0:00:04.817,0:00:06.627 Hey everyone, Sinix here. 0:00:06.631,0:00:10.044 It's time for another episode of [br]Anatomy Quick Tips, 0:00:10.056,0:00:13.510 the series that is here to give you [br]some useful observations 0:00:13.510,0:00:15.488 and help you feel more comfortable with 0:00:15.488,0:00:17.681 drawing people from imagination. 0:00:17.687,0:00:20.395 Today, we'll be talking about arms - 0:00:20.395,0:00:22.934 and also, don't be alarmed but 0:00:22.934,0:00:27.018 this all-arm video puts [br]us near the end of this series, 0:00:27.018,0:00:29.457 only two more videos remain. 0:00:29.457,0:00:34.050 Regardless, for now let's just focus [br]on these upper appendages. 0:00:34.276,0:00:37.831 This probably won't be the funniest [br]video in this series or anything, 0:00:37.831,0:00:40.288 but it will be definitely be the [br]most humerus - 0:00:40.288,0:00:43.485 so roll up your sleeves [br]and let's get to work. 0:00:43.485,0:00:45.224 Starting out with structure, 0:00:45.224,0:00:48.715 we've already covered both [br]shoulders and hands 0:00:48.715,0:00:49.600 in other videos, 0:00:49.601,0:00:53.355 so we just need to make sure we [br]can bridge these things together. 0:00:53.355,0:00:58.210 I'm sketching a quick front, side and [br]back view of a shoulder to start. 0:00:58.506,0:01:01.367 Seeing a shoulder [br]and torso without the arm 0:01:01.367,0:01:04.235 always reminds me of a little [br]lamb or something... 0:01:04.235,0:01:06.783 but anyway, we're going to focus on 0:01:06.783,0:01:09.628 the skeletal breakdown of the arm first. 0:01:09.628,0:01:12.377 Of course we have a single major bone 0:01:12.377,0:01:13.562 in the upper arm 0:01:13.562,0:01:15.425 and two in the lower arm 0:01:15.425,0:01:16.983 connected at the elbow. 0:01:16.983,0:01:21.318 But as i draw that, the first thing [br]I actually want to point out 0:01:21.318,0:01:24.090 is that things aren't [br]in a perfect straight line. 0:01:24.090,0:01:26.138 You can even take a moment 0:01:26.138,0:01:27.737 and try to see this yourself - 0:01:27.737,0:01:30.233 just hold one arm out straight 0:01:30.233,0:01:32.341 and close your opposite eye. 0:01:32.341,0:01:35.582 Now do your best to [br]look directly straight down 0:01:35.582,0:01:37.789 the barrel of that massive gun you call 0:01:37.789,0:01:38.967 your upper arm. 0:01:38.967,0:01:42.186 If you line up your [br]sight from shoulder to elbow, 0:01:42.186,0:01:44.687 you'll notice the lower arm doesn't really 0:01:44.687,0:01:47.018 line up as much as you might've thought. 0:01:47.018,0:01:51.181 To get really good at [br]drawing any organic forms, 0:01:51.181,0:01:55.776 it's important to try and identify [br]these types of subtle offsets 0:01:55.776,0:01:57.733 as much as possible. 0:01:57.733,0:01:59.833 Anyway, let's get back to these bones. 0:01:59.833,0:02:01.843 The humerus is of course the bone 0:02:01.843,0:02:03.216 of the upper arm, 0:02:03.216,0:02:05.982 meanwhile the lower arm has the ulna, 0:02:05.982,0:02:08.989 which I would consider [br]the primary lower arm bone. 0:02:08.989,0:02:11.498 It's the one you would [br]be hitting someone with 0:02:11.498,0:02:12.564 if you elbowed them. 0:02:12.609,0:02:15.548 And then the radius, which originates 0:02:15.548,0:02:17.933 on the exterior side of the elbow 0:02:17.933,0:02:20.806 A.K.A the side that's further [br]away from your body - 0:02:20.806,0:02:24.544 and always connects to [br]the thumb-side of your hand. 0:02:24.817,0:02:27.799 So we can do a bit [br]of a rotational twisting 0:02:27.799,0:02:29.303 around the lower arm. 0:02:29.303,0:02:30.761 Hence the name 'radius'. 0:02:30.814,0:02:33.336 The last skeletal thing I want to mention 0:02:33.336,0:02:34.602 is the funny bone. 0:02:34.798,0:02:37.543 This is just an extension of the humerus 0:02:37.543,0:02:40.465 which protrudes on the [br]inner side of the elbow 0:02:40.465,0:02:41.981 closest to the body. 0:02:42.081,0:02:43.390 It's called the funny bone 0:02:43.390,0:02:46.047 because of an exposed [br]nerve ending next to it 0:02:46.047,0:02:48.293 that will send a shock up your arm 0:02:48.293,0:02:50.860 if you hit this part of the [br]elbow against something. 0:02:50.900,0:02:53.158 So if you ever see a chance to whack 0:02:53.158,0:02:55.882 your friend's funny bone [br]with your pencil or stylus 0:02:55.882,0:02:57.636 it's, you know, free comedy. 0:02:57.636,0:03:00.987 Alright, I added some [br]hands to these drawings, 0:03:00.987,0:03:03.532 and I know this isn't the hands video 0:03:03.532,0:03:07.556 but since wrists and organic [br]offsets are so important, 0:03:07.556,0:03:11.067 let's do a quick look at [br]that connection anyway. 0:03:11.140,0:03:13.027 Now keep in mind by the time 0:03:13.027,0:03:15.083 the radius and ulna get to the wrist 0:03:15.083,0:03:17.269 they'll always be side by side, 0:03:17.269,0:03:19.602 and therefore the lower arm connects in 0:03:19.602,0:03:22.296 a much flatter and wider way into the palm 0:03:22.296,0:03:23.289 and back of hand, 0:03:23.289,0:03:26.230 and thinner from the [br]side view of the hand. 0:03:26.412,0:03:28.673 Basic stuff, but the fun part is 0:03:28.673,0:03:31.327 any time you're adding a hand to an arm, 0:03:31.327,0:03:33.814 make sure to give it a bit of an offset 0:03:33.814,0:03:38.198 and step over toward the [br]thumb/radius side of things. 