WEBVTT 00:00:04.817 --> 00:00:06.627 Hey everyone, Sinix here. 00:00:06.631 --> 00:00:10.044 It's time for another episode of Anatomy Quick Tips, 00:00:10.056 --> 00:00:13.510 the series that is here to give you some useful observations 00:00:13.510 --> 00:00:15.488 and help you feel more comfortable with 00:00:15.488 --> 00:00:17.681 drawing people from imagination. 00:00:17.687 --> 00:00:20.395 Today, we'll be talking about arms - 00:00:20.395 --> 00:00:22.934 and also, don't be alarmed but 00:00:22.934 --> 00:00:27.018 this all-arm video puts us near the end of this series, 00:00:27.018 --> 00:00:29.457 only two more videos remain. 00:00:29.457 --> 00:00:34.050 Regardless, for now let's just focus on these upper appendages. 00:00:34.276 --> 00:00:37.831 This probably won't be the funniest video in this series or anything, 00:00:37.831 --> 00:00:40.288 but it will be definitely be the most humerus - 00:00:40.288 --> 00:00:43.485 so roll up your sleeves and let's get to work. 00:00:43.485 --> 00:00:45.224 Starting out with structure, 00:00:45.224 --> 00:00:48.715 we've already covered both shoulders and hands 00:00:48.715 --> 00:00:49.600 in other videos, 00:00:49.601 --> 00:00:53.355 so we just need to make sure we can bridge these things together. 00:00:53.355 --> 00:00:58.210 I'm sketching a quick front, side and back view of a shoulder to start. 00:00:58.506 --> 00:01:01.367 Seeing a shoulder and torso without the arm 00:01:01.367 --> 00:01:04.235 always reminds me of a little lamb or something... 00:01:04.235 --> 00:01:06.783 but anyway, we're going to focus on 00:01:06.783 --> 00:01:09.628 the skeletal breakdown of the arm first. 00:01:09.628 --> 00:01:12.377 Of course we have a single major bone 00:01:12.377 --> 00:01:13.562 in the upper arm 00:01:13.562 --> 00:01:15.425 and two in the lower arm 00:01:15.425 --> 00:01:16.983 connected at the elbow. 00:01:16.983 --> 00:01:21.318 But as i draw that, the first thing I actually want to point out 00:01:21.318 --> 00:01:24.090 is that things aren't in a perfect straight line. 00:01:24.090 --> 00:01:26.138 You can even take a moment 00:01:26.138 --> 00:01:27.737 and try to see this yourself - 00:01:27.737 --> 00:01:30.233 just hold one arm out straight 00:01:30.233 --> 00:01:32.341 and close your opposite eye. 00:01:32.341 --> 00:01:35.582 Now do your best to look directly straight down 00:01:35.582 --> 00:01:37.789 the barrel of that massive gun you call 00:01:37.789 --> 00:01:38.967 your upper arm. 00:01:38.967 --> 00:01:42.186 If you line up your sight from shoulder to elbow, 00:01:42.186 --> 00:01:44.687 you'll notice the lower arm doesn't really 00:01:44.687 --> 00:01:47.018 line up as much as you might've thought. 00:01:47.018 --> 00:01:51.181 To get really good at drawing any organic forms, 00:01:51.181 --> 00:01:55.776 it's important to try and identify these types of subtle offsets 00:01:55.776 --> 00:01:57.733 as much as possible. 00:01:57.733 --> 00:01:59.833 Anyway, let's get back to these bones. 00:01:59.833 --> 00:02:01.843 The humerus is of course the bone 00:02:01.843 --> 00:02:03.216 of the upper arm, 00:02:03.216 --> 00:02:05.982 meanwhile the lower arm has the ulna, 00:02:05.982 --> 00:02:08.989 which I would consider the primary lower arm bone. 00:02:08.989 --> 00:02:11.498 It's the one you would be hitting someone with 00:02:11.498 --> 00:02:12.564 if you elbowed them. 00:02:12.609 --> 00:02:15.548 And then the radius, which originates 00:02:15.548 --> 00:02:17.933 on the exterior side of the elbow 00:02:17.933 --> 00:02:20.806 A.K.A the side that's further away from your body - 00:02:20.806 --> 00:02:24.544 and always connects to the thumb-side of your hand. 99:59:59.999 --> 99:59:59.999 So we can do a bit of a rotational twisting 99:59:59.999 --> 99:59:59.999 around the lower arm. 99:59:59.999 --> 99:59:59.999 Hence the name 'radius'. 99:59:59.999 --> 99:59:59.999 The last skeletal thing I want to mention 99:59:59.999 --> 99:59:59.999 is the funny bone. 99:59:59.999 --> 99:59:59.999 This is just an extension of the humerus 99:59:59.999 --> 99:59:59.999 which protrudes on the inner side of the elbow 99:59:59.999 --> 99:59:59.999 closest to the body. 99:59:59.999 --> 99:59:59.999 It's called the funny bone 99:59:59.999 --> 99:59:59.999 because of an exposed nerve ending next to it 99:59:59.999 --> 99:59:59.999 that will send a shock up your arm 99:59:59.999 --> 99:59:59.999 if you hit this part of the elbow against something. 99:59:59.999 --> 99:59:59.999 So if you ever see a chance to whack 99:59:59.999 --> 99:59:59.999 your friend's funny bone with your pencil or stylus 99:59:59.999 --> 99:59:59.999 it's, you know, free comedy. 99:59:59.999 --> 99:59:59.999 Alright, I added some hands to these drawings, 99:59:59.999 --> 99:59:59.999 and I know this isn't the hands video 99:59:59.999 --> 99:59:59.999 but since wrists and organic offsets are so important, 99:59:59.999 --> 99:59:59.999 let's do a quick look at that connection anyway. 99:59:59.999 --> 99:59:59.999 Now keep in mind by the time 99:59:59.999 --> 99:59:59.999 the radius and ulna get to the wrist 99:59:59.999 --> 99:59:59.999 they'll always be side by side, 99:59:59.999 --> 99:59:59.999 and therefore the lower arm connects in 99:59:59.999 --> 99:59:59.999 a much flatter and wider way into the palm 99:59:59.999 --> 99:59:59.999 and back of hand, 99:59:59.999 --> 99:59:59.999 and thinner from the side view of the hand. 99:59:59.999 --> 99:59:59.999 Basic stuff, but the fun part is 99:59:59.999 --> 99:59:59.999 any time you're adding a hand to an arm, 99:59:59.999 --> 99:59:59.999 make sure to give it a bit of an offset 99:59:59.999 --> 99:59:59.999 and step over toward the thumb/radius side of things. 