to be critiquing The shoulder girl or the shoulder bones. If you haven't seen the shoulder

lesson, click on the link in the description and watch that first. And then actually do

the assignments before you watch me critique other people's assignments. I think you should

attempt it before you watch corrections.

Okay, Alejandro Farrera Hernandez, nice drawings, very three dimensional. The first thing that

pops out at me is the spine of the scapula that you're drawing right in there. So first

of all, it's way too big at the connection point, and it looks like it's connecting inside

the scapula. It should go all the way to the edge. So I would draw it all the way to here,

and then the bottom would go something like this. All that right there is extra, and it

looks like you did the same thing there. Same thing there. It should- You see this corner?

That's where the spine of the scapula connects, right in there. The other thing I'm seeing

in this first one, is that the scapula is just a little bit too big for the rib cage

shape. Let me show you a 3D model, and that'll help you see the difference. So bottom of

the rib cage, top of rib cage, and top of the scapula from this angle, about the same

level. Bottom of the scapula, see how it's just slightly less than half? Right there

would be half, or right there would be twice the size of the scapula. But on yours, you're

making the scapula more than half.

Okay, next is Tomas de Zarate. Tomas, you gave us this. So I'm going to be a buzz kill

here and say too early to start shading. Your structure just isn't there yet. There's not

enough understanding of the forms yet for you to get distracted with shading. It'd be

better for you to spend your time learning that stuff than to add cast shadows and stuff.

It looks nice, but that stuff is really easy. If you really want to progress, it's better

if you spend your time on things that will give you the most growth. And for you, it's

going to be structure. So try to be a little bit more disciplined and avoid some of that

fun stuff that makes your drawing look better but doesn't really help you improve.

Okay, this one is my favorite submission. It's from Todd Jaeger. He did a lot of them.

And not only did he do a lot, but he did a lot of research for each one of them. He looked

for outside sources. He looked at other references to really figure out what's happening in the

photo. So let's look at some of these. This first one, you covered up all the bones, except

the landmarks, so that's fine. But I guess I'll critique the muscles. First thing I'm

seeing is, looks like you've got some fibers going down this way. That is not correct.

From here, the fibers would attach and then they'd go from the front. They'd actually

kind of splay out like that, and it would attach all along the side over here. Another

thing about the trapezius muscle, right in here, you kind of just drew a round shape.

I like to show where that's actually attaching. So show this going all the way to the spine

of the scapula here, and then this whole part is tendon. So the tendon covers up all of

this. And I like to draw the tendon of a muscle, because it's a continuation of the muscle

and it really shows the point to which that muscle is going. Otherwise, it's just a floating

shape, it's a blob. It's not attached to anything. So yeah, drawing it all the way to the bone

is a good practice for these muscles.

Okay, let's move onto this next one. I like this drawing better than this one, mainly

because the relationship between the scapulas is more correct. One, you have the correct

angles. See how these are a little bit more vertical. Here you're showing way too much

lateral rotation. I'm not seeing that. Look on this guy, those are the angles, almost

vertical lines. Another thing is look at the gesture you're showing. It's not symmetrical.

The one on the right is dipping too much and the one on the left is raising. So when you

draw these, look for the gesture line between the spine of the scapulas. You can usually

connect them. So right in here, it goes all the way across to the other side. There's

your gesture line. And then you'd have the spine, medial edge.

So these are all very nice lines and grid lines you can start with before you start

putting in the structure, and it'll help you find the placement of the things correctly.

Whereas on yours, it looks like you started drawing the parts, and then once all the parts

were there, they didn't relate correctly. The position is all off. So gesture lines,

find the placements, and that'll help you place correctly.

In this one, similar thing as you did before: right shoulder is too low, left is high. Well,

the left one is more correct. It's just that this right one is too low. It would've been

nice to find this gesture. So there you would know that the spine and the scapula is all

the way up here.

