Hi, my name is Stan Prokopenko. Welcome to Proko. I have Marshall Vandruff here with
me to do Critiques of the Joints lesson. We're going to have Marshall here just for this
one, and then for the other bones of the torso I'm going to do it on my own. I just thought
it'd be great to have Marshall here for this lesson because he did the demonstrations for
it. If you haven't seen his demos and the original joints lesson you can find it in
this link, or also in the description below. So thank you for coming Marshall.
I'm glad to be here.
Always good to have you.
All right.
You want to go and just jump right into the critiques?
Yes. Let's jump right into the critiques.
All right.
This is Gabriela? Is that right?
Yes, this is Gabriela.
Gabriela, you are a victim of brushes, Photoshop brushes that make marks that seem like they're
out of your control. And until you're able to put something down that is a bit more precise
and not so scruffy like that and go from point to point and get some control of these, this
is going to be too difficult to do. I think you just are off right from the beginning,
that if Photoshop brushes are new to you, you would be better off just doing this with
pencil on bond paper. Partly because pencil on bond paper is probably something you used
ever since the time you were small, and so you're familiar with it. And when you're using
brushes, brushes and Photoshop and thick and thin and control with a Wacom tablet or a
Cintiq or whatever else you're using is such a formidable gauntlet to get through so that
you're competent with it. That's my first thing for you is switch media or practice
just doing lines where you're in Photoshop and you're working on doing parallel lines
and working on doing ellipses, even with this ellipse over here. When you do an ellipse
that is more like a fish because you did it like that, that's something that can create
trouble. And when you don't get it exactly right, you can, you can either erase and finesse
it a little bit. But this is, the issues of form are hard to critique in this because
it's too hard to see them, even just this area in here right here. That's got to be
brought up to a level where you've got control of the lines and then turned into the boxes
and cylinders and wedges and other things.
Yes. She's just drawing two-dimensional shapes, the contours of the shapes, rather than thinking
of form, right?
Yeah. And this is really, really common with people who work on the computer. I don't know
whether you did this in Photoshop, but the computer, Photoshop is, the textures you can
get with it and the line quality you can get with it can be interesting and useful. But
they are such a separate discipline from learning how to draw simplified forms that I'd say
dump that, work with something you're familiar with, and that way you can focus on one thing
at a time. . Let's move on to N-K L-P-Z. I'm just going
to pronounce that Nick Lopez.
Nicklezpz
Nicklopez. Okay, so with Nick's, I see a lot of exploration, a lot of studying. He's drawing
these forms from different angles, just imagining other angles that he could draw from. Or actually,
I think he was just using the 3D model on the premium section. But that's good. That's
what that's for. You can take that model, rotate it, and draw it from every angle. If
you're looking at one angle and you don't understand it, rotate a little bit see what's
going on there. That's what that model of there for. But the main thing I really wanted
to say is this is actually another example of something good, is that he didn't just
copy the reference or he just didn't just draw in the position of the reference, but
he also extended this arm to be straight. In this one it's bent and that's the reference
photo. He drew the same one but straightened out just to show that that hinge joint rotates
like this. And that also shows that he understands the forms, because if you can draw it like
this from reference, can you then imagine it like this? And so if you can, then that
shows you understand how that perspective works.
This shows good process. This shows someone who's really working on problem after problem
after problem. And look at that from the shoulder all the way down to the elbow, to the hands
and willing to make it so that it's even a little bit sketchy and scratchy, but it's
trying to find it.
Yeah. It's a little, yeah, like you said, it's a little scratchy, maybe needs to be
cleaned up, but I don't want people to think that they have to clean up their homework
before they post it on the group. It's nice if your lines are clean, but I'd rather see
these works in progress than nothing at all. If you're too embarrassed to show it because
it's messy, that's also not good. But you should just try to keep your lines clean even
during the exploration stage. If they're too scratchy you're just confusing yourself. So
but there is a little bit of messing is that, it's fine and sometimes it's actually good.
Actually like sometimes people sketchbooks are a little bit of that messiness.
I plead guilty to messiness.
But you make it work.
By the time it's finished, by the time it gets dressed up. Okay, this is Miguel.