99:59:59.999 --> 99:59:59.999 Similarly, from the side view the hand should always 99:59:59.999 --> 99:59:59.999 take a noticeable offsetting step toward the palm side. 99:59:59.999 --> 99:59:59.999 By the way when I say the word 'offset' 99:59:59.999 --> 99:59:59.999 it usually just means not lined up evenly with surrounding things. 99:59:59.999 --> 99:59:59.999 Anyway, always make sure the thumb side of the hand 99:59:59.999 --> 99:59:59.999 feels more chunkier and substantial 99:59:59.999 --> 99:59:59.999 than the pinky side of the palm. 99:59:59.999 --> 99:59:59.999 With all of these ideas in mind, 99:59:59.999 --> 99:59:59.999 you should be able to develop a quick shorthand 99:59:59.999 --> 99:59:59.999 for getting from the arm into the hand. 99:59:59.999 --> 99:59:59.999 In fact, you should be able to 99:59:59.999 --> 99:59:59.999 quickly deduce everything about the bones 99:59:59.999 --> 99:59:59.999 and orientation of the wrist without ever seeing 99:59:59.999 --> 99:59:59.999 the thumbs or fingers or any interior information. 99:59:59.999 --> 99:59:59.999 So maybe see how quickly you can determine 99:59:59.999 --> 99:59:59.999 where the radius and the ulna are 99:59:59.999 --> 99:59:59.999 in any of these rough sketches I'm making. 99:59:59.999 --> 99:59:59.999 Hopefully that seems easy enough. 99:59:59.999 --> 99:59:59.999 Let's get back to structure and talk about the muscle side of things. 99:59:59.999 --> 99:59:59.999 We're going to make it really easy 99:59:59.999 --> 99:59:59.999 for our drawing purposes 99:59:59.999 --> 99:59:59.999 and only focus on three muscle groups. 99:59:59.999 --> 99:59:59.999 The biceps are on the front of your upper arm 99:59:59.999 --> 99:59:59.999 and allow you to curl up your arm. 99:59:59.999 --> 99:59:59.999 They insert under your shoulder muscles and chest muscles on one end 99:59:59.999 --> 99:59:59.999 and connect to the radius and tissue around the ulna on the other end. 99:59:59.999 --> 99:59:59.999 The triceps are on the back of your arm 99:59:59.999 --> 99:59:59.999 and allow you to pull your arm straight. 99:59:59.999 --> 99:59:59.999 They also come out from under your shoulder muscles and similar back muscles 99:59:59.999 --> 99:59:59.999 and connect to the end of the ulna. 99:59:59.999 --> 99:59:59.999 And yes, the deltoids are of course the shoulder muscles, 99:59:59.999 --> 99:59:59.999 but the third muscle that we're going to be fixating on in this video 99:59:59.999 --> 99:59:59.999 is going to be the brachioradialis. 99:59:59.999 --> 99:59:59.999 You must learn to love the brachioradialis, 99:59:59.999 --> 99:59:59.999 it will be a pivotal part of this video in more ways than one. 99:59:59.999 --> 99:59:59.999 These insertions points are important, so keep them in mind. 99:59:59.999 --> 99:59:59.999 It connects from the lower back of the humerus 99:59:59.999 --> 99:59:59.999 under the triceps and it wraps around a bit 99:59:59.999 --> 99:59:59.999 over parts of the lower biceps and 99:59:59.999 --> 99:59:59.999 connects to the radius on the other side. 99:59:59.999 --> 99:59:59.999 I will be exaggerating this muscle heavily throughout this video, 99:59:59.999 --> 99:59:59.999 so be aware of that strategic inflation. 99:59:59.999 --> 99:59:59.999 We are going all in on the bray-ray. 99:59:59.999 --> 99:59:59.999 I think that's enough structure though, so 99:59:59.999 --> 99:59:59.999 let's get into some drawing practice. 99:59:59.999 --> 99:59:59.999 A big theme in the land of arms will be 99:59:59.999 --> 99:59:59.999 controlling our organic curves. 99:59:59.999 --> 99:59:59.999 So I guess I will do a quick recap on s-curves and c-curves. 99:59:59.999 --> 99:59:59.999 Don't let the names throw you off too much, 99:59:59.999 --> 99:59:59.999 most of the s-curves and c-curves you'll be drawing 99:59:59.999 --> 99:59:59.999 are going to be extremely subtle. 99:59:59.999 --> 99:59:59.999 Just a whisper of curvature going on most of the time. 99:59:59.999 --> 99:59:59.999 And it's good to practice that level of control 99:59:59.999 --> 99:59:59.999 but an even more important thing to practise 99:59:59.999 --> 99:59:59.999 is your ability to weight your curves. 99:59:59.999 --> 99:59:59.999 Weighting your curves means changing up 99:59:59.999 --> 99:59:59.999 the harshness of the curvature through the line. 99:59:59.999 --> 99:59:59.999 So if the curve stays consistent from start to finish, 99:59:59.999 --> 99:59:59.999 that would be a weightless curve. 99:59:59.999 --> 99:59:59.999 You can have the curve be increasingly strong at the start 99:59:59.999 --> 99:59:59.999 or the end of the line 99:59:59.999 --> 99:59:59.999 to give it weight in a specific direction. 99:59:59.999 --> 99:59:59.999 This is very, very important to practise 99:59:59.999 --> 99:59:59.999 because we spend our entire childhoods writing 99:59:59.999 --> 99:59:59.999 letters and shapes which curve in a very balanced way, 99:59:59.999 --> 99:59:59.999 but the more you can break away from that 99:59:59.999 --> 99:59:59.999 the more organic your drawings will be, 99:59:59.999 --> 99:59:59.999 so warm up with these often. 