0:03:38.630,0:03:42.113 Similarly, from the side view [br]the hand should always 0:03:42.113,0:03:46.390 take a noticeable offsetting[br]step toward the palm side. 0:03:46.697,0:03:49.096 By the way when I say the word 'offset' 0:03:49.096,0:03:53.492 it usually just means not lined [br]up evenly with surrounding things. 0:03:53.698,0:03:56.802 Anyway, always make sure[br]the thumb side of the hand 0:03:56.802,0:03:59.477 feels more chunkier and substantial 0:03:59.477,0:04:01.366 than the pinky side of the palm. 0:04:01.606,0:04:03.362 With all of these ideas in mind, 0:04:03.362,0:04:06.298 you should be able to [br]develop a quick shorthand 0:04:06.298,0:04:08.834 for getting from the arm into the hand. 0:04:08.834,0:04:10.760 In fact, you should be able to 0:04:10.760,0:04:13.652 quickly deduce everything about the bones 0:04:13.657,0:04:16.787 and orientation of the [br]wrist without ever seeing 0:04:16.787,0:04:20.283 the thumbs or fingers or [br]any interior information. 0:04:20.283,0:04:23.208 So maybe see how quickly you can determine 0:04:23.208,0:04:25.229 where the radius and the ulna are 0:04:25.229,0:04:27.916 in any of these rough sketches I'm making. 0:04:27.916,0:04:31.557 Hopefully that seems easy enough. 0:04:31.557,0:04:35.415 Let's get back to structure and [br]talk about the muscle side of things. 0:04:35.488,0:04:37.509 We're going to make it really easy 0:04:37.509,0:04:38.967 for our drawing purposes 0:04:38.967,0:04:41.759 and only focus on three muscle groups. 0:04:41.834,0:04:45.050 The biceps are on [br]the front of your upper arm 0:04:45.050,0:04:47.307 and allow you to curl up your arm. 0:04:47.375,0:04:51.982 They insert under your shoulder [br]muscles and chest muscles on one end 0:04:51.982,0:04:56.161 and connect to the radius and [br]tissue around the ulna on the other end. 0:04:56.340,0:04:59.181 The triceps are on the back of your arm 0:04:59.181,0:05:01.550 and allow you to pull your arm straight. 0:05:01.550,0:05:06.206 They also come out from under your [br]shoulder muscles and similar back muscles 0:05:06.206,0:05:08.532 and connect to the end of the ulna. 0:05:08.682,0:05:12.532 And yes, the deltoids are [br]of course the shoulder muscles, 0:05:12.532,0:05:17.244 but the third muscle that we're[br]going to be fixating on in this video 0:05:17.244,0:05:20.101 is going to be the brachioradialis. 0:05:20.212,0:05:23.585 You must learn to [br]love the brachioradialis, 0:05:23.585,0:05:27.853 it will be a pivotal part of [br]this video in more ways than one. 0:05:28.322,0:05:32.055 These insertions points are [br]important, so keep them in mind. 0:05:32.055,0:05:35.800 It connects from [br]the lower back of the humerus 0:05:36.178,0:05:39.509 under the triceps and[br]it wraps around a bit 0:05:39.509,0:05:42.015 over parts of the lower biceps and 0:05:42.015,0:05:44.891 connects to the radius on the other side. 0:05:45.167,0:05:49.536 I will be exaggerating this [br]muscle heavily throughout this video, 0:05:49.536,0:05:52.791 so be aware of that strategic inflation. 0:05:52.791,0:05:55.210 We are going all in on the bray-ray. 0:05:55.453,0:05:58.100 I think that's enough structure though, so 0:05:58.100,0:06:00.567 let's get into some drawing practice. 0:06:00.737,0:06:03.266 A big theme in the land of arms will be 0:06:03.266,0:06:05.521 controlling our organic curves. 0:06:05.563,0:06:09.563 So I guess I will do a quick recap [br]on s-curves and c-curves. 0:06:09.678,0:06:12.095 Don't let the names [br]throw you off too much, 9:59:59.000,9:59:59.000 most of the s-curves and [br]c-curves you'll be drawing 9:59:59.000,9:59:59.000 are going to be extremely subtle. 9:59:59.000,9:59:59.000 Just a whisper of curvature [br]going on most of the time. 9:59:59.000,9:59:59.000 And it's good to practice that level of control 9:59:59.000,9:59:59.000 but an even more important thing to practise 9:59:59.000,9:59:59.000 is your ability to weight your curves. 9:59:59.000,9:59:59.000 Weighting your curves means changing up 9:59:59.000,9:59:59.000 the harshness of the curvature through the line. 9:59:59.000,9:59:59.000 So if the curve stays [br]consistent from start to finish, 9:59:59.000,9:59:59.000 that would be a weightless curve. 9:59:59.000,9:59:59.000 You can have the curve be [br]increasingly strong at the start 9:59:59.000,9:59:59.000 or the end of the line 9:59:59.000,9:59:59.000 to give it weight in a specific direction. 9:59:59.000,9:59:59.000 This is very, very important to practise 9:59:59.000,9:59:59.000 because we spend our entire childhoods writing 9:59:59.000,9:59:59.000 letters and shapes which [br]curve in a very balanced way, 9:59:59.000,9:59:59.000 but the more you can break away from that 9:59:59.000,9:59:59.000 the more organic your drawings will be, 9:59:59.000,9:59:59.000 so warm up with these often. 