogue: 0,0:04:28.11,0:04:31.56,Default,,0000,0000,0000,,Hopefully that seems easy enough.
Dialogue: 0,0:04:31.56,0:04:35.49,Default,,0000,0000,0000,,Let's get back to structure and \Ntalk about the muscle side of things.
Dialogue: 0,0:04:35.49,0:04:38.95,Default,,0000,0000,0000,,We're going to make it really \Neasy for our drawing purposes
Dialogue: 0,0:04:38.95,0:04:41.83,Default,,0000,0000,0000,,and only focus on three muscle groups.
Dialogue: 0,0:04:41.83,0:04:47.38,Default,,0000,0000,0000,,The biceps are on the front of your upper \Narm and allow you to curl up your arm.
Dialogue: 0,0:04:47.38,0:04:51.98,Default,,0000,0000,0000,,They insert under your shoulder \Nmuscles and chest muscles on one end
Dialogue: 0,0:04:51.98,0:04:56.34,Default,,0000,0000,0000,,and connect to the radius and \Ntissue around the ulna on the other end.
Dialogue: 0,0:04:56.34,0:05:01.55,Default,,0000,0000,0000,,The triceps are on the back of your arm\Nand allow you to pull your arm straight.
Dialogue: 0,0:05:01.55,0:05:06.21,Default,,0000,0000,0000,,They also come out from under your \Nshoulder muscles and similar back muscles
Dialogue: 0,0:05:06.21,0:05:08.68,Default,,0000,0000,0000,,and connect to the end of the ulna.
Dialogue: 0,0:05:08.68,0:05:12.53,Default,,0000,0000,0000,,And yes, the deltoids are \Nof course the shoulder muscles,
Dialogue: 0,0:05:12.53,0:05:17.24,Default,,0000,0000,0000,,but the third muscle that we're\Ngoing to be fixating on in this video
Dialogue: 0,0:05:17.24,0:05:20.21,Default,,0000,0000,0000,,is going to be the brachioradialis.
Dialogue: 0,0:05:20.21,0:05:23.58,Default,,0000,0000,0000,,You must learn to \Nlove the brachioradialis,
Dialogue: 0,0:05:23.58,0:05:28.31,Default,,0000,0000,0000,,it will be a pivotal part of \Nthis video in more ways than one.
Dialogue: 0,0:05:28.31,0:05:32.32,Default,,0000,0000,0000,,These insertions points are \Nimportant, so keep them in mind.
Dialogue: 0,0:05:32.32,0:05:35.98,Default,,0000,0000,0000,,It connects from \Nthe lower back of the humerus
Dialogue: 0,0:05:35.98,0:05:39.37,Default,,0000,0000,0000,,under the triceps and\Nit wraps around a bit
Dialogue: 0,0:05:39.37,0:05:45.17,Default,,0000,0000,0000,,over parts of the lower biceps and\Nconnects to the radius on the other side.
Dialogue: 0,0:05:45.17,0:05:49.54,Default,,0000,0000,0000,,I will be exaggerating this \Nmuscle heavily throughout this video,
Dialogue: 0,0:05:49.54,0:05:52.79,Default,,0000,0000,0000,,so be aware of that strategic inflation.
Dialogue: 0,0:05:52.79,0:05:55.45,Default,,0000,0000,0000,,We are going all in on the bray-ray.
Dialogue: 0,0:05:55.45,0:05:58.10,Default,,0000,0000,0000,,I think that's enough structure though, so
Dialogue: 0,0:05:58.10,0:06:00.74,Default,,0000,0000,0000,,let's get into some drawing practice.
Dialogue: 0,0:06:00.74,0:06:05.56,Default,,0000,0000,0000,,A big theme in the land of arms \Nwill be controlling our organic curves.
Dialogue: 0,0:06:05.56,0:06:09.77,Default,,0000,0000,0000,,So I guess I will do a quick recap \Non s-curves and c-curves.
Dialogue: 0,0:06:09.77,0:06:12.22,Default,,0000,0000,0000,,Don't let the names \Nthrow you off too much,
Dialogue: 0,0:06:12.22,0:06:15.36,Default,,0000,0000,0000,,most of the s-curves and \Nc-curves you'll be drawing
Dialogue: 0,0:06:15.36,0:06:17.97,Default,,0000,0000,0000,,are going to be extremely subtle.
Dialogue: 0,0:06:17.97,0:06:21.20,Default,,0000,0000,0000,,Just a whisper of curvature \Ngoing on most of the time.
Dialogue: 0,0:06:21.20,0:06:24.29,Default,,0000,0000,0000,,And it's good to practice \Nthat level of control
Dialogue: 0,0:06:24.29,0:06:27.21,Default,,0000,0000,0000,,but an even more \Nimportant thing to practise
Dialogue: 0,0:06:27.21,0:06:29.81,Default,,0000,0000,0000,,is your ability to weight your curves.
Dialogue: 0,0:06:29.81,0:06:33.24,Default,,0000,0000,0000,,Weighting a curve means \Nchanging up the harshness of the
Dialogue: 0,0:06:33.24,0:06:35.40,Default,,0000,0000,0000,,curvature through the line.
Dialogue: 0,0:06:35.40,0:06:39.09,Default,,0000,0000,0000,,So if the curve stays \Nconsistent from start to finish,
Dialogue: 0,0:06:39.09,0:06:41.34,Default,,0000,0000,0000,,that would be a weightless curve.
Dialogue: 0,0:06:41.34,0:06:44.62,Default,,0000,0000,0000,,You can have the curve be \Nincreasingly strong at the start
Dialogue: 0,0:06:44.62,0:06:48.92,Default,,0000,0000,0000,,or the end of the line to \Ngive it weight in a specific direction.
Dialogue: 0,0:06:48.92,0:06:52.03,Default,,0000,0000,0000,,This is very, very important to \Npractise because we spend our
Dialogue: 0,0:06:52.03,0:06:59.24,Default,,0000,0000,0000,,entire childhoods writing letters and\Nshapes which curve in a very balanced way,
Dialogue: 0,0:06:59.24,0:07:04.02,Default,,0000,0000,0000,,but the more you can break away from that\Nthe more organic your drawings will be,
Dialogue: 0,0:07:04.02,0:07:06.32,Default,,0000,0000,0000,,so warm up with these often.
Dialogue: 0,0:07:06.32,0:07:10.06,Default,,0000,0000,0000,,Alright, let's get into those \Nsimplifications and reductions.
Dialogue: 0,0:07:10.06,0:07:13.69,Default,,0000,0000,0000,,Or, rather maybe mention\Nanother little side thing...?
Dialogue: 0,0:07:13.69,0:07:16.69,Default,,0000,0000,0000,,Sorry, there's a lot of \Nways to think about arms.
Dialogue: 0,0:07:16.69,0:07:20.35,Default,,0000,0000,0000,,Such as the chain,\Na common trick for approaching arms
Dialogue: 0,0:07:20.35,0:07:26.37,Default,,0000,0000,0000,,is to imagine a giant linking chain;\Nthe idea being that since the upper arm is
Dialogue: 0,0:07:26.37,0:07:31.26,Default,,0000,0000,0000,,wider from the side view than from \Na front view, and meanwhile the forearm is
Dialogue: 0,0:07:31.26,0:07:34.90,Default,,0000,0000,0000,,the opposite, it will generally \Ncreate a nice little back and forth
Dialogue: 0,0:07:34.90,0:07:39.73,Default,,0000,0000,0000,,between wide and narrow, which is \Ndefinitely good for aesthetic purposes.