Also, again, you're tilting this too much. This is almost vertical. There's a little

bit of a tilt, but you're showing quite a bit of a tilt. Okay, so for this one, we're

looking up at the model. So I included this 3D model here to show you what the spine of

the scapula will look like from this angle. Notice how it starts to go up, and then right

about there, it actually turns. It makes a corner, and then it hits the acromion. So

right in there, this is the acromion, that little box right there. But before that, there's

a sharp corner. And it looks like you're not really showing that. You're doing the opposite.

Be careful with that. If we're looking up at the scapula, it's going to wrap around.

Okay, next up is Neville Harvey. And Neville, I'm going to pick on you a little bit here.

You're going to have to take one for the team. So this is something that I see not too much,

but every time I see it, it's like nails on a chalkboard for me, and that is taking good

photos when you present your work on the internet. When you show your work to the public, put

a little bit of effort into it, make sure it looks good. When you take a photo like

this, where you've got the light coming from the side and you've got these really harsh

shadows, it's difficult to look at your drawings. It's so distracting. So when I really look

at it, I can see you did a really nice job drawing the scapula, the clavicle. You put

a lot of effort into your drawing, but then just that last step of presenting your work

needs work. And so anybody else out there, you can just take your drawing outside during

the day, put it in the sun or in the shade so that the lighting is flat, and take a picture

there. It's really not that difficult to take a picture with good lighting. Just don't be

lazy. So that's all I had to say about Neville.

The last critique is for John Stone. Okay, John submitted these five nice drawings. The

first one, it's that same one where the right shoulder is retracting and the left is protracting,

but it looks like you're showing almost the same distance from the spine. So again, move

this one a little bit closer, move this one a little bit farther, to show that twisting

of the shoulders, because it's only the shoulders that are twisting. It's not the spine. And

that way, you can show the bunching of the trapezius here, and the stretching of the

trapezius here. Another thing in the first one is the rib cage looks like it's really

big here and really small here. I'm not sure why you have that symmetry issue. And I'm

seeing the same thing on number two. We are looking more from the left, and so this left

shoulder should be maybe just a tiny bit bigger than the right shoulder. But it looks like

you're making this longer than this. You can even see how there's a bigger gap in here

than there is in here. It just looks like her left shoulder is farther away from the

rib cage than the right.

So again, a symmetry issue, same as you did in the first drawing. Number three looks pretty

good, not seeing anything crazy off. Number four, I'm seeing the scapula is not foreshortened

enough. You're drawing it pretty wide. You're drawing it as wide as if we were looking directly

at the scapula, but we're looking from the side. And so this scapula is going to be foreshortened

quite a bit. So let's look at the rib cage from the top. A rough shape for the rib cage.

The scapula is going to sit somewhere in here. It doesn't face directly back. It's curved

just a little bit on the side, and so it points that way. This drawing in here, we're looking

from this angle. We're looking directly from the side. Look at how much we're going to

see of the scapula, just that much. Out of all of this, we're seeing only this much.

That's how much foreshortening is happening there. So instead of drawing a scapula at

full width like so, instead, you would draw it very foreshortened. Something like this.

Okay, so hopefully that makes sense.

That concludes the shoulder critiques. Again, thank you, everybody, who submitted their

assignments. Thanks for being brave and putting it out there in the public. I encourage everybody

who's participating in the course, upload your stuff. It'll really help you to get feedback

from other people. I know sometimes as artists we're afraid to put our work out there because

people are going to criticize it. But you've really got to grow some thick skin and put

yourself out there. It's going to help you get better. That's the ultimate goal here.

Even if in the beginning you take some hits, you need that honest feedback in order to

see what you're doing wrong and how to fix that stuff. So if you want to become a good

artist and you want to become a good artist fast, you've got to get feedback. All right,

I hope you're excited to move onto muscles, because that's where we're going to start

next. See you next time!

Hey, have you seen my new app? Skelly: The Posable Anatomy Model for Artists. Go to proko.com/skellyapp,

or click this button to get it on iOS or Android. That's it! Thanks for watching. If you're

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