9:59:59.000,9:59:59.000 Alright, let's get into those [br]simplifications and reductions. 9:59:59.000,9:59:59.000 Or, rather maybe mention[br]another little side thing...? 9:59:59.000,9:59:59.000 Sorry, there's a lot of ways to think about arms. 9:59:59.000,9:59:59.000 Such as the chain, 9:59:59.000,9:59:59.000 a common trick for approaching arms 9:59:59.000,9:59:59.000 is to imagine a giant linking chain - 9:59:59.000,9:59:59.000 the idea being that since the upper arm is 9:59:59.000,9:59:59.000 wider from the side view than from a front view, 9:59:59.000,9:59:59.000 and meanwhile the forearm is the opposite, 9:59:59.000,9:59:59.000 it will generally create a nice little [br]back and forth between wide and narrow 9:59:59.000,9:59:59.000 which is definitely good for aesthetic purposes. 9:59:59.000,9:59:59.000 So you can use that as a little[br]mental note when applicable. 9:59:59.000,9:59:59.000 Meanwhile, to go back to [br]what we've just talked about 9:59:59.000,9:59:59.000 with curve weight, the most [br]important mental note I fixate on 9:59:59.000,9:59:59.000 is usually just where to weight the [br]curve for each part of the arm. 9:59:59.000,9:59:59.000 On the bicep side of the upper arm, 9:59:59.000,9:59:59.000 the curve weight is further toward the elbow. 9:59:59.000,9:59:59.000 Whereas on the back or tricep side of things, 9:59:59.000,9:59:59.000 the curve weight is closer to the shoulder. 9:59:59.000,9:59:59.000 The brachioradialis is definitely [br]weighted toward the upper forearm, 9:59:59.000,9:59:59.000 but is more rounded and gradual than 9:59:59.000,9:59:59.000 the opposite side of the forearm. 9:59:59.000,9:59:59.000 All of these things relate to 9:59:59.000,9:59:59.000 the actual muscle bodies of each muscle group, 9:59:59.000,9:59:59.000 the tricep being the most important one 9:59:59.000,9:59:59.000 to always remember, because 9:59:59.000,9:59:59.000 the muscle bodies are located [br]in the top half of the upper arm. 9:59:59.000,9:59:59.000 Okay so let's sum up the [br]straight arm simplifications 9:59:59.000,9:59:59.000 a bit more directly. 9:59:59.000,9:59:59.000 Back view of the arm, pop [br]forward, minimal twisting. 9:59:59.000,9:59:59.000 The upper arm might as well [br]just be a simple cylinder 9:59:59.000,9:59:59.000 with minimal tapering. 9:59:59.000,9:59:59.000 But the lower arm is going to feel 9:59:59.000,9:59:59.000 closer to an upside down bowling pin. 9:59:59.000,9:59:59.000 The important part is that 9:59:59.000,9:59:59.000 the exterior side, with the brachioradialis 9:59:59.000,9:59:59.000 is going to not only curve outward [br]more than the interior side, 9:59:59.000,9:59:59.000 but also come up a bit higher than it. 9:59:59.000,9:59:59.000 It should definitely feel like 9:59:59.000,9:59:59.000 it starts its s-curve above the elbow. 9:59:59.000,9:59:59.000 If we raise the arm up out to the side, 9:59:59.000,9:59:59.000 yes you'll get a bit of the chain concept, 9:59:59.000,9:59:59.000 but since you'll probably [br]not be drawing massive bodybuilders 9:59:59.000,9:59:59.000 it can become pretty minor. 9:59:59.000,9:59:59.000 You do want to make sure that 9:59:59.000,9:59:59.000 you're thinking about weight and gravity though. 9:59:59.000,9:59:59.000 Obviously this gets a lot more extreme with age, 9:59:59.000,9:59:59.000 but on any body type 9:59:59.000,9:59:59.000 you should still be using these ideas 9:59:59.000,9:59:59.000 to give you at least a little [br]bit of subtle curve weight. 9:59:59.000,9:59:59.000 Another useful reference point to think about 9:59:59.000,9:59:59.000 comes from the shoulder muscle. 9:59:59.000,9:59:59.000 The deltoid comes down to a bit 9:59:59.000,9:59:59.000 of a point on the exterior of the arm. 9:59:59.000,9:59:59.000 While not exact, this can still be used 9:59:59.000,9:59:59.000 as a good way to indicate a break 9:59:59.000,9:59:59.000 between the front bicep side of the arm, 9:59:59.000,9:59:59.000 and the rare tricep side. 9:59:59.000,9:59:59.000 Especially when you're dealing [br]with more complex poses 9:59:59.000,9:59:59.000 and off angle views. 9:59:59.000,9:59:59.000 If I draw a quick arm over here on the left 9:59:59.000,9:59:59.000 from a slightly awkward angle, 9:59:59.000,9:59:59.000 adding a deltoid and letting it point a line 9:59:59.000,9:59:59.000 towards the elbow can at least 9:59:59.000,9:59:59.000 help us visualise the tricep and bicep sides of the arm. 9:59:59.000,9:59:59.000 If this drawing looks weirdly off to you at first, 9:59:59.000,9:59:59.000 that's good! 9:59:59.000,9:59:59.000 The brachioradialis was not [br]coming from the correct spot. 9:59:59.000,9:59:59.000 Let's first recall that the [br]brachioradialis should come from 9:59:59.000,9:59:59.000 under the triceps and over the biceps, 9:59:59.000,9:59:59.000 and using that line from the deltoid 9:59:59.000,9:59:59.000 we can visualise this insertion 9:59:59.000,9:59:59.000 much more clearly. 