Dialogue: 0,0:07:39.73,0:07:43.49,Default,,0000,0000,0000,,So you can use that as a little\Nmental note when applicable.
Dialogue: 0,0:07:43.49,0:07:46.52,Default,,0000,0000,0000,,Meanwhile, to go back to \Nwhat we've just talked about
Dialogue: 0,0:07:46.52,0:07:50.62,Default,,0000,0000,0000,,with curve weight, the most \Nimportant mental note I fixate on
Dialogue: 0,0:07:50.62,0:07:55.15,Default,,0000,0000,0000,,is usually just where to weight the \Ncurve for each part of the arm.
Dialogue: 0,0:07:55.15,0:08:00.92,Default,,0000,0000,0000,,On the bicep side of the upper arm, the\Ncurve weight is further toward the elbow.
Dialogue: 0,0:08:00.92,0:08:05.54,Default,,0000,0000,0000,,Whereas on the back or tricep side of \Nthings, the curve weight is
Dialogue: 0,0:08:05.54,0:08:07.04,Default,,0000,0000,0000,,closer to the shoulder.
Dialogue: 0,0:08:07.04,0:08:11.54,Default,,0000,0000,0000,,The brachioradialis is definitely \Nweighted toward the upper forearm,
Dialogue: 0,0:08:11.54,0:08:16.02,Default,,0000,0000,0000,,but is more rounded and gradual than\Nthe opposite side of the forearm.
Dialogue: 0,0:08:16.02,0:08:20.90,Default,,0000,0000,0000,,All of these things relate to the \Nactual muscle bodies of each muscle group,
Dialogue: 0,0:08:20.90,0:08:24.14,Default,,0000,0000,0000,,the tricep being the most \Nimportant one to always remember,
Dialogue: 0,0:08:24.14,0:08:28.64,Default,,0000,0000,0000,,because the muscle bodies are \Nlocated in the top half of the upper arm.
Dialogue: 0,0:08:28.64,0:08:32.25,Default,,0000,0000,0000,,Okay so let's sum up the \Nstraight arm simplifications
Dialogue: 0,0:08:32.25,0:08:33.74,Default,,0000,0000,0000,,a bit more directly.
Dialogue: 0,0:08:33.74,0:08:36.98,Default,,0000,0000,0000,,Back view of the arm, pop \Nforward, minimal twisting.
Dialogue: 0,0:08:36.98,0:08:40.76,Default,,0000,0000,0000,,The upper arm might as well \Njust be a simple cylinder
Dialogue: 0,0:08:40.76,0:08:42.30,Default,,0000,0000,0000,,with minimal tapering.
Dialogue: 0,0:08:42.30,0:08:46.52,Default,,0000,0000,0000,,But the lower arm is going to feel\Ncloser to an upside down bowling pin.
Dialogue: 0,0:08:46.52,0:08:51.68,Default,,0000,0000,0000,,The important part is that the \Nexterior side, with the brachioradialis
Dialogue: 0,0:08:51.68,0:08:55.62,Default,,0000,0000,0000,,is going to not only curve \Noutward more than the interior side,
Dialogue: 0,0:08:55.62,0:08:58.50,Default,,0000,0000,0000,,but also come up a bit higher than it.
Dialogue: 0,0:08:58.50,0:09:03.68,Default,,0000,0000,0000,,It should definitely feel like\Nit starts its s-curve above the elbow.
Dialogue: 0,0:09:03.68,0:09:09.35,Default,,0000,0000,0000,,If we raise the arm up out to the side,\Nyes you'll get a bit of the chain concept,
Dialogue: 0,0:09:09.35,0:09:13.39,Default,,0000,0000,0000,,but since you'll probably \Nnot be drawing massive bodybuilders,
Dialogue: 0,0:09:13.39,0:09:15.68,Default,,0000,0000,0000,,it can become pretty minor.
Dialogue: 0,0:09:15.68,0:09:20.30,Default,,0000,0000,0000,,You do want to make sure that you're \Nthinking about weight and gravity though.
Dialogue: 0,0:09:20.30,0:09:25.24,Default,,0000,0000,0000,,Obviously this gets a lot more \Nextreme with age, but on any body type
Dialogue: 0,0:09:25.24,0:09:28.86,Default,,0000,0000,0000,,you should still be using these \Nideas to give you at least a little
Dialogue: 0,0:09:28.86,0:09:30.71,Default,,0000,0000,0000,,bit of subtle curve weight.
Dialogue: 0,0:09:30.71,0:09:35.09,Default,,0000,0000,0000,,Another useful reference point to think \Nabout comes from the shoulder muscle.
Dialogue: 0,0:09:35.09,0:09:40.63,Default,,0000,0000,0000,,The deltoid comes down to a bit\Nof a point on the exterior of the arm.
Dialogue: 0,0:09:40.63,0:09:45.52,Default,,0000,0000,0000,,While not exact, this can still be used\Nas a good way to indicate a break
Dialogue: 0,0:09:45.52,0:09:50.68,Default,,0000,0000,0000,,between the front bicep side of the arm,\Nand the rare tricep side.
Dialogue: 0,0:09:50.68,0:09:55.58,Default,,0000,0000,0000,,Especially when you're dealing with \Nmore complex poses and off angle views.
Dialogue: 0,0:09:55.58,0:10:01.44,Default,,0000,0000,0000,,If I draw a quick arm over here \Non the left from a slightly awkward angle,
Dialogue: 0,0:10:01.44,0:10:06.24,Default,,0000,0000,0000,,adding the deltoid and letting it point \Na line towards the elbow can at least
Dialogue: 0,0:10:06.24,0:10:10.91,Default,,0000,0000,0000,,help us visualise the \Ntricep and bicep sides of the arm.
Dialogue: 0,0:10:10.91,0:10:14.91,Default,,0000,0000,0000,,If this drawing looks weirdly \Noff to you at first, that's good!
Dialogue: 0,0:10:14.91,0:10:18.91,Default,,0000,0000,0000,,The brachioradialis was not \Ncoming from the correct spot.
Dialogue: 0,0:10:18.91,0:10:22.67,Default,,0000,0000,0000,,Let's first recall that the \Nbrachioradialis should come from
Dialogue: 0,0:10:22.67,0:10:27.99,Default,,0000,0000,0000,,under the triceps and over the biceps,\Nand using that line from the deltoid
Dialogue: 0,0:10:27.99,0:10:31.65,Default,,0000,0000,0000,,we can visualise this \Ninsertion much more clearly.
Dialogue: 0,0:10:31.65,0:10:34.92,Default,,0000,0000,0000,,Moving along, some of \Nthese straight armed elbows
Dialogue: 0,0:10:34.92,0:10:39.04,Default,,0000,0000,0000,,might be looking a bit wonky,\Nso let's briefly mention them.
Dialogue: 0,0:10:39.04,0:10:43.91,Default,,0000,0000,0000,,The most important part of \Nsimplifying the elbow will definitely come
Dialogue: 0,0:10:43.91,0:10:48.52,Default,,0000,0000,0000,,from seeing the triceps and \Nhumerus, all come together in a mass
Dialogue: 0,0:10:48.52,0:10:52.33,Default,,0000,0000,0000,,that leads straight down \Nthrough the elbow and into the ulna.
