Hey, everybody.
Welcome to another critique episode.
Today, we're gonna be doing hand bones.
It's a very tough lesson, lots of really complicated shapes in the phalanges.
But you guys actually did a very good job.
I was impressed with the quality of your assignments this time, so awesome.
Thank you for submitting really good work.
So actually, if you haven't watched that lesson, pause this video, go back, watch that lesson
because it's gonna be really confusing if you're not familiar with the simplified hand
bone forms.
Okay, so I hope you guys are as excited about moving on to muscles as I am.
The arm muscles are really fun.
Complicated, it gets really hard in the forearms but really fun once you get the hang of it
and once you learn the tricks to get it under control.
It becomes a lot easier.
So, all right.
Let's finish off these hand bones so that we can move on to muscles.
Okay, Felix, good work.
So my suggestion is to start with, well, first of all start with gesture as you're doing.
And then when you're doing the phalanges, draw the box.
Okay.
So, for example, let's say this little guy right in here, the phalange, the whole phalanx,
looks skewed.
Looks like the perspective kinda it wasn't worked out.
It was drawn free hand really quickly.
What I would suggest is to draw the box first and that will help you keep its proportions
correct, the thicknesses, and the angles.
So, let's see.
We are seeing quite a bit of that side plane.
Okay, so it's gonna be something like that.
We know that it's gonna be about that thick and we're seeing very little of that top plane.
And there's the flat plane, and there you go.
Okay, so there's the box.
So we know that that cylinder and that little bridge shape needs to fit in there.
Okay.
So, let's put the cylinder in here, right on that end.
You got the cap and there's the cylinder.
We know the other end is more less of a box, and then the bridge between the two.
And there you go, see how it just fits right into that box.
By keeping things under control like that, the end result is gonna be much better, and
not so skewed everywhere.
I think you're maybe moving too fast without thinking about it.
Yingbo, okay.
So I could see, you're starting to get perspective down.
You're starting to think about it, good job.
I would say your forms are still a little bit too wobbly, a little bit scratchy in the
dexterity in your line quality.
I don't know, maybe you're unsure of your lines so you're putting down multiple lines.
Draw from the shoulder, stay patient, stay clean.
And then like in here, these digits, I don't think you were really thinking about boxes.
I think you are maybe looking at the 3D model and you saw those complex forms and you're
were trying to draw them but simplify them a little bit.
But I would simplify them even more.
Think about that box first, I mean that's as simple as you can go is getting it to a box.
Because what you're doing is you're trying to like take a box and like mold it into the
complex shape that you are drawing, but that's not gonna really help you.
Think of those digits first.
So like, you know, the foreshortening of that first phalanx looks weird because you don't
really have the foreshortening figured out.
So let's say I was drawing that first phalanx, that front plane is really pointing at us,
maybe slightly downward actually.
And then you got the...
Hold on a second, not that much, readjust.
See all of these adjustments I'm making, they're a lot easier to do if I'm drawing a box instead
of a complex form.
Okay, there's my very, very foreshortened box of the first phalanx.
And now I just extend from there, I'll extend another one, another box.
And I could think about the length because all I'm drawing is just a plane, it's a rectangle.
And this one is pointing down more, so I'm not gonna see as much of the front plane as
I did on the other one.
So let's see, how that front plane much thinner, much narrower.
Okay.
And then the next one is pointing down even more so I'm probably not even gonna see, I'll
definitely not gonna see the end cap.
It's pointing away from us at this point like so.
Maybe just a little bit thicker, when these forms are so narrow it's a little bit tougher
to get the perspective right.
Just a millimeter off and it looks too thin.
That's why I was saying sometimes, you know, draw bigger because when I'm seeing sloppy
perspective sometimes it's just because you don't have enough room to really make precise
lines.
Okay, so there you go.
My phalanx because I could tell that one is going forward, then one is curving down, and
then one is curving straight down.
And from there it would be much easier to then put those cylinder shapes of the joints,
hooked shapes are on those, the bridge, all that sort of stuff.
Because the hard part, those angles of the perspective, I've already figured that out.
And then I just put the little forms based on that.
And with that I'm gonna end it, so thank you guys for submitting your assignments.
As always, I had a great time critiquing you.
Thanks for being brave and submitting your work for everybody to see and for me to tear
it all apart.
So all right, guys.
I'll see you next time.
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