9:59:59.000,9:59:59.000 Moving along, 9:59:59.000,9:59:59.000 some of these straight armed elbows 9:59:59.000,9:59:59.000 might be looking a bit wonky. 9:59:59.000,9:59:59.000 So let's briefly mention them. 9:59:59.000,9:59:59.000 The most important part [br]of simple 'find the elbow' 9:59:59.000,9:59:59.000 will definitely come from seeing 9:59:59.000,9:59:59.000 the triceps and humerus [br]all come together in a mass 9:59:59.000,9:59:59.000 that leads straight down through the elbow 9:59:59.000,9:59:59.000 and into the ulna. 9:59:59.000,9:59:59.000 The funny bone and radius both become a bit 9:59:59.000,9:59:59.000 indented on a straight arm, 9:59:59.000,9:59:59.000 so you'll mostly see these 9:59:59.000,9:59:59.000 little pockets of depth off to 9:59:59.000,9:59:59.000 both sides of the triceps and ulna, with 9:59:59.000,9:59:59.000 the forearm muscles pulling the forms back out 9:59:59.000,9:59:59.000 and really solidifying those crevices. 9:59:59.000,9:59:59.000 There's definitely a lot of skin going on 9:59:59.000,9:59:59.000 in this area, so it tends to become quite 9:59:59.000,9:59:59.000 wrinkly. There's even a slang name for this 9:59:59.000,9:59:59.000 folded up skin - it's called the wenis. 9:59:59.000,9:59:59.000 So, everybody should draw the wenis,[br]the wenis is not a dance, 9:59:59.000,9:59:59.000 and I'm happy to tell you this in advance. 9:59:59.000,9:59:59.000 [laughs] Anyway, wrinkles are tricky. The[br]general rule is to fold the skin with 9:59:59.000,9:59:59.000 c-curves and s-curves in a way that squishes[br]the curves together 9:59:59.000,9:59:59.000 without ever feeling like they're going to[br]cross each other 9:59:59.000,9:59:59.000 or pass through the extended implied 9:59:59.000,9:59:59.000 lines of other curves. 9:59:59.000,9:59:59.000 You can compress a bunch of them into 9:59:59.000,9:59:59.000 a small space, or just a couple, but I[br]recommend wrinkling things up 9:59:59.000,9:59:59.000 a bit above the elbow with perhaps some 9:59:59.000,9:59:59.000 more drapery style folds hanging underneath. 9:59:59.000,9:59:59.000 You can definitely develop your own stylistic 9:59:59.000,9:59:59.000 approach to wrinkles, and they should feel[br]similar in theory to clothing folds, 9:59:59.000,9:59:59.000 but more organic with the lines. 9:59:59.000,9:59:59.000 Just keep in mind, like with clothing folds, 9:59:59.000,9:59:59.000 doing less is usually better when learning. 9:59:59.000,9:59:59.000 Alright, a little bit more drawing in this [br]section, because I want to 9:59:59.000,9:59:59.000 also just quickly mention some size[br]relations. 9:59:59.000,9:59:59.000 I'm a serial offender of making my deltoids[br]too small in drawings, 9:59:59.000,9:59:59.000 so I'm trying to correct that. I think it[br]can be useful to think of the upper 9:59:59.000,9:59:59.000 arms as a length that goes from the top[br]of the shoulder to the elbow. 9:59:59.000,9:59:59.000 The top third of that length can be the 9:59:59.000,9:59:59.000 distance of the deltoid going down the arm. 9:59:59.000,9:59:59.000 I barely mentioned it before, but the triceps 9:59:59.000,9:59:59.000 really have two main visible muscle [br]bodies on the back of the arm. 9:59:59.000,9:59:59.000 While they both have those high up muscle[br]bodies, 9:59:59.000,9:59:59.000 the interior side one is a bit longer down[br]toward the elbow, 9:59:59.000,9:59:59.000 while the exterior one is even more[br]focussed at the top. 9:59:59.000,9:59:59.000 The bottom of these muscle bodies and[br]strong separation of them 9:59:59.000,9:59:59.000 occurs roughly halfway down the upper[br]arm unit, that we mentioned going 9:59:59.000,9:59:59.000 from top of shoulder to elbow. 9:59:59.000,9:59:59.000 You can kind of indicate this with a little[br]butt shape on the back of the arm, 9:59:59.000,9:59:59.000 especially if it's being flexed. The arm, [br]not the butt. 9:59:59.000,9:59:59.000 Okay, moving along to the world of [br]movement, 9:59:59.000,9:59:59.000 the elbow is basically just a fancy hinge 9:59:59.000,9:59:59.000 joint with the funny bone on the interior,[br]the ulna being the king in the center, 9:59:59.000,9:59:59.000 and the radius on the exterior. When the arm[br]is straight, they somewhat 9:59:59.000,9:59:59.000 line up with the ulna sticking out a bit. 9:59:59.000,9:59:59.000 From the interior view though, once 9:59:59.000,9:59:59.000 we start curling the arm, obviously the[br]funny bone isn't going anywhere. 9:59:59.000,9:59:59.000 But the ulna is going to hinge around it [br]and form a very boxy and angular 9:59:59.000,9:59:59.000 silhouette, by letting your brain fixate[br]on the line from funny bone to ulna. 9:59:59.000,9:59:59.000 All of the tissue of the arm is going to [br]crease at the insertion of the bicep 9:59:59.000,9:59:59.000 and form a bit of a line that points mostly[br]toward the funny bone side of things. 9:59:59.000,9:59:59.000 The important take away is that interior[br]arm equals boxy shape and long crease. 9:59:59.000,9:59:59.000 Also, when you raise your arm with your[br]bicep toward the sky, 9:59:59.000,9:59:59.000 that means the deltoid is going to be [br]pulled to the back of the shoulder. 