Dialogue: 0,0:10:52.33,0:10:57.38,Default,,0000,0000,0000,,The funny bone and radius both \Nbecome a bit indented on a straight arm,
Dialogue: 0,0:10:57.38,0:11:02.14,Default,,0000,0000,0000,,so you'll mostly see these little \Npockets of depth off to both sides of the
Dialogue: 0,0:11:02.14,0:11:06.51,Default,,0000,0000,0000,,triceps and ulna, with the \Nforearm muscles pulling the forms back out
Dialogue: 0,0:11:06.51,0:11:09.43,Default,,0000,0000,0000,,and really solidifying those crevices.
Dialogue: 0,0:11:09.43,0:11:13.04,Default,,0000,0000,0000,,There's definitely a lot \Nof skin going on in this area,
Dialogue: 0,0:11:13.04,0:11:15.67,Default,,0000,0000,0000,,so it tends to become quite wrinkly.
Dialogue: 0,0:11:15.67,0:11:17.79,Default,,0000,0000,0000,,There's even \Na slang name for this
Dialogue: 0,0:11:17.79,0:11:20.54,Default,,0000,0000,0000,,folded up skin - it's called the wenis.
Dialogue: 0,0:11:20.54,0:11:24.40,Default,,0000,0000,0000,,So, everybody should draw the wenis,\Nthe wenis is not a dance,
Dialogue: 0,0:11:24.40,0:11:26.76,Default,,0000,0000,0000,,and I'm happy to tell you this in advance.
Dialogue: 0,0:11:26.76,0:11:31.63,Default,,0000,0000,0000,,[laughs] Anyway, wrinkles are tricky. The\Ngeneral rule is to fold the skin with
Dialogue: 0,0:11:31.63,0:11:35.79,Default,,0000,0000,0000,,c-curves and s-curves in a way \Nthat squishes the curves together
Dialogue: 0,0:11:35.79,0:11:39.58,Default,,0000,0000,0000,,without ever feeling like they're \Ngoing to cross each other, or pass through
Dialogue: 0,0:11:39.58,0:11:42.66,Default,,0000,0000,0000,,the extended implied \Nlines of other curves.
Dialogue: 0,0:11:42.66,0:11:45.95,Default,,0000,0000,0000,,You can compress a bunch \Nof them into a small space,
Dialogue: 0,0:11:45.95,0:11:51.27,Default,,0000,0000,0000,,or just a couple, but I recommend \Nwrinkling things up a bit above the elbow
Dialogue: 0,0:11:51.27,0:11:55.38,Default,,0000,0000,0000,,with perhaps some more \Ndrapery style folds hanging underneath.
Dialogue: 0,0:11:55.38,0:11:59.24,Default,,0000,0000,0000,,You can definitely develop your \Nown stylistic approach to wrinkles,
Dialogue: 0,0:11:59.24,0:12:03.12,Default,,0000,0000,0000,,and they should feel\Nsimilar in theory to clothing folds,
Dialogue: 0,0:12:03.12,0:12:05.48,Default,,0000,0000,0000,,but more organic with the lines.
Dialogue: 0,0:12:05.48,0:12:08.17,Default,,0000,0000,0000,,Just keep in mind, \Nlike with clothing folds,
Dialogue: 0,0:12:08.17,0:12:11.18,Default,,0000,0000,0000,,doing less is usually \Nbetter when learning.
Dialogue: 0,0:12:11.18,0:12:14.36,Default,,0000,0000,0000,,Alright, a little bit \Nmore drawing in this section,
Dialogue: 0,0:12:14.36,0:12:18.88,Default,,0000,0000,0000,,because I want to also just quickly \Nmention some size relations.
Dialogue: 0,0:12:18.88,0:12:23.38,Default,,0000,0000,0000,,I'm a serial offender of \Nmaking my deltoids too small in drawings,
Dialogue: 0,0:12:23.38,0:12:27.82,Default,,0000,0000,0000,,so I'm trying to correct that. I think it\Ncan be useful to think of the upper
Dialogue: 0,0:12:27.82,0:12:32.26,Default,,0000,0000,0000,,arms as a length that goes from the top\Nof the shoulder to the elbow.
Dialogue: 0,0:12:32.26,0:12:35.57,Default,,0000,0000,0000,,The top third of that length \Ncan be the distance of the
Dialogue: 0,0:12:35.57,0:12:37.37,Default,,0000,0000,0000,,deltoid going down the arm.
Dialogue: 0,0:12:37.37,0:12:40.16,Default,,0000,0000,0000,,I barely mentioned it \Nbefore, but the triceps
Dialogue: 0,0:12:40.16,0:12:44.84,Default,,0000,0000,0000,,really have two main visible muscle \Nbodies on the back of the arm.
Dialogue: 0,0:12:44.84,0:12:47.84,Default,,0000,0000,0000,,While they both have \Nthose high up muscle bodies,
Dialogue: 0,0:12:47.84,0:12:51.96,Default,,0000,0000,0000,,the interior side one is a bit \Nlonger down toward the elbow,
Dialogue: 0,0:12:51.96,0:12:56.23,Default,,0000,0000,0000,,while the exterior one is even more\Nfocused at the top.
Dialogue: 0,0:12:56.23,0:13:00.43,Default,,0000,0000,0000,,The bottom of these muscle bodies \Nand strong separation of them
Dialogue: 0,0:13:00.43,0:13:03.79,Default,,0000,0000,0000,,occurs roughly halfway \Ndown the upper arm unit,
Dialogue: 0,0:13:03.79,0:13:07.29,Default,,0000,0000,0000,,that we mentioned going \Nfrom top of shoulder to elbow.
Dialogue: 0,0:13:07.29,0:13:11.63,Default,,0000,0000,0000,,You can kind of indicate this with a \Nlittle butt shape on the back of the arm,
Dialogue: 0,0:13:11.63,0:13:15.33,Default,,0000,0000,0000,,especially if it's being flexed. \NThe arm... not the butt.
Dialogue: 0,0:13:15.33,0:13:19.39,Default,,0000,0000,0000,,Okay, moving along \Nto the world of movement,
Dialogue: 0,0:13:19.39,0:13:25.18,Default,,0000,0000,0000,,the elbow is basically just a fancy hinge\Njoint with the funny bone on the interior,
Dialogue: 0,0:13:25.18,0:13:29.64,Default,,0000,0000,0000,,the ulna being the king in the center,\Nand the radius on the exterior.
Dialogue: 0,0:13:29.64,0:13:34.56,Default,,0000,0000,0000,,When the arm is straight, they somewhat\Nline up with the ulna sticking out a bit.
Dialogue: 0,0:13:34.56,0:13:38.56,Default,,0000,0000,0000,,From the interior view though, \Nonce we start curling the arm,
Dialogue: 0,0:13:38.56,0:13:41.60,Default,,0000,0000,0000,,obviously the funny bone \Nisn't going anywhere.
Dialogue: 0,0:13:41.60,0:13:46.67,Default,,0000,0000,0000,,But the ulna is going to hinge around it \Nand form a very boxy and angular
Dialogue: 0,0:13:46.67,0:13:51.95,Default,,0000,0000,0000,,silhouette, by letting your brain fixate\Non the line from funny bone to ulna.
