Hey guys.
My name is Stan Prokopenko.
Welcome to a critique episode of Proko.
So this episode is gonna be on the shoulder lesson.
If you haven't seen the shoulder lesson, click on the link below, in the description, and
watch those first.
A bunch of you watched the lesson.
You did the assignment for that lesson and you posted it in the Facebook group.
So now in this video, I'm gonna critique those assignments.
All right.
Let's go ahead and get started.
So this first critique is for Yingbo Zhu.
So Yingbo, you got this pretty nice drawing.
I see you're starting to exaggerate some things, some of your curves.
The issue is that your exaggerations are based off of wrong anatomy.
So I'm gonna go through and point out a few of the things that you exaggerated a little
bit too much.
Mostly, it's in the skeletal structure.
The muscles you put on top, they're fine, but because the skeleton underneath is off
and it makes your muscles a little bit weird too.
So let's start at the base.
You got the spine.
Looking at Skelly here, this was your reference.
The thoracic curve of the spine here, is about like that, a nice subtle curve.
On yours, very, very strong, exaggerated curve and that kinda makes it look like his back
is like twisted up and looks kinda broken.
That's not a very realistic arch of the back.
And then going through the neck, you will get the nuchal ligament right there.
So that would be the center line of the neck, also kind of subtle.
There's a curve, but on yours, really strong corner again.
In here, a very strong angle this way.
So just way too much zigzag going through your spine, making it look broken.
Down here in the sacrum, you kinda just put...I think adjust your line.
You just kinda continued the motion down this way, instead of following the actual midline
of the sacrum.
And what you did is fine.
If you're just following the motion, that's fine.
But then, if you start basing the structure off of that motion curve, it makes things
go out of place.
So you have to know the difference between a general action line that's just showing
motion and an actual midline going down the center of the body.
So the issue with what you did is that you based these ellipses of the pelvis off of
this gesture line.
You were, I guess, thinking that this line is the midline of the pelvis or of the sacrum.
And so you put the distance between them based on that midline.
So here is the issue.
The actual midline goes like this.
Follows the outer curve of the sacrum and so the ellipses will be here.
And if you had done that on yours, look at the ellipses.
See how far this one is and how close that one is?
So what happened was that your pelvis is now turning the wrong direction, because the midline,
it was in the wrong spot.
So just watch out for that kind of structural stuff.
The other area in the skeleton that's throwing off the rest of the figure, is this scapula.
So look at...you got the medial ridge right here.
That's like one of the first angles you're probably gonna find.
And then, from this corner to the acromion, there's an angle somewhat like that.
Notice how it's wider than a 90 degree angle?
Right?
A 90 degree would be something like that, but this is a wider angle.
On yours, you got the medial ridge there, you got the acromion right here, and you're
creating an acute angle.
So that is the wrong scapula shape.
Another way that you could have seen that the acromion was creating the incorrect angle,
was just the distance from the chin to the acromion.
Look how close they are here, they're almost touching on Skelly.
On yours, they're very far apart.
So what we need to do is put the acromion right there.
But it still feels like the angle is too tight.
So, I would then also drop the angle down here.
So the bottom of the scapula would be over here.
There.
So this would be the placement of the scapula.
And maybe another reason you did that was because you were trying to create a distance
between the chin and the deltoid.
But, with this sort of placement of the acromion being this close to the chin, when you put
the deltoid on top, it's gonna look something like that.
It's gonna cover the chin.
You know, I raise my shoulder up.
If you're looking from the back, that shoulder is gonna be covering my chin.
Okay.
So that would be the deltoid.
And then the arms, you're thinking, I think maybe of the muscles too early.
Start with a cylinder for the limbs.
Figure out the perspective.
Teres major in here, going underneath that cylinder.
Infraspinatus, going above.
So that would be the construction of that shoulder.
And so, looking at your trapezius in this one, it's just flowing left and right just
because of the spine being very zigzag.
Okay?
So Gabriela Birchal says, "Here are some of my studies from the scapula muscle lesson.
At first, it was really hard to visualize them, and I had to trace over a bunch of model
photos, but now they're a bit more solid to me.
I bet they still are a bit wonky and incorrect, though.
I tried coloring...I tried color coding the muscles to help out."
So, yeah, that's good that you did some tracings first.
That's a good first step.
All right.
Tracing is not gonna make you draw better, but it is a good way to kind of ease into
anatomy.
If you're having a hard time understanding the muscles or even just, you're looking at
an area, it's like, "I have no idea what it."
So first of all, go to a book or go to... you know, open up one of my eBooks and study
the attachments, study the forms of the muscles.
And then get a photo and try to find those muscles on the photo.
It's really hard to kinda look at some diagrams, learn the anatomy, and then go right into
drawing it.
It's very difficult, but if you put that little step in between of finding the muscles on
a model and seeing how it's supposed to actually look on a model in different poses, then it's
going to make it a lot easier to then draw them and invent them.
So that's fine.
That's fine that you traced over it to kind of get familiar with the shapes.