9:59:59.000,9:59:59.000 As it, once again, needs to be pointing[br]towards the exterior line between 9:59:59.000,9:59:59.000 bicep and tricep. 9:59:59.000,9:59:59.000 Anyway, the exterior elbow view is a bit[br]interesting. 9:59:59.000,9:59:59.000 You'll of course be seeing the deltoid a lot more in this view 9:59:59.000,9:59:59.000 where the exterior is facing back, 9:59:59.000,9:59:59.000 but the interesting part is that you're now seeing 9:59:59.000,9:59:59.000 both the radius and ulna in the straightened arm view. 9:59:59.000,9:59:59.000 This means that when you curl your arm, those two lower 9:59:59.000,9:59:59.000 arm bones are going to be traveling together. 9:59:59.000,9:59:59.000 Even though the silhouette will fundamentally be the same, 9:59:59.000,9:59:59.000 I find it very useful to acknowledge this anatomy by making the elbow 9:59:59.000,9:59:59.000 feel like it just rounds up to and around these bones, 9:59:59.000,9:59:59.000 instead of feeling boxy. 9:59:59.000,9:59:59.000 You might also remember that the brachioradialis is on the exterior side, 9:59:59.000,9:59:59.000 so that will create a mass in form that will squeeze from upper arm 9:59:59.000,9:59:59.000 to lower arm. 9:59:59.000,9:59:59.000 Because of this mass, the exterior crease here becomes a lot more 9:59:59.000,9:59:59.000 chubbier and compressed. 9:59:59.000,9:59:59.000 I like to use a shorter and splitting crease to hint at this 9:59:59.000,9:59:59.000 thicker form. 9:59:59.000,9:59:59.000 And you should try to hint at these things in any body type. 9:59:59.000,9:59:59.000 From a different view, you can get some idea how all of these bones 9:59:59.000,9:59:59.000 and muscles are working, but for now let's jump over to the 9:59:59.000,9:59:59.000 forearm movements, because we have rotation to deal with. 9:59:59.000,9:59:59.000 If you stick your right harm out in front of you, 9:59:59.000,9:59:59.000 palm side up, this is the least twisted view of your forearem. 9:59:59.000,9:59:59.000 The muscles and bones just carry forth to the hand in a linear fashion. 9:59:59.000,9:59:59.000 This represents one extreme of your rotational movement. 9:59:59.000,9:59:59.000 As we rotate the hand, the elbow won't be changing much, 9:59:59.000,9:59:59.000 but the radius and brachioradialis will start twisting a bit 9:59:59.000,9:59:59.000 to line up vertically at the wrist. 9:59:59.000,9:59:59.000 The best thing you should observe on your own arm 9:59:59.000,9:59:59.000 is how the s-curves are just as you rotate your hand. 9:59:59.000,9:59:59.000 I'm not in love with the drawing on the right here, 9:59:59.000,9:59:59.000 but the interior ulna side of things definitely changes up its 9:59:59.000,9:59:59.000 s-curve the most, whereas the exterior side 9:59:59.000,9:59:59.000 just shifts weight a little. 9:59:59.000,9:59:59.000 Once your palm is facing downwards, the full range of motion is complete. 9:59:59.000,9:59:59.000 This is as far as things can twist. 9:59:59.000,9:59:59.000 The radius and ulna are now on opposite sides from the elbow. 9:59:59.000,9:59:59.000 You might be thinking, 'what if I want to give a thumbs down?' 9:59:59.000,9:59:59.000 Well, physically you can't. So be sure to remember that and like this video. 9:59:59.000,9:59:59.000 If you do really want to point your thumb down, 9:59:59.000,9:59:59.000 it requires you to actually rotate your entire arm so that your 9:59:59.000,9:59:59.000 elbow is facing a different direction. 9:59:59.000,9:59:59.000 Lastly, here I'll just mention, when your arms are at rest at your sides, 9:59:59.000,9:59:59.000 the default comfortable state is that central, half-twisted state, 9:59:59.000,9:59:59.000 not the completely untwisted state. 9:59:59.000,9:59:59.000 Alright, let's go back to reducing information and recap what we've learned. 9:59:59.000,9:59:59.000 Of course, it's pretty fun to draw giant musclebound arms, 9:59:59.000,9:59:59.000 especially when you're trying to commit all these concepts to memory, 9:59:59.000,9:59:59.000 but we also want to be able to simplify these things down 9:59:59.000,9:59:59.000 into little anime stick arms. 9:59:59.000,9:59:59.000 When you start out in art, it's fine to just think of the upper and lower arms 9:59:59.000,9:59:59.000 as just cylinders, and as you get more comfortable, 9:59:59.000,9:59:59.000 you can introduce some tapering into these forms. 9:59:59.000,9:59:59.000 Eventually you will want to be capable of some level 9:59:59.000,9:59:59.000 of form complexity. These cross sections are never just round. 9:59:59.000,9:59:59.000 They have weird oblong shapes and blobby looking contours. 9:59:59.000,9:59:59.000 I like to practice these things with what I would call 9:59:59.000,9:59:59.000 skinny muscle forms. 9:59:59.000,9:59:59.000 Maybe it's just my Samurai Champloo roots coming through again. 9:59:59.000,9:59:59.000 A quick example though, starting with a deltoid and shoulder, 9:59:59.000,9:59:59.000 letting it point toward an elbow, think I'll twist the bicep to the bottom on this one, 9:59:59.000,9:59:59.000 bicep means curve weight closer to elbows, so we can even dive in 9:59:59.000,9:59:59.000 with some angular shapes. 