Hi guys, so it looks like it's time again to do another critique episode.
Today I'm going to be critiquing your biceps assignments.
I gave you photos of different poses, different camera angles, even different body types of
the biceps, also the brachialis and the coracobrachialis, but the front of the arm basically.
So you guys were supposed to do quick-sketch drawings from these photos and the premium
version of this lesson has about 17 total critiques so if you want to see more of these
biceps critiques head over to proko.com/anatomy.
The premium course has a lot of other stuff and the main lessons and stuff.
A lot of extra content there, so I'll go ahead and begin.
Okay this one is Sonal's work.
Okay, I wanna talk about cross-contour lines because you're using a lot of them, and that's
great.
I love cross-contour lines.
It shows that you're trying to think about the forms and how the planes are changing.
I feel like I could help you improve your approach a little bit because there's issues
like, sometimes, for example, you have this deltoid head and you're wrapping it around
this way.
Always make sure you're thinking about, "Is this form coming towards me or is it coming
away from me?"
And I think you're doing that but sometimes you're kinda just putting a curve to show
it's roundness and you're not always thinking about,
"Is it coming towards me or coming away from me, and how much is it coming towards me and
how much is it coming away from me?"
Sometimes a cross-contour line is just gonna be a straight line because you're looking
directly at the form.
Like, if you take a cylinder and you're looking directly at this bottle, the cross-contour
line, it wraps around, but if you're looking directly at it, it's a straight line.
It's only when you tilt it, that you're actually gonna see a curve, right?
So the degree of the curve matters as well, but sometimes you're just curving in the wrong
way completely.
Like with this deltoid head that I was talking about, it goes back.
From where it attaches to the clavicle to where attaches to the humerus, it goes backwards.
And so since it'll be going away from us, if we were to think of a cylinder going away
from us, we would have to wrap these lines this way, so it's the opposite direction.
Same thing down here in the triceps, if we're looking down at this bicep right here...let
me zoom in a little bit... if we're looking down at this bicep, which I think is correct,
we're looking down at it, we're gonna get that, but then why would we then be looking
up at the triceps?
Both forms are kinda tapering, or they're traveling downwards along the arm, so you
would want to wrap this guy around like that.
These curves would wrap around the triceps this way.
So I wanna give you a little approach because I think you're thinking of each of these muscles
as individual forms, which is good, but before you do that you need to think of the whole
arm as a one form.
So, let me show you a simplified version of how I would think of cross-contour lines.
So let's say you were doing the upper arm, you'd wanna start by thinking of the upper
arm as a cylinder.
Okay cylinder, blah, blah, blah, and so the cross-contour is this simple curve.
But then if we want to add the biceps up here, the brachialis, and then triceps, like you
did in this drawing here...you see how we have bicep, brachialis, triceps, three separate
forms...we have to think of each one as another curve.
But you wanna make sure that once you add all those separate forms that they still reveal
the cylindrical form of the whole.
And when I look at yours, I don't feel that.
I feel like each one of these curves is kinda acting on its own.
And it's like this depression in here in this corner in the middle makes it lose its roundness.
It's compressed too much in there.
You lost that big cylinder.
So now, let's imagine those three forms.
So let's say this is a cross, like a dissection of it, and then if this is the biceps in there,
and then we got the brachialis kinda squishing out right there, and then you got the triceps
down here.
And this is a very simplified version.
This isn't an accurate dissection.
Just wanna show you the concept here.
So okay, now we got this cylinder but it's created by these three masses that are kinda
squishing together.
And then if I were to continue these forms, there's the brachialis on the surface, there's
the biceps on the surface, and triceps.
So there's the cross-contour of the cylinder, and then I'm gonna add a little detail.
So there's the cross-contour of the biceps.
There's the brachialis, and there is the triceps, but notice how it's still following that big
form, the ellipse of the simple cylinder.
They're all kinda still unified and they're following the main curve.
If you just think about, okay, bicep and then brachialis and then triceps here, you're going
to get a weird layering.
You gotta think of them all together as one unit.
Okay, so I always say when you're drawing forms, start with primary then the secondary
then tertiary forearms.
And the same thing goes with cross-contour lines: primary, secondary, tertiary.
Alright that's it thank you guys for submitting your assignments.
Always a pleasure.
Thanks for submitting all that stuff in the Facebook group and helping out each other
as well.
I'm not always available to go in there and comment on everybody, I'll try to do a little
bit more of that, but I appreciate that you guys are helping each other, so that's awesome.
Alright guys thank you very much for your support.
I'll see you next time.