99:59:59.999 --> 99:59:59.999 Alright, let's get into those simplifications and reductions. 99:59:59.999 --> 99:59:59.999 Or, rather maybe mention another little side thing...? 99:59:59.999 --> 99:59:59.999 Sorry, there's a lot of ways to think about arms. 99:59:59.999 --> 99:59:59.999 Such as the chain, 99:59:59.999 --> 99:59:59.999 a common trick for approaching arms 99:59:59.999 --> 99:59:59.999 is to imagine a giant linking chain - 99:59:59.999 --> 99:59:59.999 the idea being that since the upper arm is 99:59:59.999 --> 99:59:59.999 wider from the side view than from a front view, 99:59:59.999 --> 99:59:59.999 and meanwhile the forearm is the opposite, 99:59:59.999 --> 99:59:59.999 it will generally create a nice little back and forth between wide and narrow 99:59:59.999 --> 99:59:59.999 which is definitely good for aesthetic purposes. 99:59:59.999 --> 99:59:59.999 So you can use that as a little mental note when applicable. 99:59:59.999 --> 99:59:59.999 Meanwhile, to go back to what we've just talked about 99:59:59.999 --> 99:59:59.999 with curve weight, the most important mental note I fixate on 99:59:59.999 --> 99:59:59.999 is usually just where to weight the curve for each part of the arm. 99:59:59.999 --> 99:59:59.999 On the bicep side of the upper arm, 99:59:59.999 --> 99:59:59.999 the curve weight is further toward the elbow. 99:59:59.999 --> 99:59:59.999 Whereas on the back or tricep side of things, 99:59:59.999 --> 99:59:59.999 the curve weight is closer to the shoulder. 99:59:59.999 --> 99:59:59.999 The brachioradialis is definitely weighted toward the upper forearm, 99:59:59.999 --> 99:59:59.999 but is more rounded and gradual than 99:59:59.999 --> 99:59:59.999 the opposite side of the forearm. 99:59:59.999 --> 99:59:59.999 All of these things relate to 99:59:59.999 --> 99:59:59.999 the actual muscle bodies of each muscle group, 99:59:59.999 --> 99:59:59.999 the tricep being the most important one 99:59:59.999 --> 99:59:59.999 to always remember, because 99:59:59.999 --> 99:59:59.999 the muscle bodies are located in the top half of the upper arm. 99:59:59.999 --> 99:59:59.999 Okay so let's sum up the straight arm simplifications 99:59:59.999 --> 99:59:59.999 a bit more directly. 99:59:59.999 --> 99:59:59.999 Back view of the arm, pop forward, minimal twisting. 99:59:59.999 --> 99:59:59.999 The upper arm might as well just be a simple cylinder 99:59:59.999 --> 99:59:59.999 with minimal tapering. 99:59:59.999 --> 99:59:59.999 But the lower arm is going to feel 99:59:59.999 --> 99:59:59.999 closer to an upside down bowling pin. 99:59:59.999 --> 99:59:59.999 The important part is that 99:59:59.999 --> 99:59:59.999 the exterior side, with the brachioradialis 99:59:59.999 --> 99:59:59.999 is going to not only curve outward more than the interior side, 99:59:59.999 --> 99:59:59.999 but also come up a bit higher than it. 99:59:59.999 --> 99:59:59.999 It should definitely feel like 99:59:59.999 --> 99:59:59.999 it starts its s-curve above the elbow. 99:59:59.999 --> 99:59:59.999 If we raise the arm up out to the side, 99:59:59.999 --> 99:59:59.999 yes you'll get a bit of the chain concept, 99:59:59.999 --> 99:59:59.999 but since you'll probably not be drawing massive bodybuilders 99:59:59.999 --> 99:59:59.999 it can become pretty minor. 99:59:59.999 --> 99:59:59.999 You do want to make sure that 99:59:59.999 --> 99:59:59.999 you're thinking about weight and gravity though. 99:59:59.999 --> 99:59:59.999 Obviously this gets a lot more extreme with age, 99:59:59.999 --> 99:59:59.999 but on any body type 99:59:59.999 --> 99:59:59.999 you should still be using these ideas 99:59:59.999 --> 99:59:59.999 to give you at least a little bit of subtle curve weight. 99:59:59.999 --> 99:59:59.999 Another useful reference point to think about 99:59:59.999 --> 99:59:59.999 comes from the shoulder muscle. 99:59:59.999 --> 99:59:59.999 The deltoid comes down to a bit 99:59:59.999 --> 99:59:59.999 of a point on the exterior of the arm. 99:59:59.999 --> 99:59:59.999 While not exact, this can still be used 99:59:59.999 --> 99:59:59.999 as a good way to indicate a break 99:59:59.999 --> 99:59:59.999 between the front bicep side of the arm, 99:59:59.999 --> 99:59:59.999 and the rare tricep side. 99:59:59.999 --> 99:59:59.999 Especially when you're dealing with more complex poses 99:59:59.999 --> 99:59:59.999 and off angle views. 99:59:59.999 --> 99:59:59.999 If I draw a quick arm over here on the left 99:59:59.999 --> 99:59:59.999 from a slightly awkward angle, 99:59:59.999 --> 99:59:59.999 adding a deltoid and letting it point a line 99:59:59.999 --> 99:59:59.999 towards the elbow can at least 99:59:59.999 --> 99:59:59.999 help us visualise the tricep and bicep sides of the arm. 99:59:59.999 --> 99:59:59.999 If this drawing looks weirdly off to you at first, 99:59:59.999 --> 99:59:59.999 that's good! 99:59:59.999 --> 99:59:59.999 The brachioradialis was not coming from the correct spot. 99:59:59.999 --> 99:59:59.999 Let's first recall that the brachioradialis should come from 99:59:59.999 --> 99:59:59.999 under the triceps and over the biceps, 99:59:59.999 --> 99:59:59.999 and using that line from the deltoid 99:59:59.999 --> 99:59:59.999 we can visualise this insertion 99:59:59.999 --> 99:59:59.999 much more clearly. 