Miguel. Yes, the elbow joints in yours, this one and this one. You're simplifying the forms
into simple, primitive geometric shapes, but I think you can simplify them in a different
way that will show the function of the joint better. You simplified . . . let's go to this
one here on the left. You showed this wrench shape on the humerus. But that wrench really
doesn't provide any function to the humerus. That's not what it does. It doesn't hold anything
on the outsides. The humerus is really there for the ulna to rotate, to grab onto, and
rotate around it like a hinge. And so the much . . . I guess better, much better to
simplify that bottom of the humerus as a cylinder, just as a shape that the ulna can rotate around.
So instead of this, you would just draw a cylinder, and then the ulna wrapping around
it. I'm not going to go all the way into it because Marshall already did that demonstration.
But basically, it grabs on around it.
Yeah, the ulna is more of a wrench than the epicondyles. I mean, it's gripping up here
like a wrench on there that's coming toward you, as opposed to seeing one that's in full
profile.
Yeah, yeah you did show these two forms, this ball, and this little, I don't know what shape,
bow-tie shape, and that's the part of the humerus that the ulna grabs onto, and that's
the more important part to show the function. But you put a lot of emphasis on this wrench.
Same thing in here on this side. You showed this shape which really doesn't do anything,
and then you have this, this cylinder really small in here. That's the important one, that's
the part that the ulna grabs. And then also I would say maybe instead of putting a cylinder
all the way through, do something in this area that shows that the radius and the ulna
have a joint between them. It's a pivot joint. So if we were looking at it from the top,
this would be the ulna and then you have the radius like that. Put a little thing in there
to show that this locks in there, and it'll spin inside of that notch.
Hey, do you know what this bow tie shape is? Do you know what technically what that bow
tie shape is? I mean from, yeah, what they call what they call that shape?
Oh, . . .
It's a word you may have never heard before, this is just . . .
Just one side of it, or if you put two of them together?
Oh, there's just one, what is, technically what's the cone shape called? A truncated
cone shape?
A cone with a thing cut off?
It's a frustum.
I had never heard of that word.
I'd never heard of it either. It might even be a frustrum, but I think it's a frustum.
F-R-U-S-T-U-M. We'll look it up on Wikipedia and see if I'm wrong. But anyway, yeah . . .
I'll just call it a cone with the top cut off.
I just wanted to throw in some trivia so I can look smart.
Jasza Dobrzanski.
We're guessing that pronunciation again huh? Jasza . . .
Jasza Dobrzanski. Somewhere from Eastern Europe. Maybe Ukraine? From Ukraine? Jasza. Oh, yes.
Right in here, to simplify it to a nice socket, and instead of showing the flat plane in there,
show that it is concave. That socket is a socket, it's something that that ball inserts
into. The shoulder socket is not a very deep ball and socket like the hip is, but it's
still concave a little bit. So showing that will help. And actually, I want to show an
example by Andreas where he does that very nicely, just to show. So thank you, Andreas,
for that. Back to Jasza. The other thing I want to talk about is right in here, this
wrist. The wrist to the radius is an ellipsoid, and so when you draw those two forms, make
sure that they connect as an ellipsoid. You have nice structure, could be a little bit
cleaner, but it's good. You're showing this plane in here. But again, it looks like a
flat plane. It doesn't look like a socket that this rounded part of ellipsoid will fit
into. Also, this part of the wrist or the hand would be the rounded part of the ellipsoid.
And so this boxiness that you put wouldn't really work. I would do something like this.
Let's say there's your hand, you drew it as a box. I would round it off like that. So
showing that that is . . .
Convex.
Convex, thank you. So this tip is the apex. It's not flat like a box, it rounds off and
it can rotate inside of this concave form. Okay.
I want to address something that I think is going on here, Jasza, is that when you're
trying to do a study like this, you can only concentrate on one thing at a time when something
is new to you. And if this is new to you and you're trying to get cross contours around
here, and you are doing that and conscientiously, but you can also forget, while you're working
on that, to exaggerate and to figure you've got a very slight curve up there on that,
that glenoid cavity. So you may have been thinking, but you weren't thinking enough
to where it say, "Hey take a chance with this." And if you brought it up to this level, to
where at least you're wrapping lines around things, trying to understand their forms,
then to have one session where you're going to really take it over the top and make these
things radically exaggerated, then it can remind you that things that might be subtle,
when you've exaggerated them, then you know that that's how they are. You can always make
them subtle later. It's easier to whisper something when you know how to pronounce it
than it is to pronounce it when you don't know how to pronounce it. So you're trying
to exaggerate this and then later scale it back.
Okay. So that's it for Jasza?
