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  • Hello, my name is Stan Prokopenko. Welcome to another critique video. Today I'm going

  • 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

  • enjoying the course, don't be all selfish. Tell your friends. And if you want to subscribe

  • to the Proko Newsletter, go to proko.com/subscribe. Buh-bye!

Hello, my name is Stan Prokopenko. Welcome to another critique video. Today I'm going

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解剖学評論 - 肩の骨 (Anatomy Critiques - The Shoulder Bones)

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    vulvul に公開 2021 年 01 月 14 日
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