99:59:59.999 --> 99:59:59.999 Moving along, 99:59:59.999 --> 99:59:59.999 some of these straight armed elbows 99:59:59.999 --> 99:59:59.999 might be looking a bit wonky. 99:59:59.999 --> 99:59:59.999 So let's briefly mention them. 99:59:59.999 --> 99:59:59.999 The most important part of simple 'find the elbow' 99:59:59.999 --> 99:59:59.999 will definitely come from seeing 99:59:59.999 --> 99:59:59.999 the triceps and humerus all come together in a mass 99:59:59.999 --> 99:59:59.999 that leads straight down through the elbow 99:59:59.999 --> 99:59:59.999 and into the ulna. 99:59:59.999 --> 99:59:59.999 The funny bone and radius both become a bit 99:59:59.999 --> 99:59:59.999 indented on a straight arm, 99:59:59.999 --> 99:59:59.999 so you'll mostly see these 99:59:59.999 --> 99:59:59.999 little pockets of depth off to 99:59:59.999 --> 99:59:59.999 both sides of the triceps and ulna, with 99:59:59.999 --> 99:59:59.999 the forearm muscles pulling the forms back out 99:59:59.999 --> 99:59:59.999 and really solidifying those crevices. 99:59:59.999 --> 99:59:59.999 There's definitely a lot of skin going on 99:59:59.999 --> 99:59:59.999 in this area, so it tends to become quite 99:59:59.999 --> 99:59:59.999 wrinkly. There's even a slang name for this 99:59:59.999 --> 99:59:59.999 folded up skin - it's called the wenis. 99:59:59.999 --> 99:59:59.999 So, everybody should draw the wenis, the wenis is not a dance, 99:59:59.999 --> 99:59:59.999 and I'm happy to tell you this in advance. 99:59:59.999 --> 99:59:59.999 [laughs] Anyway, wrinkles are tricky. The general rule is to fold the skin with 99:59:59.999 --> 99:59:59.999 c-curves and s-curves in a way that squishes the curves together 99:59:59.999 --> 99:59:59.999 without ever feeling like they're going to cross each other 99:59:59.999 --> 99:59:59.999 or pass through the extended implied 99:59:59.999 --> 99:59:59.999 lines of other curves. 99:59:59.999 --> 99:59:59.999 You can compress a bunch of them into 99:59:59.999 --> 99:59:59.999 a small space, or just a couple, but I recommend wrinkling things up 99:59:59.999 --> 99:59:59.999 a bit above the elbow with perhaps some 99:59:59.999 --> 99:59:59.999 more drapery style folds hanging underneath. 99:59:59.999 --> 99:59:59.999 You can definitely develop your own stylistic 99:59:59.999 --> 99:59:59.999 approach to wrinkles, and they should feel similar in theory to clothing folds, 99:59:59.999 --> 99:59:59.999 but more organic with the lines. 99:59:59.999 --> 99:59:59.999 Just keep in mind, like with clothing folds, 99:59:59.999 --> 99:59:59.999 doing less is usually better when learning. 99:59:59.999 --> 99:59:59.999 Alright, a little bit more drawing in this section, because I want to 99:59:59.999 --> 99:59:59.999 also just quickly mention some size relations. 99:59:59.999 --> 99:59:59.999 I'm a serial offender of making my deltoids too small in drawings, 99:59:59.999 --> 99:59:59.999 so I'm trying to correct that. I think it can be useful to think of the upper 99:59:59.999 --> 99:59:59.999 arms as a length that goes from the top of the shoulder to the elbow. 99:59:59.999 --> 99:59:59.999 The top third of that length can be the 99:59:59.999 --> 99:59:59.999 distance of the deltoid going down the arm. 99:59:59.999 --> 99:59:59.999 I barely mentioned it before, but the triceps 99:59:59.999 --> 99:59:59.999 really have two main visible muscle bodies on the back of the arm. 99:59:59.999 --> 99:59:59.999 While they both have those high up muscle bodies, 99:59:59.999 --> 99:59:59.999 the interior side one is a bit longer down toward the elbow, 99:59:59.999 --> 99:59:59.999 while the exterior one is even more focussed at the top. 99:59:59.999 --> 99:59:59.999 The bottom of these muscle bodies and strong separation of them 99:59:59.999 --> 99:59:59.999 occurs roughly halfway down the upper arm unit, that we mentioned going 99:59:59.999 --> 99:59:59.999 from top of shoulder to elbow. 99:59:59.999 --> 99:59:59.999 You can kind of indicate this with a little butt shape on the back of the arm, 99:59:59.999 --> 99:59:59.999 especially if it's being flexed. The arm, not the butt. 99:59:59.999 --> 99:59:59.999 Okay, moving along to the world of movement, 99:59:59.999 --> 99:59:59.999 the elbow is basically just a fancy hinge 99:59:59.999 --> 99:59:59.999 joint with the funny bone on the interior, the ulna being the king in the center, 99:59:59.999 --> 99:59:59.999 and the radius on the exterior. When the arm is straight, they somewhat 99:59:59.999 --> 99:59:59.999 line up with the ulna sticking out a bit. 99:59:59.999 --> 99:59:59.999 From the interior view though, once 99:59:59.999 --> 99:59:59.999 we start curling the arm, obviously the funny bone isn't going anywhere. 99:59:59.999 --> 99:59:59.999 But the ulna is going to hinge around it and form a very boxy and angular 99:59:59.999 --> 99:59:59.999 silhouette, by letting your brain fixate on the line from funny bone to ulna. 99:59:59.999 --> 99:59:59.999 All of the tissue of the arm is going to crease at the insertion of the bicep 99:59:59.999 --> 99:59:59.999 and form a bit of a line that points mostly toward the funny bone side of things. 99:59:59.999 --> 99:59:59.999 The important take away is that interior arm equals boxy shape and long crease. 99:59:59.999 --> 99:59:59.999 Also, when you raise your arm with your bicep toward the sky, 99:59:59.999 --> 99:59:59.999 that means the deltoid is going to be pulled to the back of the shoulder. 