That's it for Jasza.
All right. Thanks Jasza.
Yeah. Same thing here, Roderick. This could just use a reminder that this is a particular
shape, a particular form, and this gets . . . I'm not sure about what's going on in there.
That's what I have to say about this one too is that you didn't . . . you simplified the
forms. These look very simple, and I can see there's a top plane in here and there's a
side plane in here. You're really showing that, right? But the forms you chose to simplify
into, they don't show the function of that joint, which was really the whole lesson,
it was the types of joints. So we've got your ball and socket, your pivot, your ellipsoid,
saddle, all those joints. You need to identify each joint as whatever type it is and then
simplify it to resemble that geometric shape. And I think you were looking at it and you
were just looking through observation of all the little bumps on the bone instead of asking
yourself what is the function of it, and now how do I draw this geometric shape to have
that function?
Yeah. And this is hard to do when you're faced with all sorts of little perspective problems.
It is one of the most common problems in creating any work of art, is to get caught up in small
things at the expense of large things. This is why composers paint . . . painting composers
work thumbnails. Thumbnail means you're going to work a small thing before you put any detail
in there, and when know that . . . excuse me. When you work as thumbnail, you're working
big things because there's only room to do big things. And when you're working on the
function of these joints, to try to not look at the small parts first, but to get that
great big, that's a hook, that's a bar, that's a swivel, and we name these different types
of joints. And when we have a name on each one, see how simply . . . look what you've
done in the upper left here. You've done it. You've done it as diagrams, and you're trying
to turn these things into the simplest things possible. Although you'd put a nice color
in there too.
Let's go to the previous one, I want to see what Roderick did in the . . .
In his first one?
Yeah. Yeah, okay this is Roderick, same person. This shows an exploratory spirit that again
I'm running into the same thing happened with Lars. I was admonishing him on something and
then he says, "Yeah? Well watch this." This is exploring around, trying to find the big
things.
Yes . . .
Go ahead.
But that elbow is still . . . I'm not seeing a hinge. You're showing a hinge here in this
side drawing, but you didn't put it into your drawing of the reference photo. So I can see
you're understanding what a hinge is, but why not put it there?
Yeah, well you are running, you are rolling, you are doing the work, but now we've got
to get it more focused. And these little diagrams that you're doing on the side are actually
better than what you're applying to the bones themselves. That's the matter, if you know
if this hand is getting out of sync with this hand, it's a matter of just working until
you start to get him into sync. You can apply those. You've got enough going on in the stuff
you're doing on the side to show that it's a matter of time and continuing to work.
Yeah, I can see things are clicking. You just need to practice these a little bit more in
order to get them all to really connect and to fully understand all this. So I guess the
advice is just keep doing these, right?
Keep doing these and be reminding yourself: macro, big pivot, big hinge, that's what it
is, how can I say it with the fewest possible lines?
Yes. Next one is for William Shepherd, or Sheffard? It would be Shepherd.
Shepherd.
Yes, perspective is hard. It is very hard, but it's worth it. It's worth it to study.
It's all that pain and suffering is worth the effort. The things I'm noticing are mainly
proportional in the way you're indicating the forms. One of them, this scapula is too
wide, feels round. Another thing, this humerus the shaft seems a little bit thick. Does it
seem thick to you?
Yes it does. It's too thick.
Okay. And then finally, the main thing is the forms of the ulna and radius. You have
the radius as a really thick form going all the way across, and you have the ulna as a
very thin form running all the way across. Really, the ulna starts out thick at the top,
then at the bottom, the radius will be thin at the top, thick at the bottom. They're . . .
Counter change.
Yeah. They fit together like that. So that the ulna fits with the humerus, remember,
with that hinge joint, right? This will wrap around this. I'm just drawing a very flat
diagram here. So this ulna connects to this with a hinge. And then radius will connect
to the wrist with an ellipsoid. And then these two will connect with a pivot, and then these
two will connect with a pivot. So I think understanding all of these joints, in the
way the ulna, the humerus and the hand, how they connect, is very important in being able
to draw all those joints as having that function. I keep repeating the same thing. Draw the
forms to have the function.
Yeah. But it is because the same things come . . . when you're trying to master any skill,
we make the same mistakes over . . . you can categorize. It'll be three or four things
that can go wrong when somebody tries to do that. And so there's this tendency to repeat
the same advice over and over. This is William?
Yes.