Dialogue: 0,0:13:51.95,0:13:57.10,Default,,0000,0000,0000,,All of the tissue of the arm is going to \Ncrease at the insertion of the bicep and
Dialogue: 0,0:13:57.10,0:14:01.95,Default,,0000,0000,0000,,form a bit of a line that points mostly \Ntoward the funny bone side of things.
Dialogue: 0,0:14:01.95,0:14:07.54,Default,,0000,0000,0000,,The important take away is that interior\Narm equals boxy shape and long crease.
Dialogue: 0,0:14:07.54,0:14:11.30,Default,,0000,0000,0000,,Also, when you raise your arm \Nwith your bicep toward the sky,
Dialogue: 0,0:14:11.30,0:14:15.47,Default,,0000,0000,0000,,that means the deltoid is going to be \Npulled to the back of the shoulder.
Dialogue: 0,0:14:15.47,0:14:19.56,Default,,0000,0000,0000,,As it, once again, needs to be pointing\Ntowards the exterior line between
Dialogue: 0,0:14:19.56,0:14:20.97,Default,,0000,0000,0000,,bicep and tricep.
Dialogue: 0,0:14:20.97,0:14:24.84,Default,,0000,0000,0000,,Anyway, the exterior elbow \Nview is a bit interesting.
Dialogue: 0,0:14:24.84,0:14:28.45,Default,,0000,0000,0000,,You'll of course be seeing the \Ndeltoid a lot more in this view
Dialogue: 0,0:14:28.45,0:14:30.26,Default,,0000,0000,0000,,where the exterior is facing back,
Dialogue: 0,0:14:30.26,0:14:33.21,Default,,0000,0000,0000,,but the interesting part \Nis that you're now seeing
Dialogue: 0,0:14:33.21,0:14:36.91,Default,,0000,0000,0000,,both the radius and ulna \Nin the straightened arm view.
Dialogue: 0,0:14:36.91,0:14:39.94,Default,,0000,0000,0000,,This means that when you \Ncurl your arm, those two lower
Dialogue: 0,0:14:39.94,0:14:42.93,Default,,0000,0000,0000,,arm bones are going \Nto be traveling together.
Dialogue: 0,0:14:42.93,0:14:46.49,Default,,0000,0000,0000,,Even though the silhouette \Nwill fundamentally be the same,
Dialogue: 0,0:14:46.49,0:14:50.51,Default,,0000,0000,0000,,I find it very useful to acknowledge\Nthis anatomy by making the elbow
Dialogue: 0,0:14:50.51,0:14:53.74,Default,,0000,0000,0000,,feel like it just rounds up\Nto and around these bones,
Dialogue: 0,0:14:53.74,0:14:55.81,Default,,0000,0000,0000,,instead of feeling boxy.
Dialogue: 0,0:14:55.81,0:15:00.63,Default,,0000,0000,0000,,You might also remember that the \Nbrachioradialis is on the exterior side,
Dialogue: 0,0:15:00.63,0:15:04.74,Default,,0000,0000,0000,,so that will create a mass in form\Nthat will squeeze from upper arm
Dialogue: 0,0:15:04.74,0:15:05.85,Default,,0000,0000,0000,,to lower arm.
Dialogue: 0,0:15:05.85,0:15:09.55,Default,,0000,0000,0000,,Because of this mass, the exterior \Ncrease here becomes a lot more
Dialogue: 0,0:15:09.55,0:15:11.22,Default,,0000,0000,0000,,chubbier and compressed.
Dialogue: 0,0:15:11.22,0:15:14.77,Default,,0000,0000,0000,,I like to use a shorter and \Nsplitting crease to hint at this
Dialogue: 0,0:15:14.77,0:15:15.80,Default,,0000,0000,0000,,thicker form.
Dialogue: 0,0:15:15.80,0:15:18.78,Default,,0000,0000,0000,,And you should try to hint\Nat these things in any body type.
Dialogue: 0,0:15:18.78,0:15:23.17,Default,,0000,0000,0000,,From a different view, you can\Nget some idea how all of these bones
Dialogue: 0,0:15:23.17,0:15:27.07,Default,,0000,0000,0000,,and muscles are working, \Nbut for now let's jump over to the
Dialogue: 0,0:15:27.07,0:15:30.53,Default,,0000,0000,0000,,forearm movements, because \Nwe have rotation to deal with.
Dialogue: 0,0:15:30.53,0:15:34.79,Default,,0000,0000,0000,,If you stick your right arm out \Nin front of you, palm side up,
Dialogue: 0,0:15:34.79,0:15:37.98,Default,,0000,0000,0000,,this is the least twisted \Nview of your forearm.
Dialogue: 0,0:15:37.98,0:15:42.40,Default,,0000,0000,0000,,The muscles and bones just carry \Nforth to the hand in a linear fashion.
Dialogue: 0,0:15:42.40,0:15:46.49,Default,,0000,0000,0000,,This represents one extreme \Nof your rotational movement.
Dialogue: 0,0:15:46.49,0:15:49.100,Default,,0000,0000,0000,,As we rotate the hand, \Nthe elbow won't be changing much,
Dialogue: 0,0:15:49.100,0:15:53.100,Default,,0000,0000,0000,,but the radius and brachioradialis\Nwill start twisting a bit
Dialogue: 0,0:15:53.100,0:15:56.30,Default,,0000,0000,0000,,to line up vertically at the wrist.
Dialogue: 0,0:15:56.30,0:15:58.77,Default,,0000,0000,0000,,The best thing you should \Nobserve on your own arm
Dialogue: 0,0:15:58.77,0:16:02.77,Default,,0000,0000,0000,,is how the s-curves adjust \Nas you rotate your hand.
Dialogue: 0,0:16:02.78,0:16:05.58,Default,,0000,0000,0000,,I'm not in love with \Nthe drawing on the right here,
Dialogue: 0,0:16:05.58,0:16:09.56,Default,,0000,0000,0000,,but the interior ulna side of \Nthings definitely changes up its
Dialogue: 0,0:16:09.56,0:16:14.54,Default,,0000,0000,0000,,s-curve the most, whereas the \Nexterior side just shifts weight a little.
Dialogue: 0,0:16:14.54,0:16:18.92,Default,,0000,0000,0000,,Once your palm is facing downwards, \Nthe full range of motion is complete.
Dialogue: 0,0:16:18.92,0:16:21.17,Default,,0000,0000,0000,,This is as far as things can twist.
Dialogue: 0,0:16:21.17,0:16:24.91,Default,,0000,0000,0000,,The radius and ulna are now \Non opposite sides from the elbow.
Dialogue: 0,0:16:24.91,0:16:28.35,Default,,0000,0000,0000,,You might be thinking, \N"what if I want to give a thumbs down?'"
Dialogue: 0,0:16:28.35,0:16:33.10,Default,,0000,0000,0000,,Well, physically you can't. So be sure \Nto remember that and like this video.
Dialogue: 0,0:16:33.10,0:16:35.70,Default,,0000,0000,0000,,If you do really want \Nto point your thumb down,
Dialogue: 0,0:16:35.70,0:16:39.76,Default,,0000,0000,0000,,it requires you to actually \Nrotate your entire arm so that your
Dialogue: 0,0:16:39.76,0:16:42.26,Default,,0000,0000,0000,,elbow is facing a different direction.