99:59:59.999 --> 99:59:59.999 As it, once again, needs to be pointing towards the exterior line between 99:59:59.999 --> 99:59:59.999 bicep and tricep. 99:59:59.999 --> 99:59:59.999 Anyway, the exterior elbow view is a bit interesting. 99:59:59.999 --> 99:59:59.999 You'll of course be seeing the deltoid a lot more in this view 99:59:59.999 --> 99:59:59.999 where the exterior is facing back, 99:59:59.999 --> 99:59:59.999 but the interesting part is that you're now seeing 99:59:59.999 --> 99:59:59.999 both the radius and ulna in the straightened arm view. 99:59:59.999 --> 99:59:59.999 This means that when you curl your arm, those two lower 99:59:59.999 --> 99:59:59.999 arm bones are going to be traveling together. 99:59:59.999 --> 99:59:59.999 Even though the silhouette will fundamentally be the same, 99:59:59.999 --> 99:59:59.999 I find it very useful to acknowledge this anatomy by making the elbow 99:59:59.999 --> 99:59:59.999 feel like it just rounds up to and around these bones, 99:59:59.999 --> 99:59:59.999 instead of feeling boxy. 99:59:59.999 --> 99:59:59.999 You might also remember that the brachioradialis is on the exterior side, 99:59:59.999 --> 99:59:59.999 so that will create a mass in form that will squeeze from upper arm 99:59:59.999 --> 99:59:59.999 to lower arm. 99:59:59.999 --> 99:59:59.999 Because of this mass, the exterior crease here becomes a lot more 99:59:59.999 --> 99:59:59.999 chubbier and compressed. 99:59:59.999 --> 99:59:59.999 I like to use a shorter and splitting crease to hint at this 99:59:59.999 --> 99:59:59.999 thicker form. 99:59:59.999 --> 99:59:59.999 And you should try to hint at these things in any body type. 99:59:59.999 --> 99:59:59.999 From a different view, you can get some idea how all of these bones 99:59:59.999 --> 99:59:59.999 and muscles are working, but for now let's jump over to the 99:59:59.999 --> 99:59:59.999 forearm movements, because we have rotation to deal with. 99:59:59.999 --> 99:59:59.999 If you stick your right harm out in front of you, 99:59:59.999 --> 99:59:59.999 palm side up, this is the least twisted view of your forearem. 99:59:59.999 --> 99:59:59.999 The muscles and bones just carry forth to the hand in a linear fashion. 99:59:59.999 --> 99:59:59.999 This represents one extreme of your rotational movement. 99:59:59.999 --> 99:59:59.999 As we rotate the hand, the elbow won't be changing much, 99:59:59.999 --> 99:59:59.999 but the radius and brachioradialis will start twisting a bit 99:59:59.999 --> 99:59:59.999 to line up vertically at the wrist. 99:59:59.999 --> 99:59:59.999 The best thing you should observe on your own arm 99:59:59.999 --> 99:59:59.999 is how the s-curves are just as you rotate your hand. 99:59:59.999 --> 99:59:59.999 I'm not in love with the drawing on the right here, 99:59:59.999 --> 99:59:59.999 but the interior ulna side of things definitely changes up its 99:59:59.999 --> 99:59:59.999 s-curve the most, whereas the exterior side 99:59:59.999 --> 99:59:59.999 just shifts weight a little. 99:59:59.999 --> 99:59:59.999 Once your palm is facing downwards, the full range of motion is complete. 99:59:59.999 --> 99:59:59.999 This is as far as things can twist. 99:59:59.999 --> 99:59:59.999 The radius and ulna are now on opposite sides from the elbow. 99:59:59.999 --> 99:59:59.999 You might be thinking, 'what if I want to give a thumbs down?' 99:59:59.999 --> 99:59:59.999 Well, physically you can't. So be sure to remember that and like this video. 99:59:59.999 --> 99:59:59.999 If you do really want to point your thumb down, 99:59:59.999 --> 99:59:59.999 it requires you to actually rotate your entire arm so that your 99:59:59.999 --> 99:59:59.999 elbow is facing a different direction. 99:59:59.999 --> 99:59:59.999 Lastly, here I'll just mention, when your arms are at rest at your sides, 99:59:59.999 --> 99:59:59.999 the default comfortable state is that central, half-twisted state, 99:59:59.999 --> 99:59:59.999 not the completely untwisted state. 99:59:59.999 --> 99:59:59.999 Alright, let's go back to reducing information and recap what we've learned. 99:59:59.999 --> 99:59:59.999 Of course, it's pretty fun to draw giant musclebound arms, 99:59:59.999 --> 99:59:59.999 especially when you're trying to commit all these concepts to memory, 99:59:59.999 --> 99:59:59.999 but we also want to be able to simplify these things down 99:59:59.999 --> 99:59:59.999 into little anime stick arms. 99:59:59.999 --> 99:59:59.999 When you start out in art, it's fine to just think of the upper and lower arms 99:59:59.999 --> 99:59:59.999 as just cylinders, and as you get more comfortable, 99:59:59.999 --> 99:59:59.999 you can introduce some tapering into these forms. 99:59:59.999 --> 99:59:59.999 Eventually you will want to be capable of some level 99:59:59.999 --> 99:59:59.999 of form complexity. These cross sections are never just round. 99:59:59.999 --> 99:59:59.999 They have weird oblong shapes and blobby looking contours. 99:59:59.999 --> 99:59:59.999 I like to practice these things with what I would call 99:59:59.999 --> 99:59:59.999 skinny muscle forms. 99:59:59.999 --> 99:59:59.999 Maybe it's just my Samurai Champloo roots coming through again. 