9:59:59.000,9:59:59.000 With the bicep facing forward, that means the deltoid 9:59:59.000,9:59:59.000 can be a bit further on top instead of on the back, 9:59:59.000,9:59:59.000 and we can even hint at some tricep form above the separating line. 9:59:59.000,9:59:59.000 That line will let us know where to pull the brachioradialis from, 9:59:59.000,9:59:59.000 and then we can decide on the hand rotation and 9:59:59.000,9:59:59.000 make everything line up. 9:59:59.000,9:59:59.000 Design wise, it's good to play around with the ratios of rounded 9:59:59.000,9:59:59.000 shapes and angular shapes. 9:59:59.000,9:59:59.000 We alluded earlier to the exterior side feeling more rounded 9:59:59.000,9:59:59.000 and the interior feeling more angular, when 9:59:59.000,9:59:59.000 discussing the elbow hinge, 9:59:59.000,9:59:59.000 so let's just run with that a bit more. 9:59:59.000,9:59:59.000 What if we just always simplified things around the elbow 9:59:59.000,9:59:59.000 by playing up rounded exteriors and angular interiors in the forearm? 9:59:59.000,9:59:59.000 I just noticed that that letter pointing towards the tricep is a D instead of a T. 9:59:59.000,9:59:59.000 Clearly getting a bit delirious at this point. 9:59:59.000,9:59:59.000 Regardless, let's keep sketching. 9:59:59.000,9:59:59.000 Here's a quick side view, still mostly practicing [br]curve weights and that brachioradialis. 9:59:59.000,9:59:59.000 Some slightly more exciting things we could try 9:59:59.000,9:59:59.000 would be playing around with perspective and dynamic angles. 9:59:59.000,9:59:59.000 If we imagine a Spiderman type arm pose, we could still 9:59:59.000,9:59:59.000 think about where we could exaggerate our forearm muscles. 9:59:59.000,9:59:59.000 I'll be honest though, I sort of got distracted right after starting 9:59:59.000,9:59:59.000 this one, because I thought of some more stuff to mention. 9:59:59.000,9:59:59.000 Such as, what does it look like if you 9:59:59.000,9:59:59.000 just have your elbow sticking up in the air 9:59:59.000,9:59:59.000 with your arm curled behind it? 9:59:59.000,9:59:59.000 A lot of tricep weight at the bottom, 9:59:59.000,9:59:59.000 but it really things out into a very skeletal look 9:59:59.000,9:59:59.000 at the elbow. It does give a nice look at the [br]radius, ulna and funny bone. 9:59:59.000,9:59:59.000 This becomes instantly obscured by the forearm 9:59:59.000,9:59:59.000 once you straighten the arm out a bit[br]with those forearm muscles 9:59:59.000,9:59:59.000 just taking over both sides of the elbow. 9:59:59.000,9:59:59.000 But, this made me think of another scenario, 9:59:59.000,9:59:59.000 how about when you're resting your weight 9:59:59.000,9:59:59.000 on your elbow at a desk or table? 9:59:59.000,9:59:59.000 Where do those forearm muscles go then? 9:59:59.000,9:59:59.000 Well, since the brachioradialis connects[br]to the humerus, 9:59:59.000,9:59:59.000 it actually sits up higher, away from the elbow[br]on the exterior side of things. 9:59:59.000,9:59:59.000 I guess that's obvious enough, kind of like[br]how it would look if you were 9:59:59.000,9:59:59.000 drinking something. 9:59:59.000,9:59:59.000 Just always be keeping track of where[br]the thumb is, 9:59:59.000,9:59:59.000 and where the exterior and interior[br]of the elbow are, 9:59:59.000,9:59:59.000 and you'll be fine. 9:59:59.000,9:59:59.000 Now, we always have a common mistakes[br]part in these videos. 9:59:59.000,9:59:59.000 But, I think I've gone over things so much[br]that we can try a pop quiz instead. 9:59:59.000,9:59:59.000 I'll show a quick drawing with some[br]weird mistake, and we'll see if 9:59:59.000,9:59:59.000 you can deduce the problem. 9:59:59.000,9:59:59.000 Like this. What's wrong with this? 9:59:59.000,9:59:59.000 Well, you have two possible answers on [br]this one, since we can't see the shoulder. 9:59:59.000,9:59:59.000 We seem to be looking at the front of an [br]arm, so either the brachioradialis 9:59:59.000,9:59:59.000 is on the wrong side, or the hand[br]should be mirrored. 9:59:59.000,9:59:59.000 How about this one? Anything seem off[br]to you? 9:59:59.000,9:59:59.000 Well, I'm messing with you a bit, because 9:59:59.000,9:59:59.000 it's the same thing, except this time you [br]can see the deltoid, 9:59:59.000,9:59:59.000 so there's only one answer. 9:59:59.000,9:59:59.000 The brachioradialis is on the wrong side[br]again. It should be on the exterior, 9:59:59.000,9:59:59.000 not interior. 9:59:59.000,9:59:59.000 Alright, I promise this one will be different. 9:59:59.000,9:59:59.000 What's wrong this time? 9:59:59.000,9:59:59.000 Doesn't seem too far off, the deltoid[br]and forearm stuff seem okayish, 9:59:59.000,9:59:59.000 this might be a subtle one, but I [br]reversed the weight on the 9:59:59.000,9:59:59.000 bicep and tricep curves. 9:59:59.000,9:59:59.000 Remember the tricep should have mass [br]closer to the shoulder, and the bicep 9:59:59.000,9:59:59.000 curves closer to the elbow. 