As long as it helps you out, there's nothing wrong with that.
So, let's take a look at what you did.
Okay.
So, not bad and when you didn't draw…
You didn't do a quick sketch.
The assignment was to do a quick sketch drawing, but that's fine.
This is another step into that direction, is to actually draw on top of Skelly.
It's not as hard as drawing just directly on paper without tracing, but it's not as
easy as tracing a model photo either.
It's another step towards that direction of invention.
So, this is fine.
The thing that I'm seeing that I think you're not understanding about anatomy is the attachment
point of the serratus muscle.
And you actually put a little arrow there with a question mark.
So I could tell you don't understand it.
It attaches to the medial ridge of the scapula.
So in here, you're showing this gap in between, but there wouldn't be a gap because it connects
along this ridge right here.
So all of these would be serratus and would be filled in, in here like that.
Same thing here.
This one's close just because we're not seeing underneath.
Oh, and then, this is important, because this actually affects what you're seeing on the
surface.
You're showing all the muscles tracking from the origin, right here, to the insertion right
here and here.
So that's good.
But the forms you're showing are a little bit off.
From this angle, you're going to see the thickness of the infraspinatus and the thickness of
the teres major.
So you're gonna actually see two bumps on the surface.
And I'll show you in a minute here an actual model photo of that.
So let's move on to the next page.
Okay.
So similar issue with the serratus.
It looks like the serratus in here is going in and then connecting to the rib cage.
If it was connecting to the ridge, you'd see it coming out from under it like that.
So it will be a little bit thicker.
Maybe a little thicker in here and in here, but it's close.
Also, teres major, make it a little bit more bulbous right there.
He's kind of bringing his shoulder back or his arm back, okay, probably flexing the teres
major.
So it would be flexed.
It would be rounder in that position.
So, don't just think about, you know, it starts here, it ends here.
Put it in like some general shape in there and between.
Think about what the muscle is actually doing.
Is it stretching or is it flexing?
Okay.
Now, back to this contour.
It's not gonna be flattened there.
It's gonna pop out as that muscle is going from the origin.
It's going right at us and it's getting thicker right as it's coming at us.
And so, you're gonna see that thickness all along there.
Same thing with the teres major and let me show you a model photo.
Teres major, infraspinatus, and then up in there, you're seeing a little bit of a corner.
That's this corner of the scapula right here.
Here's the acromion, spinoscapular like that, and then from there you got the trapezius
coming out.
So very subtle curves along the contour, but those are the things that are gonna make your
anatomy more accurate.
Now, look, you can even see the serratus coming out right there.
Right from the bottom of the scapula, right there.
Right after that bump at the teres major, the serratus will come out.
They won't be all the way deep under it, like that.
Right.
Oh, give me your….
I also just noticed that your origin for the serratus is too far in the back.
It's gonna be much farther to the front of the rib cage.
We can see the serratus coming around from a front view.
So how you indicated it, it wouldn't even be visible from the front.
You're indicating it all the way back here.
So it would be about at this arc right here.
That's where the digits insert onto the ribs.
It's parallel to this line for the cartilage connection to the ribs.
So, all right.
I think that's all you got there.
Let's move on.
This one is from Ares Guwapo.
This is really nice.
I like how it's clean.
I like how you are putting every muscle in there.
You're really studying the anatomy and you're simplifying the bones into simple forms.
So very good.
This is an example for everybody of how they should be approaching this.
One critique, and that's again for the structure of the rib cage, is showing more angles.
You're showing a curve in these guys.
And yes, there is a curvature to the rib cage there, but because you're dealing with the
curve, it's hard to get the perspective of it correctly.
So if you construct it with a box instead, you'll get it much more accurate.
So the way I'd approach it, corner in there.
Find the other side.
Something like this and that feels better to me.
I think you kind of pushed the bottom of the rib cage into much and so the whole bottom
part is a little pointy.
It should feel a little more boxy, add more structure in there.
I would do the same thing with all the others in there.
Add the corners.
Show the side plane, front plane, bottom plane.
Another thing actually that I'm seeing now is, some of these forms are a little bit too
skinny.
Like this neck is too skinny.
This one is too skinny.
This clavicle is really skinny.
I feel like it would break really easy.
This teres major, look at that, it's like a line.
There's no bulk to that teres major at all.
Yes, you are stretching it, but it's gonna retain its form much more than that even when
it's stretching.
So I would add just a little bit more bulk like that to the teres major.
It's a pretty major muscle.
The teres major, especially on a flagged, person, it's gonna really pop out in the back.
It's a thick muscle.
Everything else looks pretty good.
So, good job.
Thanks to everybody who submitted their assignments.
For you guys out there who are doing the anatomy lessons right now, you could still submit
them to the Facebook group and get feedback from the community.
You could email me, I'll give you a critique as well.
But hopefully by watching other people get critiqued, you will also learn a little bit
from them.
It will help you fix some of your mistakes.
Okay.
Thanks guys for joining.
I'll see you next time.
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