99:59:59.999 --> 99:59:59.999 A quick example though, starting with a deltoid and shoulder, 99:59:59.999 --> 99:59:59.999 letting it point toward an elbow, think I'll twist the bicep to the bottom on this one, 99:59:59.999 --> 99:59:59.999 bicep means curve weight closer to elbows, so we can even dive in 99:59:59.999 --> 99:59:59.999 with some angular shapes. 99:59:59.999 --> 99:59:59.999 With the bicep facing forward, that means the deltoid 99:59:59.999 --> 99:59:59.999 can be a bit further on top instead of on the back, 99:59:59.999 --> 99:59:59.999 and we can even hint at some tricep form above the separating line. 99:59:59.999 --> 99:59:59.999 That line will let us know where to pull the brachioradialis from, 99:59:59.999 --> 99:59:59.999 and then we can decide on the hand rotation and 99:59:59.999 --> 99:59:59.999 make everything line up. 99:59:59.999 --> 99:59:59.999 Design wise, it's good to play around with the ratios of rounded 99:59:59.999 --> 99:59:59.999 shapes and angular shapes. 99:59:59.999 --> 99:59:59.999 We alluded earlier to the exterior side feeling more rounded 99:59:59.999 --> 99:59:59.999 and the interior feeling more angular, when 99:59:59.999 --> 99:59:59.999 discussing the elbow hinge, 99:59:59.999 --> 99:59:59.999 so let's just run with that a bit more. 99:59:59.999 --> 99:59:59.999 What if we just always simplified things around the elbow 99:59:59.999 --> 99:59:59.999 by playing up rounded exteriors and angular interiors in the forearm? 99:59:59.999 --> 99:59:59.999 I just noticed that that letter pointing towards the tricep is a D instead of a T. 99:59:59.999 --> 99:59:59.999 Clearly getting a bit delirious at this point. 99:59:59.999 --> 99:59:59.999 Regardless, let's keep sketching. 99:59:59.999 --> 99:59:59.999 Here's a quick side view, still mostly practicing curve weights and that brachioradialis. 99:59:59.999 --> 99:59:59.999 Some slightly more exciting things we could try 99:59:59.999 --> 99:59:59.999 would be playing around with perspective and dynamic angles. 99:59:59.999 --> 99:59:59.999 If we imagine a Spiderman type arm pose, we could still 99:59:59.999 --> 99:59:59.999 think about where we could exaggerate our forearm muscles. 99:59:59.999 --> 99:59:59.999 I'll be honest though, I sort of got distracted right after starting 99:59:59.999 --> 99:59:59.999 this one, because I thought of some more stuff to mention. 99:59:59.999 --> 99:59:59.999 Such as, what does it look like if you 99:59:59.999 --> 99:59:59.999 just have your elbow sticking up in the air 99:59:59.999 --> 99:59:59.999 with your arm curled behind it? 99:59:59.999 --> 99:59:59.999 A lot of tricep weight at the bottom, 99:59:59.999 --> 99:59:59.999 but it really things out into a very skeletal look 99:59:59.999 --> 99:59:59.999 at the elbow. It does give a nice look at the radius, ulna and funny bone. 99:59:59.999 --> 99:59:59.999 This becomes instantly obscured by the forearm 99:59:59.999 --> 99:59:59.999 once you straighten the arm out a bit with those forearm muscles 99:59:59.999 --> 99:59:59.999 just taking over both sides of the elbow. 99:59:59.999 --> 99:59:59.999 But, this made me think of another scenario, 99:59:59.999 --> 99:59:59.999 how about when you're resting your weight 99:59:59.999 --> 99:59:59.999 on your elbow at a desk or table? 99:59:59.999 --> 99:59:59.999 Where do those forearm muscles go then? 99:59:59.999 --> 99:59:59.999 Well, since the brachioradialis connects to the humerus, 99:59:59.999 --> 99:59:59.999 it actually sits up higher, away from the elbow on the exterior side of things. 99:59:59.999 --> 99:59:59.999 I guess that's obvious enough, kind of like how it would look if you were 99:59:59.999 --> 99:59:59.999 drinking something. 99:59:59.999 --> 99:59:59.999 Just always be keeping track of where the thumb is, 99:59:59.999 --> 99:59:59.999 and where the exterior and interior of the elbow are, 99:59:59.999 --> 99:59:59.999 and you'll be fine. 99:59:59.999 --> 99:59:59.999 Now, we always have a common mistakes part in these videos. 99:59:59.999 --> 99:59:59.999 But, I think I've gone over things so much that we can try a pop quiz instead. 99:59:59.999 --> 99:59:59.999 I'll show a quick drawing with some weird mistake, and we'll see if 99:59:59.999 --> 99:59:59.999 you can deduce the problem. 99:59:59.999 --> 99:59:59.999 Like this. What's wrong with this? 99:59:59.999 --> 99:59:59.999 Well, you have two possible answers on this one, since we can't see the shoulder. 99:59:59.999 --> 99:59:59.999 We seem to be looking at the front of an arm, so either the brachioradialis 99:59:59.999 --> 99:59:59.999 is on the wrong side, or the hand should be mirrored. 99:59:59.999 --> 99:59:59.999 How about this one? Anything seem off to you? 99:59:59.999 --> 99:59:59.999 Well, I'm messing with you a bit, because 99:59:59.999 --> 99:59:59.999 it's the same thing, except this time you can see the deltoid, 99:59:59.999 --> 99:59:59.999 so there's only one answer. 99:59:59.999 --> 99:59:59.999 The brachioradialis is on the wrong side again. It should be on the exterior, 99:59:59.999 --> 99:59:59.999 not interior. 99:59:59.999 --> 99:59:59.999 Alright, I promise this one will be different. 99:59:59.999 --> 99:59:59.999 What's wrong this time? 99:59:59.999 --> 99:59:59.999 Doesn't seem too far off, the deltoid and forearm stuff seem okayish, 99:59:59.999 --> 99:59:59.999 this might be a subtle one, but I reversed the weight on the 99:59:59.999 --> 99:59:59.999 bicep and tricep curves. 