Edward did a really nice Bridgman study.
Bridgman has an anatomy book or a few that were compiled by his students and their demonstrations
that he did on a wall with a giant stick.
So his drawings are very crude but the information that he teaches us is extremely useful.
You just have to know how to study Bridgman.
And it's important that you when you guys are drawing from Bridgman that you don't just
copy the marks, you don't just copy his lines because that's not what it's about.
He was drawing with a big stick, he was using as few lines as he possibly could to just
kind of get the information across.
He wasn't trying to make these pretty, even though they look actually really nice for
what they are.
So you have to make sure that you're dissecting these and you're trying to pull out of it
the information that he's actually trying to teach you, and not copying his marks because
that's not what it was about.
So there's some common ways that people talk about to study Bridgman.
One, you've gotta read the text you gotta make sure you understand what he's talking
about.
And two, you have to draw these with form.
You have to try to shade them instead of copying them you take this information and you try
to create it into an actual three dimensional, shaded anatomy drawing.
And that's what it looks like you're doing which is awesome.
Although I don't think that you took the information correctly.
So when we look at Bridgman, you've gotta make sure you know that Bridgman is all about
three dimensional structure.
He is better at that than anybody else.
The way he observes the human form and the way he simplifies it is really useful to show
the way the forms wedge into each other, and flow through the body.
And the crazy thing is even though he is all about structure, his drawings feel extremely
dynamic.
He doesn't sacrifice the gesture at all.
His structure is based on gesture.
So when I look at...I pulled the page out of his book that I think you're referencing.
When I look at some of these drawings each one of them he's trying to show us something
different.
With this one he's showing us that there's a very obvious tendon that's diagonal it's
flat and then it's surrounded by these this belly.
And this belly has a bottom plane.
A very simple statement, you don't need to take it literally when you design it but you
need to look for that information when you look at a real person.
So when I think about that and I look at your shaded drawing you missed that statement,
right?
Look at it, I don't see a bottom plane in these triceps that you put in.
I don't see a diagonal tendon.
So I feel like you might be taking his shapes and you're kinda outlining and them, putting
the flat shapes that you're seeing, and then you're kind of putting aside his drawing and
then you're shading it.
Instead of looking at the analyzing the forms he's trying to show you and shading it and
applying those actual structures to your shaded drawing.
Because if you did that you would have shown a medial area in here, another one in here,
and a very obvious plane change around it.
Not as obvious as he has in his drawing because, you know, you're kind of softening his forms
or you should be softening his forms.
But you still gotta make sure that the information he's teaching you is actually getting across
into your drawing.
And even in the one where you copied his marks you're still missing that now bottom plane.
There's no bulk to the muscle.
He's showing you that the muscle is bulky and the tendon is flat.
In this one he's showing that this one's up here and this one's down here, so there not
symmetrical.
And there's a very clear corner in the elbow, the elbow is like a box.
When I look at yours I don't see that box at all in your elbow.
Another thing let's say let's look at the forearms, because that's part of this arm.
What I'm getting from this is drawing of the forearm is three very important forms.
Super blocky and he even kind of curves that bottom plane of that blocks to wrap around
the carpal bones, so that's cool.
But it's super blocky.
He's got a front plane and he's got a side plane.
And then to that he attaches this drumstick.
And then on top of that the ridge muscle is stacked.
So he's showing you that there is that drumstick, but the ridge muscle is kind of on top of
it, it's not part of that drumstick.
So the three very specific forms.
Now when I look at yours, I feel the drumstick, I feel that rounded form, and I feel that
extra ridge group on top.
But then I don't feel the blocky wrist, I feel like you actually just kinda continued
that drumstick soft form all the way through.
The whole thing just looks like round, soft, mushy.
Look at how clear he's trying to make it for you right in here.
About two thirds of the way down the bulk of the muscle, the curvature ends and we get
straights.
There's tendons in there, tendon and bone.
He's trying to make it as clear as possible for you by over exaggerating everything.
What is it important to look for?
And so you gotta make sure that everything he's telling you, you take that into account.
Okay so Bridgman, I don't think it's for the for beginning artists.
If you've never studied anatomy this is gonna confuse you, and you're probably just gonna
copy his marks without knowing why you're copying them.
I feel like you have to study a little bit of anatomy and a little bit of simple structure
before you go to Bridgman.
But once you do it's so useful.
So I hope this gives you a little bit of guidance as to how to study Bridgman because it could
a complete waste of time or it can be extremely valuable depending on how you approach it.
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