Dialogue: 0,0:16:42.26,0:16:46.41,Default,,0000,0000,0000,,Lastly, here I'll just mention, when \Nyour arms are at rest at your sides,
Dialogue: 0,0:16:46.41,0:16:50.92,Default,,0000,0000,0000,,the default comfortable state \Nis that central, half-twisted state,
Dialogue: 0,0:16:50.92,0:16:53.59,Default,,0000,0000,0000,,not the completely untwisted state.
Dialogue: 0,0:16:53.59,0:16:58.20,Default,,0000,0000,0000,,Alright, let's go back to reducing \Ninformation and recap what we've learned.
Dialogue: 0,0:16:58.20,0:17:01.96,Default,,0000,0000,0000,,Of course, it's pretty fun \Nto draw giant musclebound arms,
Dialogue: 0,0:17:01.96,0:17:05.35,Default,,0000,0000,0000,,especially when you're trying to\Ncommit all these concepts to memory,
Dialogue: 0,0:17:05.35,0:17:08.59,Default,,0000,0000,0000,,but we also want to be \Nable to simplify these things down
Dialogue: 0,0:17:08.59,0:17:10.96,Default,,0000,0000,0000,,into little anime stick arms.
Dialogue: 0,0:17:10.96,0:17:15.18,Default,,0000,0000,0000,,When you start out in art, it's fine \Nto just think of the upper and lower arms
Dialogue: 0,0:17:15.18,0:17:18.59,Default,,0000,0000,0000,,as just cylinders, and as \Nyou get more comfortable,
Dialogue: 0,0:17:18.59,0:17:21.72,Default,,0000,0000,0000,,you can introduce some \Ntapering into these forms.
Dialogue: 0,0:17:21.72,0:17:25.01,Default,,0000,0000,0000,,Eventually you will want to \Nbe capable of some level
Dialogue: 0,0:17:25.01,0:17:29.01,Default,,0000,0000,0000,,of form complexity. These cross \Nsections are never just round.
Dialogue: 0,0:17:29.01,0:17:33.15,Default,,0000,0000,0000,,They have weird oblong \Nshapes and blobby looking contours.
Dialogue: 0,0:17:33.15,0:17:37.35,Default,,0000,0000,0000,,I like to practice these things with what\NI would call "skinny muscle forms".
Dialogue: 0,0:17:37.35,0:17:40.78,Default,,0000,0000,0000,,Maybe it's just my Samurai \NChamploo roots coming through again.
Dialogue: 0,0:17:40.78,0:17:44.36,Default,,0000,0000,0000,,A quick example though, \Nstarting with a deltoid and shoulder,
Dialogue: 0,0:17:44.36,0:17:49.19,Default,,0000,0000,0000,,letting it point toward an elbow, think \NI'll twist the bicep to the bottom on
Dialogue: 0,0:17:49.19,0:17:54.37,Default,,0000,0000,0000,,this one, bicep means curve weight \Ncloser to elbows, so we can even dive in
Dialogue: 0,0:17:54.37,0:17:55.83,Default,,0000,0000,0000,,with some angular shapes.
Dialogue: 0,0:17:55.83,0:17:59.33,Default,,0000,0000,0000,,With the bicep facing forward,\Nthat means the deltoid
Dialogue: 0,0:17:59.33,0:18:02.52,Default,,0000,0000,0000,,can be a bit further on \Ntop instead of on the back,
Dialogue: 0,0:18:02.52,0:18:06.97,Default,,0000,0000,0000,,and we can even hint at some \Ntricep form above the separating line.
Dialogue: 0,0:18:06.97,0:18:10.97,Default,,0000,0000,0000,,That line will let us know \Nwhere to pull the brachioradialis from,
Dialogue: 0,0:18:10.97,0:18:15.55,Default,,0000,0000,0000,,and then we can decide on the \Nhand rotation and make everything line up.
Dialogue: 0,0:18:15.55,0:18:19.67,Default,,0000,0000,0000,,Design wise, it's good to play \Naround with the ratios of rounded
Dialogue: 0,0:18:19.67,0:18:21.58,Default,,0000,0000,0000,,shapes and angular shapes.
Dialogue: 0,0:18:21.58,0:18:25.16,Default,,0000,0000,0000,,We alluded earlier to the \Nexterior side feeling more rounded
Dialogue: 0,0:18:25.16,0:18:28.93,Default,,0000,0000,0000,,and the interior feeling more angular, \Nwhen discussing the elbow hinge,
Dialogue: 0,0:18:28.93,0:18:31.36,Default,,0000,0000,0000,,so let's just run with that a bit more.
Dialogue: 0,0:18:31.36,0:18:34.61,Default,,0000,0000,0000,,What if we just always \Nsimplified things around the elbow
Dialogue: 0,0:18:34.61,0:18:39.83,Default,,0000,0000,0000,,by playing up rounded exteriors \Nand angular interiors in the forearm?
Dialogue: 0,0:18:39.83,0:18:44.58,Default,,0000,0000,0000,,I just noticed that that letter pointing \Ntowards the tricep is a D instead of a T.
Dialogue: 0,0:18:44.58,0:18:47.11,Default,,0000,0000,0000,,Clearly getting a bit \Ndelirious at this point.
Dialogue: 0,0:18:47.11,0:18:49.21,Default,,0000,0000,0000,,Regardless, let's keep sketching.
Dialogue: 0,0:18:49.21,0:18:54.02,Default,,0000,0000,0000,,Here's a quick side view, still mostly \Npracticing curve weights and that
Dialogue: 0,0:18:54.02,0:18:58.58,Default,,0000,0000,0000,,brachioradialis. Some slightly \Nmore exciting things we could try
Dialogue: 0,0:18:58.58,0:19:02.45,Default,,0000,0000,0000,,would be playing around \Nwith perspective and dynamic angles.
Dialogue: 0,0:19:02.45,0:19:06.29,Default,,0000,0000,0000,,If we imagine a Spiderman \Ntype arm pose, we could still
Dialogue: 0,0:19:06.29,0:19:10.02,Default,,0000,0000,0000,,think about where we could \Nexaggerate our forearm muscles.
Dialogue: 0,0:19:10.02,0:19:12.31,Default,,0000,0000,0000,,I'll be honest though, \NI sort of got distracted
Dialogue: 0,0:19:12.31,0:19:16.59,Default,,0000,0000,0000,,right after starting this one, because I \Nthought of some more stuff to mention.
Dialogue: 0,0:19:16.59,0:19:20.36,Default,,0000,0000,0000,,Such as, what does it look like \Nif you just have your elbow
Dialogue: 0,0:19:20.36,0:19:23.56,Default,,0000,0000,0000,,sticking up in the air with \Nyour arm curled behind it?
Dialogue: 0,0:19:23.56,0:19:27.36,Default,,0000,0000,0000,,A lot of tricep weight at \Nthe bottom, but it really thins out
Dialogue: 0,0:19:27.36,0:19:30.27,Default,,0000,0000,0000,,into a very skeletal look at the elbow.
Dialogue: 0,0:19:30.27,0:19:33.52,Default,,0000,0000,0000,,It does give a nice look at \Nthe radius, ulna and funny bone.
Dialogue: 0,0:19:33.52,0:19:36.98,Default,,0000,0000,0000,,This becomes instantly \Nobscured by the forearm once you
Dialogue: 0,0:19:36.98,0:19:40.34,Default,,0000,0000,0000,,straighten the arm out a bit, \Nwith those forearm muscles just
Dialogue: 0,0:19:40.34,0:19:42.93,Default,,0000,0000,0000,,taking both sides of the elbow.
