[Music]
Hey guys welcome to another episode of Proko.
We're gonna be doing critiques and I have allergies again, so I'm gonna be Rudolph today.
The hamstrings assignment was tracings.
I gave you guys four photographs, they're actually all really cool photographs, I enjoyed
doing the tracings myself.
And if you don't know what a tracing is, I do have a dedicated lesson on how to do an
Anatomy tracing correctly.
We did this way back in the beginning of the torso portion of the anatomy course.
So, if you don't know what an anatomy tracing is, go back and review that.
So I'm gonna move right in to Pamela.
Okay, and Pamela has a comment "Oh my gosh!
My brain hurts...".
Yep.
Yeah, hamstrings can do that to you.
"this is as much as I can learn and process at this point.
Would like feedback on position of IT versus hamstring tendon...
The size and perspective of the egg...".
Okay, so that's from the calves, so that's the top portion of a calf. "the fangs", which
I called the two tendons of the hamstrings, or like kind of the fangs that go around the
egg, "anything you got.
I did this assignment after Stan's first hamstring video and before his second more detailed one.
Thanks".
The second more detail one she's referring to the premium version.
Well, let's look at your drawing let's see how well you did all that stuff.
Okay so - oh cool!
You got a traditional tracing here not a digital one.
Good, I like that.
You doing the assignment even though you don't have a Cintiq, you don't need a Cintiq.
So the eggs, eggy, just think of them a little bit bigger than what you have.
Maybe like that, then like that.
And then the fangs, one thing I already mentioned was try to keep them as straight tight tendons.
You have a lot of wobbly shapes.
So, straight here, straight in here, straights all throughout.
The fangs are great areas to put - to inject some straight lines with you know, so many
round bellies all over the place around it, though - that's a great area to inject a straight line.
And try not to just think of contours of these things but try to construct the muscle and
the tendon more dynamic interesting shapes, not worms.
So for example, right in here you have just a kind of a squiggle like that.
I mean, it isn't - it's a - it's an s-curve so it's still simple but, instead of just
the simple thing like that which really doesn't define the form of what's happening here,
try to think of it as these bellies and a tendon.
So that same shape, almost that same shape can be drawn as a belly, a straight from the
tendon that comes out of that belly and then another belly behind it or - and on underneath
it, right?
It's kind of this oval shape underneath.
You don't have to draw that but you can think of it that way.
And so now, look what I've drawn.
If you look at just the contour of that, it looks very similar to that squiggle shape that you drew.
Let me change my color, so this and this.
It's kind of like a an s-curve squiggle.
But I'm not just thinking of the contour, I'm thinking of the elements that make that up.
And so, I'm building that very very similar shape out of straights and curves.
So, making sure to inject this straight in here and maybe a little straight in here as
this one connects.
And then in here, instead of drawing a curve like that, I'm building it out of two overlapping
curves this way and then showing this overlap here, show some structure and some depth.
So, much more volume in there and also just it feels more dynamic to me honestly.
I think that's good advice for a lot of people that do these tracings when they don't fully
understand the anatomy that they're studying, which is okay I mean, you got to start somewhere,
right?
But this problem reveals that gap of knowledge because what happens when you don't know the
volumes that you're indicating is that you start just looking at the surface and trying
to see what are the little shadow shapes that are revealing the form and then you just follow
that shadow shape and you just draw simple shape on top of it.
And really what you've got to try to do is construct the muscles, the tendons, the bones
that are underneath.
Even if you don't see it perfectly clear, you try to draw what you know is there even
though everything gets softened out a little bit by the fat and the skin on top of it.
You're gonna get much more value out of it if you try to see more than what your eyes see.
I hope that makes sense.
So, construct rather than trace.
They're called tracings but still, try to construct on top of the photograph.
Okay Pamela, let's look at your second page here.
And I'm seeing some areas of confusion; the eggie shape, yeah like here you got this correct.
That looks like the correct size because you can clearly see it on him.
Here you made them very small, this should be bigger like that.
Also, it looks like it's pointing that way, the way you're curving this, it should be
curving the other way, right?
Because we're looking at this leg, we're seeing the side - this side of the leg, we're not
seeing that backside of the leg or the medial side and so, if you're thinking of this whole
egg like a box...
You're gonna see this side of the leg and so the centerline is here towards the left of the form.
And something that I kind of just went over as well is you know, the relationship between
the IT band and the tendon from the biceps femoris which you kind of just have them parallel
together, really it's this and then this, and then this is just the knee.
Lots of confusion and here, in the glutes.
I get it.
I was actually kind of confused too, I was like "wow!
I don't see this very often, this little form right here".
But yeah, that's just - that's just another layer of the glutes just kind of coming out...
Separating because it's stretching so much.
All those layers are really separating from each other.
You know, usually if you stand up, all of this kind of compresses and then the fat that's
over here kind of drops and covers all of that.
So, not really a part of the body you see very often.
And then also just like this shape, this shape, a bunch of little shapes all through here
that aren't really actually following any muscle.
Like the - the glutes you know, it flows through here like that and then you got medialis,
the TFL all through there.
And watch out for the squigglies again, right?
Lots of squiggly lines for the fangs which you asked about use straights, straight lines
as much as you can and then attach them to bellies.
Right, this is ugly it's symmetrical but the concept of straights for tendons, curves for bellies.
Alright Pamela, I hope that helps.
I hope you guys maybe understand the hamstrings a little bit better now.
There are a few repetitive mistakes here, so it's good to catch those and fix them and
understand what's actually going on.
So, thank you to everyone who participated.
Always like seeing how everybody's following along with the course that I'm not just teaching
my computer, there's people on the other side doing this stuff.
So, thank you very much.
I hope you guys learned a lot.
Alright, see ya.