9:59:59.000,9:59:59.000 That's a bit better. 9:59:59.000,9:59:59.000 One last one. 9:59:59.000,9:59:59.000 What's wrong now? 9:59:59.000,9:59:59.000 Hmm, the brachioradialis is on the [br]exterior, so that's fine. 9:59:59.000,9:59:59.000 But it still looks a little strange. 9:59:59.000,9:59:59.000 Well, that's because it needs to go over[br]the bicep, not under it. 9:59:59.000,9:59:59.000 And with that, I think we're done learning. 9:59:59.000,9:59:59.000 You have graduated to the part of the[br]video where we just take everything 9:59:59.000,9:59:59.000 we learned and try to draw and paint[br]arms from imagination. 9:59:59.000,9:59:59.000 Hopefully they wind up looking alright. 9:59:59.000,9:59:59.000 I will be using a simple flat brush for these[br]lines, with pressure sensitivity 9:59:59.000,9:59:59.000 mostly on size, but with a bit on opacity. 9:59:59.000,9:59:59.000 That should make it feel pretty comfy and natural. 9:59:59.000,9:59:59.000 One big concern I had going into this final section, 9:59:59.000,9:59:59.000 is trying to make sure it stays focused on arms. 9:59:59.000,9:59:59.000 Shoulders are a bit unavoidable, but I tried experimenting 9:59:59.000,9:59:59.000 with ways to make the hands get less attention. 9:59:59.000,9:59:59.000 Literal disjointed fingers and whatnot. 9:59:59.000,9:59:59.000 Unfortunately, that actually made them [br]stand out more, 9:59:59.000,9:59:59.000 in rules of focus and contrast and whatnot, 9:59:59.000,9:59:59.000 so eventually I'll get rid of that idea. 9:59:59.000,9:59:59.000 What actually wound up being the biggest issue 9:59:59.000,9:59:59.000 is just trying to come up with a good [br]variety of poses. 9:59:59.000,9:59:59.000 Once again, I considered crazy foreshortening, 9:59:59.000,9:59:59.000 but then the page might feel less cohesive with the more traditional 9:59:59.000,9:59:59.000 perspectives. 9:59:59.000,9:59:59.000 I don't know. But I'm definitely enjoying[br]the line art quality. 9:59:59.000,9:59:59.000 There are a couple of disjointed lines [br]here and there, 9:59:59.000,9:59:59.000 but I tried to hit a good number of[br]the c-curves and s-curves 9:59:59.000,9:59:59.000 in single strokes. 9:59:59.000,9:59:59.000 That can result in a lot of putting something[br]down and then undoing it, 9:59:59.000,9:59:59.000 redoing it, until I figure out what [br]I want it to look like, 9:59:59.000,9:59:59.000 but I'm mostly okay with that method. 9:59:59.000,9:59:59.000 I can't be too chaotic with styles, but[br]I did try to at least vary up 9:59:59.000,9:59:59.000 the muscularity levels a bit as it goes on. 9:59:59.000,9:59:59.000 My brain was pretty drained from all the[br]previous arm drawings, 9:59:59.000,9:59:59.000 so there are definitely a couple of [br]moments where I've made up an arm 9:59:59.000,9:59:59.000 and then moments later realised it was [br]almost identical to one that was 9:59:59.000,9:59:59.000 already on the page, like this last one. 9:59:59.000,9:59:59.000 But I just decided to adjust the angle of [br]it a bit and move on. 9:59:59.000,9:59:59.000 For colors, I don't know how much I can [br]really say that would be new, 9:59:59.000,9:59:59.000 the skin video as well as the other [br]videos have really covered the general 9:59:59.000,9:59:59.000 stuff. But you can see I've lightened the[br]line art into a lighter reddish tone, 9:59:59.000,9:59:59.000 and then threw in my normal dull[br]minty background. 9:59:59.000,9:59:59.000 I like to mask out everything in order[br]to watch transparency, which can 9:59:59.000,9:59:59.000 be a bit tedious, but usually worth[br]it in the long run. 9:59:59.000,9:59:59.000 A big piece of advice is to make sure[br]you don't instinctually start 9:59:59.000,9:59:59.000 pressing hard with your stylus when blocking. 9:59:59.000,9:59:59.000 This is always the most dangerous time for[br]your hand and wrist health, 9:59:59.000,9:59:59.000 because we tend to dig in harder when[br]filling things in. 9:59:59.000,9:59:59.000 Pressure is bad for your tendons. 9:59:59.000,9:59:59.000 Anyway, once everything is blocked in, [br]we can try out a variety 9:59:59.000,9:59:59.000 of skin tones across the page. 9:59:59.000,9:59:59.000 This is also a great time to introduce some[br]hue variety by air brushing 9:59:59.000,9:59:59.000 in reds on areas that might catch more[br]sun damage, and things like that. 9:59:59.000,9:59:59.000 The next step is form rendering, and I [br]know some people like a more 9:59:59.000,9:59:59.000 smooth gradiation and some people like a [br]more chunkier chaotic painting approach. 9:59:59.000,9:59:59.000 But, I'm going to try out some weirder ideas, 9:59:59.000,9:59:59.000 and just try defining forms with blocky,[br]contour tracing strokes. 9:59:59.000,9:59:59.000 Honestly it's a bit weird at times for these[br]videos, because I don't find myself 9:59:59.000,9:59:59.000 with a strong preference. 