Dialogue: 0,0:19:42.93,0:19:45.48,Default,,0000,0000,0000,,But, this made me \Nthink of another scenario,
Dialogue: 0,0:19:45.48,0:19:49.73,Default,,0000,0000,0000,,how about when you're resting your \Nweight on your elbow at a desk or table?
Dialogue: 0,0:19:49.73,0:19:52.23,Default,,0000,0000,0000,,Where do those forearm muscles go then?
Dialogue: 0,0:19:52.23,0:19:55.76,Default,,0000,0000,0000,,Well, since the brachioradialis \Nconnects to the humerus,
Dialogue: 0,0:19:55.76,0:20:01.10,Default,,0000,0000,0000,,it actually sits up higher, away from\Nthe elbow on the exterior side of things.
Dialogue: 0,0:20:01.10,0:20:02.83,Default,,0000,0000,0000,,I guess that's obvious enough,
Dialogue: 0,0:20:02.83,0:20:06.04,Default,,0000,0000,0000,,kind of like how it would look \Nif you were drinking something.
Dialogue: 0,0:20:06.04,0:20:10.04,Default,,0000,0000,0000,,Just always be keeping track of where \Nthe thumb is, and where the exterior
Dialogue: 0,0:20:10.04,0:20:13.26,Default,,0000,0000,0000,,and interior of the elbow are,\Nand you'll be fine.
Dialogue: 0,0:20:13.26,0:20:16.57,Default,,0000,0000,0000,,Now, we always have a common mistakes\Npart in these videos.
Dialogue: 0,0:20:16.57,0:20:21.98,Default,,0000,0000,0000,,But, I think I've gone over things so much\Nthat we can try a pop quiz instead.
Dialogue: 0,0:20:21.98,0:20:26.12,Default,,0000,0000,0000,,I'll show a quick drawing with some\Nweird mistake, and we'll see if
Dialogue: 0,0:20:26.12,0:20:28.29,Default,,0000,0000,0000,,you can deduce the problem.
Dialogue: 0,0:20:28.29,0:20:31.06,Default,,0000,0000,0000,,Like this. What's wrong with this?
Dialogue: 0,0:20:31.06,0:20:36.86,Default,,0000,0000,0000,,Well, you have two possible answers on \Nthis one, since we can't see the shoulder.
Dialogue: 0,0:20:36.86,0:20:41.83,Default,,0000,0000,0000,,We seem to be looking at the front of an \Narm, so either the brachioradialis
Dialogue: 0,0:20:41.83,0:20:45.64,Default,,0000,0000,0000,,is on the wrong side, or the hand\Nshould be mirrored.
Dialogue: 0,0:20:45.64,0:20:48.64,Default,,0000,0000,0000,,How about this one? \NAnything seem off to you?
Dialogue: 0,0:20:48.64,0:20:52.20,Default,,0000,0000,0000,,Well, I'm messing with you a bit, \Nbecause it's the same thing,
Dialogue: 0,0:20:52.20,0:20:57.11,Default,,0000,0000,0000,,except this time you can see the deltoid,\Nso there's only one answer.
Dialogue: 0,0:20:57.11,0:21:00.59,Default,,0000,0000,0000,,The brachioradialis is \Non the wrong side again.
Dialogue: 0,0:21:00.59,0:21:03.78,Default,,0000,0000,0000,,It should be on the \Nexterior, not interior.
Dialogue: 0,0:21:03.78,0:21:06.61,Default,,0000,0000,0000,,Alright, I promise this\None will be different.
Dialogue: 0,0:21:06.61,0:21:08.57,Default,,0000,0000,0000,,What's wrong this time?
Dialogue: 0,0:21:08.57,0:21:14.50,Default,,0000,0000,0000,,Doesn't seem too far off, the deltoid\Nand forearm stuff seem okayish,
Dialogue: 0,0:21:14.50,0:21:18.03,Default,,0000,0000,0000,,this might be a subtle one, but I \Nreversed the weight on the
Dialogue: 0,0:21:18.03,0:21:20.42,Default,,0000,0000,0000,,bicep and tricep curves.
Dialogue: 0,0:21:20.42,0:21:25.03,Default,,0000,0000,0000,,Remember the tricep should have mass \Ncloser to the shoulder, and the bicep
Dialogue: 0,0:21:25.03,0:21:27.04,Default,,0000,0000,0000,,curves closer to the elbow.
Dialogue: 0,0:21:27.04,0:21:28.40,Default,,0000,0000,0000,,That's a bit better.
Dialogue: 0,0:21:28.40,0:21:30.15,Default,,0000,0000,0000,,One last one.
Dialogue: 0,0:21:30.15,0:21:31.76,Default,,0000,0000,0000,,What's wrong now?
Dialogue: 0,0:21:31.76,0:21:36.11,Default,,0000,0000,0000,,Hmm, the brachioradialis is on the \Nexterior, so that's fine.
Dialogue: 0,0:21:36.11,0:21:39.36,Default,,0000,0000,0000,,But it still looks a little strange.
Dialogue: 0,0:21:39.36,0:21:43.46,Default,,0000,0000,0000,,Well, that's because it needs \Nto go over the bicep, not under it.
Dialogue: 0,0:21:43.46,0:21:46.59,Default,,0000,0000,0000,,And with that, I think \Nwe're done learning.
Dialogue: 0,0:21:46.59,0:21:50.26,Default,,0000,0000,0000,,You have graduated to the part of the\Nvideo where we just take everything
Dialogue: 0,0:21:50.26,0:21:54.41,Default,,0000,0000,0000,,we learned and try to draw and paint\Narms from imagination.
Dialogue: 0,0:21:54.41,0:21:56.79,Default,,0000,0000,0000,,Hopefully they wind up looking alright.
Dialogue: 0,0:21:56.79,0:22:01.56,Default,,0000,0000,0000,,I will be using a simple flat brush for \Nthese lines, with pressure sensitivity
Dialogue: 0,0:22:01.56,0:22:04.85,Default,,0000,0000,0000,,mostly on size, but with a bit on opacity.
Dialogue: 0,0:22:04.85,0:22:07.61,Default,,0000,0000,0000,,That should make it feel \Npretty comfy and natural.
Dialogue: 0,0:22:07.61,0:22:10.82,Default,,0000,0000,0000,,One big concern I had\Ngoing into this final section,
Dialogue: 0,0:22:10.82,0:22:14.50,Default,,0000,0000,0000,,is trying to make sure \Nit stays focused on arms.
Dialogue: 0,0:22:14.50,0:22:17.80,Default,,0000,0000,0000,,Shoulders are a bit unavoidable, \Nbut I tried experimenting
Dialogue: 0,0:22:17.80,0:22:20.44,Default,,0000,0000,0000,,with ways to make \Nthe hands get less attention.
Dialogue: 0,0:22:20.44,0:22:23.18,Default,,0000,0000,0000,,Literal disjointed fingers and whatnot.
Dialogue: 0,0:22:23.18,0:22:26.56,Default,,0000,0000,0000,,Unfortunately, that \Nactually made them stand out more,
Dialogue: 0,0:22:26.56,0:22:29.18,Default,,0000,0000,0000,,in rules of focus \Nand contrast and whatnot,
Dialogue: 0,0:22:29.18,0:22:32.19,Default,,0000,0000,0000,,so eventually I'll get rid of that idea.