William is doing something, though, that you complimented some students for earlier. He
is making up his own forms. Look at that elbow, look what he's doing and he is . . . you say
and perspective is hard, which of course it is, but look what you've done. You have given
us a sense that this is a plane that is a separate plane from this one, and this is
a top plane here that then changes its position. And that right there, just this is enough
to say you've got a basic understanding that things can be facing different directions
when in fact, this whole thing is a white flat surface and you're giving an illusion.
So perspective is hard, but it's also fun. You're making an illusion.
Yeah. Depends on your personality.
Well, yeah. Some people may not get off on perspective.
I used to think it was really boring and not enjoyable at all. But I think maybe it was
because it was so hard for me in the beginning. It was like I don't understand at all.
I understand.
And then once you start getting a grasp of it then it, it then becomes really fun.
It's like a magic trick in a way.
Yeah. You can make lines that create three-dimensional shapes.
Tomas.
Tomas. we're assuming it's Tomas and not Thomas, or not Toemas.
Well doesn't he have a little . . . Yeah, he has a little . . .
Well, okay then it's Tomas.
What's that thing called? A little tail? On the A.
Yeah, that little thing.
Tomas?
Yeah.
Tomas, pretty watercolors, but let's focus on the perspective of these forms. This cylinder
needs some work, especially in the caps. The angle of this ellipse, you're making it vertical,
and I'm assuming you are just doing that because you think ellipses should be either vertical
or horizontal. I used to think that for a very long time. I would say, yep, this is
the cap of a cylinder and I would just make it horizontal or vertical, whichever's closer
to the angle of the form.
I did too.
But that's not how it works. This . . . and drawing cars is when I learned it on wheels.
That ellipse of the wheel, I would always make them vertical. All the wheels were just
vertical wheels. But then I learned that it needs to be perpendicular to the axis between
the wheels. So let's say that this is a car, this is one side of the wheel, and then you
got the wheel on the other side of the car, and then you would have two more wheels. And
there you have a car. The way you find the angle of these ellipses is, let's say this
is the axis between the two wheels, perpendicular to that will be the angle of the ellipse.
Well explained, and well drawn. Well, now you're starting to . . .
I'm messing it up.
Well, yeah, you got . . . the general placement though is . . .
But there you go. And then cap that off with the same angle on that ellipse. And there
you go. Now you have a cylinder in correct wobbly perspective.
Yeah, that idea . . . that that was the same way, and it was cars, that I first got I got
from Ernest Watson's book and I was sitting at a bus stop, and saw cars going, and you
see the ellipses changing when I read it in the book, and it just it changed everything.
That was well explained too. Don't round . . . don't do them just vertical and horizontal. Find
the axle.
The axel. I kept saying "axis". Axel.
Yeah. But the axle is when its right angles, when your whole ellipse has placed at right
angles to the axel, then you've got it. At least you got the placement. You don't necessarily
have the angle. That means that might be a more open ellipse, right?
Yeah.
It might be rounder.
Yeah. Let's just pretend.
We will. Okay, it's my turn?
Yes. Go ahead.
There are some issues here, and they are things like what Stan has mentioned. And there are
other things like putting ellipses around here, that you are . . . doing that dotted
line behind them gives that atmospheric perspective that can tell they're on the other side. But
those ellipses need work as ellipses. Ellipses are not fish. They don't come to a corner.
They are always going to be rounded. Sorry I'm . . . .
Let's just give you another chance.
Yeah, give me another chance. I'll try making it a little slower.
Yeah, there you go.
Yeah, they're always going, there's never a point where there would come a corner, and
they have to have a particular ratio of curve that you spend time memorizing. And you've
got that going on a few times. It's solvable. You can get that by studying ellipses, but
I think what happens here that I think is a bigger problem is your process. You have
taken the time to put watercolor in here. And I remember when I was a student, I did
a portrait of the Marx brothers, I was trying to do character of the Marx brothers and I
had this watercolor and pen and ink technique and all this. I put so much time into doing
details to make the style look so good, and then I remember my teacher, Grahame Booth,
giving me grief for it because the pictures didn't look like the Marx Brothers. The line
drawings didn't look like them. They were bizarre looking caricatures. And I was so
insensitive to the fact that my pictures, my drawings didn't look good that I was trying
to cover for it by making the surface of it look nice. And I think the only solution to
this is to simply strip away the opportunity to decorate and only work on these. Now I
want to go to the next artist.