9:59:59.000,9:59:59.000 In my mind, as long as you have some[br]understanding of the forms 9:59:59.000,9:59:59.000 you can always either step up how[br]abstract and chunky things are, 9:59:59.000,9:59:59.000 or step it back into hypersoft air brushing. 9:59:59.000,9:59:59.000 In any case, the important part is [br]just knowing where the hard edges 9:59:59.000,9:59:59.000 and soft edges should be. 9:59:59.000,9:59:59.000 Now, how do you know which edges are hard[br]and which are soft? 9:59:59.000,9:59:59.000 Well, it's simple. If you would be okay with[br]seeing an actual line at a specific 9:59:59.000,9:59:59.000 spot in your drawing, then that can be[br]a hard edge in your painting. 9:59:59.000,9:59:59.000 If you think a line would look bad in your[br]drawing, then stick to soft edges there. 9:59:59.000,9:59:59.000 I already made pretty much all of the lines[br]I wanted to make in the drawing stage, 9:59:59.000,9:59:59.000 so those will be the only hard edges. 9:59:59.000,9:59:59.000 Anyway, I started out pretty experimental, 9:59:59.000,9:59:59.000 with some of the painting stuff early on, 9:59:59.000,9:59:59.000 but I wasn't that into it this time, so I'm [br]slowly going to be dialling that back 9:59:59.000,9:59:59.000 as we go. Almost all of these arms 9:59:59.000,9:59:59.000 are going to be out of direct light, you know,[br]ambient light for the most part, 9:59:59.000,9:59:59.000 aside from the one on the right that is[br]reaching toward us. 9:59:59.000,9:59:59.000 Doing this somewhat makes the whole image[br]a bit darker and more saturated than 9:59:59.000,9:59:59.000 I wanted, so I'll be desaturating and [br]lightening it a bit as we go. 9:59:59.000,9:59:59.000 Other than that, I definitely kept the line[br]art in play for a lot longer than I normally do. 9:59:59.000,9:59:59.000 It's not until most of the form rendering[br]is complete that I actually 9:59:59.000,9:59:59.000 flatten things down and start painting[br]out the lines. 9:59:59.000,9:59:59.000 This is also when I start playing with [br]slightly more interesting shapes 9:59:59.000,9:59:59.000 in some of them. 9:59:59.000,9:59:59.000 The rim light is going to be pretty [br]subtle today, 9:59:59.000,9:59:59.000 I definitely made it more limelight than[br]I normally recommend to people, 9:59:59.000,9:59:59.000 but still trying to at least taper[br]those lines and find some 9:59:59.000,9:59:59.000 chunkier shapes with it. 9:59:59.000,9:59:59.000 To bring back some of the other fun stuff[br]from the skin rendering video, 9:59:59.000,9:59:59.000 I decided to put in some body hair on[br]the top left arm. 9:59:59.000,9:59:59.000 Just a bit of fun with desaturating colors[br]and pattern-based brushwork. 9:59:59.000,9:59:59.000 This was also when I decided to at[br]least connect the fingers that I had there, 9:59:59.000,9:59:59.000 but we're almost done, so the last 9:59:59.000,9:59:59.000 thing I want to have fun with, is bringing[br]some of that body hair into the rim light. 9:59:59.000,9:59:59.000 It makes the rim light a lot more fun. 9:59:59.000,9:59:59.000 Definitely recommend trying it when you can. 9:59:59.000,9:59:59.000 And, with that, this monster of a video is finally complete. 9:59:59.000,9:59:59.000 It has been a journey, and while the drawings and paintings might not be perfect, 9:59:59.000,9:59:59.000 hopefully you at least feel a bit more confident 9:59:59.000,9:59:59.000 about being able to draw some fun arms from imagination. 9:59:59.000,9:59:59.000 As always, the best way to fully learn is to mix in 9:59:59.000,9:59:59.000 equal parts of drawing from human reference, 9:59:59.000,9:59:59.000 doing master copies of other artists you like, 9:59:59.000,9:59:59.000 and drawing from imagination. 9:59:59.000,9:59:59.000 No matter how good or bad you might feel about 9:59:59.000,9:59:59.000 one of these three parts, do them all evenly regardless. 9:59:59.000,9:59:59.000 We only focussed on three main muscles in this video, 9:59:59.000,9:59:59.000 so if you find yourself wanting to build up more complexity, 9:59:59.000,9:59:59.000 just go check out one of the other amazing art YouTube 9:59:59.000,9:59:59.000 channels that dives a bit deeper. 9:59:59.000,9:59:59.000 Alright, I want to thank you all so much 9:59:59.000,9:59:59.000 or at least giving this video a chance, 9:59:59.000,9:59:59.000 I'm not a frequent uploader, so be sure to subecribe 9:59:59.000,9:59:59.000 if you don't want to miss out on the 9:59:59.000,9:59:59.000 handful of videos I put out each year. 9:59:59.000,9:59:59.000 Of course, if you want some fun, specialised content 9:59:59.000,9:59:59.000 the brainstorm classes have been going really well 9:59:59.000,9:59:59.000 and its definitely worth your time and money 9:59:59.000,9:59:59.000 if you haven't tried them out yet. 9:59:59.000,9:59:59.000 Info is down in the description. 9:59:59.000,9:59:59.000 I also, of course, do want to give an earnest thank you 9:59:59.000,9:59:59.000 to the Patreon supporters that chip in 9:59:59.000,9:59:59.000 money to keep these videos coming. 9:59:59.000,9:59:59.000 You guys are wondeful. 9:59:59.000,9:59:59.000 Seeya everyone. 9:59:59.000,9:59:59.000 [Electronic buzz effect]