Dialogue: 0,0:22:32.19,0:22:34.88,Default,,0000,0000,0000,,What actually wound \Nup being the biggest issue
Dialogue: 0,0:22:34.88,0:22:38.19,Default,,0000,0000,0000,,is just trying to come \Nup with a good variety of poses.
Dialogue: 0,0:22:38.19,0:22:42.29,Default,,0000,0000,0000,,Once again, I considered crazy \Nforeshortening, but then the page might
Dialogue: 0,0:22:42.29,0:22:45.81,Default,,0000,0000,0000,,feel less cohesive with the \Nmore traditional perspectives.
Dialogue: 0,0:22:45.81,0:22:49.52,Default,,0000,0000,0000,,I don't know. But I'm definitely \Nenjoying the line art quality.
Dialogue: 0,0:22:49.52,0:22:52.29,Default,,0000,0000,0000,,There are a couple of \Ndisjointed lines here and there,
Dialogue: 0,0:22:52.29,0:22:55.96,Default,,0000,0000,0000,,but I tried to hit a good number of\Nthe c-curves and s-curves
Dialogue: 0,0:22:55.96,0:22:57.74,Default,,0000,0000,0000,,in single strokes.
Dialogue: 0,0:22:57.74,0:23:01.32,Default,,0000,0000,0000,,That can result in a lot of putting \Nsomething down and then undoing it,
Dialogue: 0,0:23:01.32,0:23:04.44,Default,,0000,0000,0000,,redoing it, until I figure out what \NI want it to look like,
Dialogue: 0,0:23:04.44,0:23:06.99,Default,,0000,0000,0000,,but I'm mostly okay with that method.
Dialogue: 0,0:23:06.99,0:23:11.08,Default,,0000,0000,0000,,I can't be too chaotic with styles, but\NI did try to at least vary up
Dialogue: 0,0:23:11.08,0:23:14.12,Default,,0000,0000,0000,,the muscularity \Nlevels a bit as it goes on.
Dialogue: 0,0:23:14.12,0:23:17.70,Default,,0000,0000,0000,,My brain was pretty drained \Nfrom all the previous arm drawings,
Dialogue: 0,0:23:17.70,0:23:20.98,Default,,0000,0000,0000,,so there are definitely a couple of \Nmoments where I've made up an arm
Dialogue: 0,0:23:20.98,0:23:24.79,Default,,0000,0000,0000,,and then moments later realised it was \Nalmost identical to one that was
Dialogue: 0,0:23:24.79,0:23:27.40,Default,,0000,0000,0000,,already on the page, like this last one.
Dialogue: 0,0:23:27.40,0:23:30.95,Default,,0000,0000,0000,,But I just decided to adjust the \Nangle of it a bit and move on.
Dialogue: 0,0:23:30.95,0:23:35.11,Default,,0000,0000,0000,,For colors, I don't know how \Nmuch I can really say that would be new,
Dialogue: 0,0:23:35.11,0:23:39.92,Default,,0000,0000,0000,,the skin video as well as the other videos\Nhave really covered the general stuff.
Dialogue: 0,0:23:39.92,0:23:43.68,Default,,0000,0000,0000,,But you can see I've lightened the\Nline art into a lighter reddish tone,
Dialogue: 0,0:23:43.68,0:23:46.85,Default,,0000,0000,0000,,and then threw in my normal dull\Nminty background.
Dialogue: 0,0:23:46.85,0:23:50.91,Default,,0000,0000,0000,,I like to mask out everything in order\Nto watch transparency, which can
Dialogue: 0,0:23:50.91,0:23:54.16,Default,,0000,0000,0000,,be a bit tedious, but usually worth\Nit in the long run.
Dialogue: 0,0:23:54.16,0:23:58.00,Default,,0000,0000,0000,,A big piece of advice is to make sure\Nyou don't instinctually start
Dialogue: 0,0:23:58.00,0:24:00.76,Default,,0000,0000,0000,,pressing hard with \Nyour stylus when blocking.
Dialogue: 0,0:24:00.76,0:24:04.14,Default,,0000,0000,0000,,This is always the most dangerous time for\Nyour hand and wrist health,
Dialogue: 0,0:24:04.14,0:24:07.59,Default,,0000,0000,0000,,because we tend to dig in harder when\Nfilling things in.
Dialogue: 0,0:24:07.59,0:24:09.48,Default,,0000,0000,0000,,Pressure is bad for your tendons.
Dialogue: 0,0:24:09.48,0:24:13.16,Default,,0000,0000,0000,,Anyway, once everything is blocked in, \Nwe can try out a variety
Dialogue: 0,0:24:13.16,0:24:15.73,Default,,0000,0000,0000,,of skin tones across the page.
Dialogue: 0,0:24:15.73,0:24:19.53,Default,,0000,0000,0000,,This is also a great time to introduce \Nsome hue variety by air brushing
Dialogue: 0,0:24:19.53,0:24:23.78,Default,,0000,0000,0000,,in reds on areas that might catch more\Nsun damage, and things like that.
Dialogue: 0,0:24:23.78,0:24:27.99,Default,,0000,0000,0000,,The next step is form rendering, and I \Nknow some people like a more
Dialogue: 0,0:24:27.99,0:24:32.43,Default,,0000,0000,0000,,smooth gradiation and some people like a \Nmore chunkier chaotic painting approach.
Dialogue: 0,0:24:32.43,0:24:36.94,Default,,0000,0000,0000,,But, I'm going to try out some \Nweirder ideas, and just try defining forms
Dialogue: 0,0:24:36.94,0:24:39.63,Default,,0000,0000,0000,,with blocky, contour tracing strokes.
Dialogue: 0,0:24:39.63,0:24:44.16,Default,,0000,0000,0000,,Honestly it's a bit weird at times for \Nthese videos, because I don't find myself
Dialogue: 0,0:24:44.16,0:24:45.79,Default,,0000,0000,0000,,with a strong preference.
Dialogue: 0,0:24:45.79,0:24:49.58,Default,,0000,0000,0000,,In my mind, as long as you have some\Nunderstanding of the forms
Dialogue: 0,0:24:49.58,0:24:53.36,Default,,0000,0000,0000,,you can always either step up how\Nabstract and chunky things are,
Dialogue: 0,0:24:53.36,0:24:56.46,Default,,0000,0000,0000,,or step it back into \Nhypersoft air brushing.
Dialogue: 0,0:24:56.46,0:25:00.58,Default,,0000,0000,0000,,In any case, the important part is \Njust knowing where the hard edges
Dialogue: 0,0:25:00.58,0:25:02.48,Default,,0000,0000,0000,,and soft edges should be.
Dialogue: 0,0:25:02.48,0:25:06.11,Default,,0000,0000,0000,,Now, how do you know which \Nedges are hard and which are soft?
Dialogue: 0,0:25:06.11,0:25:10.88,Default,,0000,0000,0000,,Well, it's simple. If you would be okay \Nwith seeing an actual line at a specific
Dialogue: 0,0:25:10.88,0:25:15.05,Default,,0000,0000,0000,,spot in your drawing, then that can be\Na hard edge in your painting.
Dialogue: 0,0:25:15.05,0:25:19.56,Default,,0000,0000,0000,,If you think a line would look bad in your\Ndrawing, then stick to soft edges there.