Yeah. He's covering up mistakes. Or he's trying to cover mistakes with maybe successes he
had in the past.
Watercolor is something to work on separately. This is April Solomon, and April Solomon who
just had a show opening in Laguna Beach last night, does work that has such beautiful technique.
I want to show the stuff we got on the internet. Let's just take a look at these. This is April
Solomon's work. She does these with color pencils, and I don't know what other media
she uses. But you can see April has her technique mastered, and she's got a great compositional
and design sense too. But these are enough to where you could make a career doing this
kind of stuff and sell your work, but she is not content to stick with that. She has
dropped all of the stuff that would impress us, and she did not submit these for us to
see, we just took them from off the internet so that we could show this off.
Sorry, April, for the copyright infringement.
Well, we'll see. I can always blame you. Look at how all of the beautiful technique has
been removed so that she can work on forms. Now, April, let's get to your forms. You're
doing some good things here. My recommendation would be to care more about boxes. Same theme
over and over.
Boxes.
Boxes, boxes, boxes. And you are doing it to some degree. You're doing it to enough
of a degree to where you're making distinct plane breaks. Also, see right here, I'm not
sure how the cross contour would go. I'm guessing that it's going to be something like that,
and this line is going to change its direction, isn't it? See, it's in that position there,
that position there, by the time it gets over here, we've got a twisted box. And for you
to take the time to draw those as separate areas where you're aware of them and then
see that over here, that's going to be more at an angle like that, we're going to see
less of the top plane on that one. Those are going to be things that seem slow motion.
It's like gosh, we'll have to spend months on this to really get it. But you spent months
on it and you are already doing that in some of the way your dragons twist. But I think
that you would be able to tell a difference on things that you're doing where scales are
going around, that this work is going to pay off. Even though it may seem subtle, you'll
be able to see it, and also I think other people will be able to see it. Let's see the
other one she did.
Before that, I just noticed right here, she labeled it as a hinge. If it's a hinge, why
would it be a box? Simplify it to a cylinder, something that the other form can wrap around.
Again.
Yeah, you've seen other people do it where they turn it into something, even if it was
kind of bizarre, but it was at least a hinge or pivot or saddle.
She always knows what it is, but. Next one, this is also her.
Yeah, that is also her. Fewer round forms and more like what you've done up there on
the clavicle and coracoid process and acromion process and working that out until you are
really in control of it, really comfortable with it. Because right now you're still struggling
with it, and the struggle I don't think is over. I think that you still need to work
these things, one form, another form, another form. Tumbling boxes is a great way to think.
You mean just rotating them a little bit more?
Yeah. Look at that . .
The one you just showed.
Yeah. And you've got that in the upper right.
That's her other one.
Yeah. And that one on the right looks very much like what I did. And then over on the
left, you've got the organic parts. And it's the part in the middle, it is the part between
that form analysis on the right that is a great big macro form analysis. And your organic
and contour you want on the left. Filling the gaps in and trying to think of each one
of those bones as some kind of a stretched out, distorted box will be good exercise.
And then the better exercise would be to put that foot in a different position and then
try to make those into individuals bones conform into the bigger box.
From your imagination.
Yeah.
You start by drawing this very general form in a different position. And then within that,
put the smaller bones to fit in that bigger geometric box. That's why we simplified that
foot that much, because it's so much easier to draw this in a different angle than this
in a different angle.
And that sounds like a tough challenge, and it is a tough challenge, but it is the challenge
of masterful draftsmanship. That's the 600-year-old thing that the Renaissance artists were inventing
how to do so that you could draw blueprints and site elevation and front elevation of
a cathedral or any building, and then you could put the camera here, or here, or here,
or here, and they were solving the problems of how you can also do that with a human body
and organic forms and then we've got it. And you are running with organic forms and wonderful
mythical creatures. So I encourage you to keep at this and I congratulate you that you've
set aside the beautiful technique to work on the stuff underneath the surface that most
people don't see.
Yeah, it takes discipline. I know I'm guilty of that. Before I learned perspective I was
really good at shading. I'd just cover everything up with shading.
I'm not guilty of it anymore.
I still do that, actually.
I think everybody is. I think we are going to run with what we feel strong with right
now. And so it's hard to let go of that for something that we can't quite grasp yet.
Yeah. Well, it's the first thing I got good at and everybody would praise me for it, and
so like whenever something would turn out bad I was just, shading, and that was good.
