Hey, guys. Stan Prokopenko here with another critique episode. Today, I'm going to be critiquing
your assignment on the oblique muscle. The assignment for the obliques had three parts
to it. The first part was to draw the Robo bean and Anato bean, and to draw it in motion,
and then to add the obliques on top of it, looking for stretching, compressing, twisting.
If you don't know what the Robo bean and Anato bean are, I have a bunch of videos on those.
Check out the links in description. It's probably best if you go look those up before you watch
this critique video. Part two and three of the assignment was, I provided you photos
of models and you had to do quick sketches of those, also with a focus on obliques. And
finally drawing muscles on top of Skelly. You could have done that through the Skelly
app or with some of the previous photos that I've provided. So, let's see how you guys
did.
So this first critique is for Clara Ocneanu. So, Clara, you're doing actually a pretty
good job. The Robo beans that you're drawing are structured very well. So you've got that
base constructed well, but yeah, some of the muscles that you're adding on top, I'm seeing
some distortion and some of the motion isn't shown as clearly as it could be. So let's
go through some of these. This first one here, when the stretching side is this extreme,
you know, when you've got the tilt of the rib cage this way, tilt to the pelvis this
way, the muscle is going to stretch between those two and so what's going to happen is
the volume of the rib cage is actually going to poke through, and then it's going to stretch
the oblique in here like that. And so adding a little corner, right there, of the rib cage
poking through that thinly-stretched oblique muscle really helps to show the stretching.
Let's look at this next one. So I see you are pushing the rib cage out, but a little
bit too low. The tenth rib is actually going to be a little bit higher up here and then,
that's going to transition to the abs and then from the...behind the abs, you're going
to see the oblique muscle twisting out right around there. You're not going to see any
of the oblique muscle on the top here. It's on the side that we're not seeing and so you're
only going to see the flank portion wrapping around in there and so you're going to see
this overlap, rib cage to abs and then overlapping to obliques like that.
On this side, similar thing, really messy shapes. I would show a continuation of the
rib cage, maybe a pinch, and then cleaner shape in there for the oblique, and I think
you got too many digits in here. You're usually only going to see about four digits for the
thoracic portion and then it becomes flank. If you got a really lean or very muscular
model, sometimes you'll see digits across the flank, but then the digits will be down
here. Up here by the rib cage, you're only going to see four. Okay. Thanks, Clara.
Let's move on to the next student. This one comes from Paulus Irawan Winata, Okay, I'm
seeing one major problem here, and that is where you connect the flank portion to the
pelvis. This is the crest, the Iliac crest right there, and as we know, the oblique attaches
to the crest, but you have the flank all the way up here. So we've got to move that down.
Like I said, it wraps over this front piece and then it protrudes, and so you'll have
the flank all the way through here. That's all flank. So make sure you learn your insertion
points and your origin points, and you start from those points and then figure out the
shape of the muscle after that.
This one is from Reno Gregory. Okay, this left one, I think it would be nicer if we
show more of a stretch right through here. So the rib cage pokes out, stretching in the
oblique. Okay, so you're showing oblique curving, stretching, and then a little plane in there
for the rib cage like that. On this side, you got the rib cage, and then look what you
did in here. You've got two equal bumps. That doesn't look very good. You want to try to
vary it up a little bit. So the crease at the top is probably going to be smaller. That's
where the compression is. So you've got a crease and then you got a bigger flank. Okay,
so see how by varying the sizes of the shapes, that design looks a little bit more attractive.
In this one, I feel like the rib cage is too small. Right in here, it feels like you're
missing some volume in the rib cage and then that leg is huge. I guess what happened is
your rib cage is just too small for the pelvis. So let's increase the size, round it out in
here, and decrease the size of this leg. All right, something like this. Okay, and then
I like how, from the side, sometimes we can see a real nice rhythm from the rib cage into
the flank so that's why I included it there. So look at how if we follow this rhythm, it
flows in a really nice S-curve like that.
Okay, JAllan. Let's see what you got here. So JAllan, what's going to happen is that
right around here is where the thoracic section meets the serratus. And the way I found this
is that from a three quarter angle, this line is going to be pretty much parallel to the
skeletal arch. Okay then, from there, we can follow a crease from the rib cage and that's
going to lead to us to the top of the flank right around there. The abs are there, and
so that's where the oblique attaches. Sternum's here, that's going to be the top of the oblique.
And then from there, we have this big shape of the thoracic section and so now all we
have to do is find the digits, and it's just going to have four digits, and they're going
to be diagonal like so.
This last one kind of curves up. It's more of the tendon that will curve back up and
attach to the sternum. And the way it attaches to the serratus, it's just interlocks like
this, like fingers. So if we...let's say we have...I'll just redraw that shape real quick.
Let's say we have the oblique, flank, the serratus will come out from the lat, and it'll
attach like this. So it'll be oblique, serratus, oblique, serratus, oblique, and serratus,
and then right in here, the lat will probably take over. And the lat will go out like that.
You might see another see another serratus in here and then it'll all soften and you'll
have pec muscles and stuff. So basically, it's like a saw. Look at that zigzag pattern,
like that. Cool. I hope that clears it up for you.
Okay. This next one is from Nick Kulynycz. Let's see. These are cool. They feel very
three-dimensional. I could tell you're thinking about every piece and trying to make sure
you've got that volume right. I'm seeing some weird volumes though. Like right here, this
guy, seems like an extra flank. It's too big to be a digit of the thoracic section. So
what I would do is flatten it out, go more with just a little bit wider than the rib
cage, and then from there, you're going to have an oblique, and then pec. So, much flatter,
not flatter. I mean, it's going to be going on the rib cage but it's not going to bulge
out like the way you showed it.
And also, it seems as if you're...I don't know what these lines indicate but it looks
like those are digits of the flank and they're actually going to be going up from pelvis
to rib cage, and they're going to end around here. The oblique does not go all the way
to the spine like you're, I guess, you're indicating. So make sure you end it there.
Everything else is going to be the erector spinae muscles and the lat. This one looks
much nicer but maybe still, I think too much of a bump here and then that's good. And on
your third one here, looks like your flank is way too small. This is the ASIS. So we're
going to wrap it over, flank here, and lat muscle going back that way.
That's it. Thank you everybody. That was...that was a lot of good submissions. I think we
covered a lot of different types of mistakes that toy guys could make. So I hope this was
helpful. Thanks for submitting and I'll see you next time.
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