99:59:59.999 --> 99:59:59.999 Remember the tricep should have mass closer to the shoulder, and the bicep 99:59:59.999 --> 99:59:59.999 curves closer to the elbow. 99:59:59.999 --> 99:59:59.999 That's a bit better. 99:59:59.999 --> 99:59:59.999 One last one. 99:59:59.999 --> 99:59:59.999 What's wrong now? 99:59:59.999 --> 99:59:59.999 Hmm, the brachioradialis is on the exterior, so that's fine. 99:59:59.999 --> 99:59:59.999 But it still looks a little strange. 99:59:59.999 --> 99:59:59.999 Well, that's because it needs to go over the bicep, not under it. 99:59:59.999 --> 99:59:59.999 And with that, I think we're done learning. 99:59:59.999 --> 99:59:59.999 You have graduated to the part of the video where we just take everything 99:59:59.999 --> 99:59:59.999 we learned and try to draw and paint arms from imagination. 99:59:59.999 --> 99:59:59.999 Hopefully they wind up looking alright. 99:59:59.999 --> 99:59:59.999 I will be using a simple flat brush for these lines, with pressure sensitivity 99:59:59.999 --> 99:59:59.999 mostly on size, but with a bit on opacity. 99:59:59.999 --> 99:59:59.999 That should make it feel pretty comfy and natural. 99:59:59.999 --> 99:59:59.999 One big concern I had going into this final section, 99:59:59.999 --> 99:59:59.999 is trying to make sure it stays focused on arms. 99:59:59.999 --> 99:59:59.999 Shoulders are a bit unavoidable, but I tried experimenting 99:59:59.999 --> 99:59:59.999 with ways to make the hands get less attention. 99:59:59.999 --> 99:59:59.999 Literal disjointed fingers and whatnot. 99:59:59.999 --> 99:59:59.999 Unfortunately, that actually made them stand out more, 99:59:59.999 --> 99:59:59.999 in rules of focus and contrast and whatnot, 99:59:59.999 --> 99:59:59.999 so eventually I'll get rid of that idea. 99:59:59.999 --> 99:59:59.999 What actually wound up being the biggest issue 99:59:59.999 --> 99:59:59.999 is just trying to come up with a good variety of poses. 99:59:59.999 --> 99:59:59.999 Once again, I considered crazy foreshortening, 99:59:59.999 --> 99:59:59.999 but then the page might feel less cohesive with the more traditional 99:59:59.999 --> 99:59:59.999 perspectives. 99:59:59.999 --> 99:59:59.999 I don't know. But I'm definitely enjoying the line art quality. 99:59:59.999 --> 99:59:59.999 There are a couple of disjointed lines here and there, 99:59:59.999 --> 99:59:59.999 but I tried to hit a good number of the c-curves and s-curves 99:59:59.999 --> 99:59:59.999 in single strokes. 99:59:59.999 --> 99:59:59.999 That can result in a lot of putting something down and then undoing it, 99:59:59.999 --> 99:59:59.999 redoing it, until I figure out what I want it to look like, 99:59:59.999 --> 99:59:59.999 but I'm mostly okay with that method. 99:59:59.999 --> 99:59:59.999 I can't be too chaotic with styles, but I did try to at least vary up 99:59:59.999 --> 99:59:59.999 the muscularity levels a bit as it goes on. 99:59:59.999 --> 99:59:59.999 My brain was pretty drained from all the previous arm drawings, 99:59:59.999 --> 99:59:59.999 so there are definitely a couple of moments where I've made up an arm 99:59:59.999 --> 99:59:59.999 and then moments later realised it was almost identical to one that was 99:59:59.999 --> 99:59:59.999 already on the page, like this last one. 99:59:59.999 --> 99:59:59.999 But I just decided to adjust the angle of it a bit and move on. 99:59:59.999 --> 99:59:59.999 For colors, I don't know how much I can really say that would be new, 99:59:59.999 --> 99:59:59.999 the skin video as well as the other videos have really covered the general 99:59:59.999 --> 99:59:59.999 stuff. But you can see I've lightened the line art into a lighter reddish tone, 99:59:59.999 --> 99:59:59.999 and then threw in my normal dull minty background. 99:59:59.999 --> 99:59:59.999 I like to mask out everything in order to watch transparency, which can 99:59:59.999 --> 99:59:59.999 be a bit tedious, but usually worth it in the long run. 99:59:59.999 --> 99:59:59.999 A big piece of advice is to make sure you don't instinctually start 99:59:59.999 --> 99:59:59.999 pressing hard with your stylus when blocking. 99:59:59.999 --> 99:59:59.999 This is always the most dangerous time for your hand and wrist health, 99:59:59.999 --> 99:59:59.999 because we tend to dig in harder when filling things in. 99:59:59.999 --> 99:59:59.999 Pressure is bad for your tendons. 99:59:59.999 --> 99:59:59.999 Anyway, once everything is blocked in, we can try out a variety 99:59:59.999 --> 99:59:59.999 of skin tones across the page. 99:59:59.999 --> 99:59:59.999 This is also a great time to introduce some hue variety by air brushing 99:59:59.999 --> 99:59:59.999 in reds on areas that might catch more sun damage, and things like that. 99:59:59.999 --> 99:59:59.999 The next step is form rendering, and I know some people like a more 99:59:59.999 --> 99:59:59.999 smooth gradiation and some people like a more chunkier chaotic painting approach. 99:59:59.999 --> 99:59:59.999 But, I'm going to try out some weirder ideas, 99:59:59.999 --> 99:59:59.999 and just try defining forms with blocky, contour tracing strokes. 99:59:59.999 --> 99:59:59.999 Honestly it's a bit weird at times for these videos, because I don't find myself 99:59:59.999 --> 99:59:59.999 with a strong preference. 