Dialogue: 0,0:25:19.56,0:25:22.94,Default,,0000,0000,0000,,I already made pretty much all of the \Nlines I wanted to make
Dialogue: 0,0:25:22.94,0:25:26.46,Default,,0000,0000,0000,,in the drawing stage, so those will \Nbe the only hard edges.
Dialogue: 0,0:25:26.46,0:25:30.81,Default,,0000,0000,0000,,Anyway, I started out pretty experimental,\Nwith some of the painting stuff early on,
Dialogue: 0,0:25:30.81,0:25:35.72,Default,,0000,0000,0000,,but I wasn't that into it this time, so \NI'm slowly going to be dialling that back
Dialogue: 0,0:25:35.72,0:25:40.24,Default,,0000,0000,0000,,as we go. Almost all of these arms\Nare going to be out of direct light,
Dialogue: 0,0:25:40.24,0:25:44.47,Default,,0000,0000,0000,,you know, just ambient light for the \Nmost part, aside from the one on the right
Dialogue: 0,0:25:44.47,0:25:46.16,Default,,0000,0000,0000,,that is reaching toward us.
Dialogue: 0,0:25:46.16,0:25:50.32,Default,,0000,0000,0000,,Doing this somewhat makes the whole image\Na bit darker and more saturated than
Dialogue: 0,0:25:50.32,0:25:54.85,Default,,0000,0000,0000,,I wanted, so I'll be desaturating and \Nlightening it a bit as we go.
Dialogue: 0,0:25:54.85,0:25:58.05,Default,,0000,0000,0000,,Other than that, \NI definitely kept the line art in play
Dialogue: 0,0:25:58.05,0:26:00.36,Default,,0000,0000,0000,,for a lot longer than I normally do.
Dialogue: 0,0:26:00.36,0:26:04.18,Default,,0000,0000,0000,,It's not until most of the form \Nrendering is complete that I actually
Dialogue: 0,0:26:04.18,0:26:07.03,Default,,0000,0000,0000,,flatten things down and \Nstart painting out the lines.
Dialogue: 0,0:26:07.03,0:26:10.78,Default,,0000,0000,0000,,This is also when I start playing with \Nslightly more interesting shapes
Dialogue: 0,0:26:10.78,0:26:11.89,Default,,0000,0000,0000,,in some of them.
Dialogue: 0,0:26:11.89,0:26:15.13,Default,,0000,0000,0000,,The rim light is going \Nto be pretty subtle today,
Dialogue: 0,0:26:15.13,0:26:19.80,Default,,0000,0000,0000,,I definitely made it more limelight than\NI usually recommend to people,
Dialogue: 0,0:26:19.80,0:26:23.48,Default,,0000,0000,0000,,but still trying to at least taper\Nthose lines and find some
Dialogue: 0,0:26:23.48,0:26:24.92,Default,,0000,0000,0000,,chunkier shapes with it.
Dialogue: 0,0:26:24.92,0:26:29.12,Default,,0000,0000,0000,,To bring back some of the other fun stuff\Nfrom the skin rendering video,
Dialogue: 0,0:26:29.12,0:26:32.75,Default,,0000,0000,0000,,I decided to put in some \Nbody hair on the top left arm.
Dialogue: 0,0:26:32.75,0:26:37.07,Default,,0000,0000,0000,,Just a bit of fun with desaturating colors\Nand pattern-based brushwork.
Dialogue: 0,0:26:37.07,0:26:41.09,Default,,0000,0000,0000,,This was also when I decided to at least\Nconnect the fingers that I had there,
Dialogue: 0,0:26:41.09,0:26:45.13,Default,,0000,0000,0000,,but we're almost done, so the last\Nthing I want to have fun with is bringing
Dialogue: 0,0:26:45.13,0:26:48.02,Default,,0000,0000,0000,,some of that body hair into the rim light.
Dialogue: 0,0:26:48.02,0:26:51.05,Default,,0000,0000,0000,,It makes the rim light a lot more fun.
Dialogue: 0,0:26:51.05,0:26:53.69,Default,,0000,0000,0000,,Definitely recommend \Ntrying it when you can!
Dialogue: 0,0:26:53.69,0:26:58.92,Default,,0000,0000,0000,,And, with that, this monster \Nof a video is finally complete.
Dialogue: 0,0:26:58.92,0:27:02.77,Default,,0000,0000,0000,,It has been a journey, and while the \Ndrawings and paintings might
Dialogue: 0,0:27:02.77,0:27:06.92,Default,,0000,0000,0000,,not be perfect, hopefully you \Nat least feel a bit more confident
Dialogue: 0,0:27:06.92,0:27:11.03,Default,,0000,0000,0000,,about being able to draw \Nsome fun arms from imagination.
Dialogue: 0,0:27:11.03,0:27:15.24,Default,,0000,0000,0000,,As always, the best way \Nto fully learn is to mix in equal parts
Dialogue: 0,0:27:15.24,0:27:20.71,Default,,0000,0000,0000,,of drawing from human reference, doing\Nmaster copies of other artists you like,
Dialogue: 0,0:27:20.71,0:27:23.21,Default,,0000,0000,0000,,and drawing from imagination.
Dialogue: 0,0:27:23.21,0:27:27.60,Default,,0000,0000,0000,,No matter how good or bad you might \Nfeel about one of these three parts,
Dialogue: 0,0:27:27.60,0:27:30.51,Default,,0000,0000,0000,,do them all evenly regardless.
Dialogue: 0,0:27:30.51,0:27:34.55,Default,,0000,0000,0000,,We only focused on \Nthree main muscles in this video,
Dialogue: 0,0:27:34.55,0:27:38.06,Default,,0000,0000,0000,,so if you find yourself \Nwanting to build up more complexity,
Dialogue: 0,0:27:38.06,0:27:42.32,Default,,0000,0000,0000,,just go check out one of the other \Namazing art YouTube channels that dives
Dialogue: 0,0:27:42.32,0:27:43.65,Default,,0000,0000,0000,,a bit deeper.
Dialogue: 0,0:27:43.65,0:27:48.81,Default,,0000,0000,0000,,Alright, I want to thank you all so much\Nfor at least giving this video a chance,
Dialogue: 0,0:27:48.81,0:27:52.81,Default,,0000,0000,0000,,I'm not a frequent uploader, \Nso be sure to subscribe if you don't want
Dialogue: 0,0:27:52.81,0:27:56.41,Default,,0000,0000,0000,,to miss out on the handful \Nof videos I put out each year.
Dialogue: 0,0:27:56.41,0:28:00.90,Default,,0000,0000,0000,,Of course, if you want some fun, \Nspecialised content the brainstorm classes
Dialogue: 0,0:28:00.90,0:28:04.91,Default,,0000,0000,0000,,have been going really well and \Nits definitely worth your time and money
Dialogue: 0,0:28:04.91,0:28:08.70,Default,,0000,0000,0000,,if you haven't tried them out yet.\NInfo is down in the description.
Dialogue: 0,0:28:08.70,0:28:12.02,Default,,0000,0000,0000,,I also, of course, do want \Nto give an earnest thank you
Dialogue: 0,0:28:12.02,0:28:16.21,Default,,0000,0000,0000,,to the Patreon supporters that chip in\Nmoney to keep these videos coming.
Dialogue: 0,0:28:16.21,0:28:17.77,Default,,0000,0000,0000,,You guys are wondeful.
Dialogue: 0,0:28:17.77,0:28:18.68,Default,,0000,0000,0000,,See you, everyone.