I play the piano. I can play Red River Valley, all right, let's just do that over and over
and over and over.
Yeah. But be honest with yourself. If you see something wrong, don't just cover it up
with something you're good at. Figure out what's wrong with it, practice it on the side.
You don't have to display it for everybody, but you should because then people can help
you fix it. Okay . . .
Marshal: Look at this.
Mike: Last one.
Who is this? This is Rob?
Rob Stanphill.
I'm proud to have my name in his.
I guess, yeah, you do.
This is such a good drawing.
Yeah. Rob Stanphill.
My favorite is this.
It's beautiful.
It's so well done.
It is.
It's such a nice mix between organic and structured.
It is.
it's not even really that organic.
But it's organic if you were to bore it. But he's crisped everything up so that there's
no blurring in his thinking. He knows every plane. Boy, hard to critique. This is better
than my demo.
There's nothing to critique. I don't want to say anything. It's better than I can do.
We're going to volunteer Rob for my . . . to substitute for me for demos next time. I do
have one thing, I think I just one thing that I can teach him on both of these. Let's see
what else we've got with him.
It's just those two pages.
It's about spheres. Rob, I want to show you something on . . . you see this over here
on the right, and you've got this core shadow that's in that position. And it's beautiful
as a core shadow. But I notice that you're doing this a number of times, of the way you're
shaping that core shadow, and we might have a lesson from the moon. Let's go back to the
previous one because that was one, yeah, and then if you can . . . over on the right of
this there was a sphere that would be really good for me to demo next to. Can we blow that
up bigger on the screen or will we end up pixelating?
It'll pixelate, but at least you can draw bigger.
Well, let's see. If I can make a circle, it's going to be close enough. If that had a north-to-south
pole line going through the center of it, the north-to-south line in the center of it
would be a straight line. And then over here on the right or the left, the contour, the
north/south pole line would be the shape of the edge. And then anything in between has
to be a compromise in between. So the closer it gets to the center, the straighter it will
be, and the closer it gets to the edge, the more curved it will be. Sorry for my wobbly
line, but you get the idea. When we have the north-to-south pole line that would go through
there, it couldn't be this curved when it's in that position. It would need to be just
a little bit more like what I've got over here, and that's a subtle call. But I'm pointing
it out because you are ready for subtle distinctions like that. Your stuff looks so masterful that
that's something that . . . doing some exercise with spheres where you always bisect them
both ways. And then you figure out how your curves would be in comparison to those two
perpendicular cross hairs. Is really useful for knowing where to . . . how much to place
that curve, how severe that curve will go.
Yeah. So I just wanted to clarify. The core shadow is going to follow that equator. If
you have, let's say this is the North Pole and the South Pole is behind. And you got
the light coming from above, that core shadow is going to wrap around . . .
It has to.
As an ellipse, back there, or around the equator. And so you're going to get the core shadow
like that. You're not going to get a core shadow running along this portion . . .
That's right. Actually, it could only happen, that can only happen if you have a small light
source. We have a little . . .
Very small.
Yeah, very small light source where you put it next to a globe and then you can get that
to happen. But it cannot happen where the light is distant from it. And it's so nice
that you put the north/south pole not on straight up and down, because the sphere can be tumbled
in any direction.
So if you got a light bulb that's this small compared to this form, then yeah, the light
rays will travel and then they will stop there.
That's right. I mention that because Scott Robertson does a demo where he's got a little
light, and you end up seeing these unusual core shadows. But the moon is the best example,
right? The moon . . . when you get a half . . . what people call a half moon which is
actually a quarter moon, it just chops the moon right in half. Where when you've got
a crescent moon, it's almost just a portion of a circle, and that's because that core
shadow, which on a moon which call it the terminator, is following the same formula.
Yeah. It's just you're only seeing the light portion of it. So this portion will be all
dark and you see only this part of the moon.
Yeah. And even up here. Just you can . . . you can see that that would be just the tiniest
bit straighter if it was in that position. And again, this is . . . we're picking at
subtle and masterful things, but for you, it's worth it. I'm impressed. Let's go back
to the full view of this. Dude.
Yeah. Let's get to end this one. That was the last critique. Thank you for coming. It's
always good to have you.
Thank you for having me.
Hope you guys enjoy these critiques, and there will be a bunch more coming within the next
week or so. Thanks for watching. Check out the full premium version of this video. Much
more critique at proko.com/anatomy. See you.
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