99:59:59.999 --> 99:59:59.999 In my mind, as long as you have some understanding of the forms 99:59:59.999 --> 99:59:59.999 you can always either step up how abstract and chunky things are, 99:59:59.999 --> 99:59:59.999 or step it back into hypersoft air brushing. 99:59:59.999 --> 99:59:59.999 In any case, the important part is just knowing where the hard edges 99:59:59.999 --> 99:59:59.999 and soft edges should be. 99:59:59.999 --> 99:59:59.999 Now, how do you know which edges are hard and which are soft? 99:59:59.999 --> 99:59:59.999 Well, it's simple. If you would be okay with seeing an actual line at a specific 99:59:59.999 --> 99:59:59.999 spot in your drawing, then that can be a hard edge in your painting. 99:59:59.999 --> 99:59:59.999 If you think a line would look bad in your drawing, then stick to soft edges there. 99:59:59.999 --> 99:59:59.999 I already made pretty much all of the lines I wanted to make in the drawing stage, 99:59:59.999 --> 99:59:59.999 so those will be the only hard edges. 99:59:59.999 --> 99:59:59.999 Anyway, I started out pretty experimental, 99:59:59.999 --> 99:59:59.999 with some of the painting stuff early on, 99:59:59.999 --> 99:59:59.999 but I wasn't that into it this time, so I'm slowly going to be dialling that back 99:59:59.999 --> 99:59:59.999 as we go. Almost all of these arms 99:59:59.999 --> 99:59:59.999 are going to be out of direct light, you know, ambient light for the most part, 99:59:59.999 --> 99:59:59.999 aside from the one on the right that is reaching toward us. 99:59:59.999 --> 99:59:59.999 Doing this somewhat makes the whole image a bit darker and more saturated than 99:59:59.999 --> 99:59:59.999 I wanted, so I'll be desaturating and lightening it a bit as we go. 99:59:59.999 --> 99:59:59.999 Other than that, I definitely kept the line art in play for a lot longer than I normally do. 99:59:59.999 --> 99:59:59.999 It's not until most of the form rendering is complete that I actually 99:59:59.999 --> 99:59:59.999 flatten things down and start painting out the lines. 99:59:59.999 --> 99:59:59.999 This is also when I start playing with slightly more interesting shapes 99:59:59.999 --> 99:59:59.999 in some of them. 99:59:59.999 --> 99:59:59.999 The rim light is going to be pretty subtle today, 99:59:59.999 --> 99:59:59.999 I definitely made it more limelight than I normally recommend to people, 99:59:59.999 --> 99:59:59.999 but still trying to at least taper those lines and find some 99:59:59.999 --> 99:59:59.999 chunkier shapes with it. 99:59:59.999 --> 99:59:59.999 To bring back some of the other fun stuff from the skin rendering video, 99:59:59.999 --> 99:59:59.999 I decided to put in some body hair on the top left arm. 99:59:59.999 --> 99:59:59.999 Just a bit of fun with desaturating colors and pattern-based brushwork. 99:59:59.999 --> 99:59:59.999 This was also when I decided to at least connect the fingers that I had there, 99:59:59.999 --> 99:59:59.999 but we're almost done, so the last 99:59:59.999 --> 99:59:59.999 thing I want to have fun with, is bringing some of that body hair into the rim light. 99:59:59.999 --> 99:59:59.999 It makes the rim light a lot more fun. 99:59:59.999 --> 99:59:59.999 Definitely recommend trying it when you can. 99:59:59.999 --> 99:59:59.999 And, with that, this monster of a video is finally complete. 99:59:59.999 --> 99:59:59.999 It has been a journey, and while the drawings and paintings might not be perfect, 99:59:59.999 --> 99:59:59.999 hopefully you at least feel a bit more confident 99:59:59.999 --> 99:59:59.999 about being able to draw some fun arms from imagination. 99:59:59.999 --> 99:59:59.999 As always, the best way to fully learn is to mix in 99:59:59.999 --> 99:59:59.999 equal parts of drawing from human reference, 99:59:59.999 --> 99:59:59.999 doing master copies of other artists you like, 99:59:59.999 --> 99:59:59.999 and drawing from imagination. 99:59:59.999 --> 99:59:59.999 No matter how good or bad you might feel about 99:59:59.999 --> 99:59:59.999 one of these three parts, do them all evenly regardless. 99:59:59.999 --> 99:59:59.999 We only focussed on three main muscles in this video, 99:59:59.999 --> 99:59:59.999 so if you find yourself wanting to build up more complexity, 99:59:59.999 --> 99:59:59.999 just go check out one of the other amazing art YouTube 99:59:59.999 --> 99:59:59.999 channels that dives a bit deeper. 99:59:59.999 --> 99:59:59.999 Alright, I want to thank you all so much 99:59:59.999 --> 99:59:59.999 or at least giving this video a chance, 99:59:59.999 --> 99:59:59.999 I'm not a frequent uploader, so be sure to subecribe 99:59:59.999 --> 99:59:59.999 if you don't want to miss out on the 99:59:59.999 --> 99:59:59.999 handful of videos I put out each year. 99:59:59.999 --> 99:59:59.999 Of course, if you want some fun, specialised content 99:59:59.999 --> 99:59:59.999 the brainstorm classes have been going really well 99:59:59.999 --> 99:59:59.999 and its definitely worth your time and money 99:59:59.999 --> 99:59:59.999 if you haven't tried them out yet. 99:59:59.999 --> 99:59:59.999 Info is down in the description. 99:59:59.999 --> 99:59:59.999 I also, of course, do want to give an earnest thank you 99:59:59.999 --> 99:59:59.999 to the Patreon supporters that chip in 99:59:59.999 --> 99:59:59.999 money to keep these videos coming. 99:59:59.999 --> 99:59:59.999 You guys are wondeful. 99:59:59.999 --> 99:59:59.999 Seeya everyone. 99:59:59.999 --> 99:59:59.999 [Electronic buzz effect]