Anatomy Drawing Critiques – The Shoulders

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. So, we have a premium section for students that want to learn more. The premium section has extended lessons with more information about the topic. It also has additional drawing demonstrations. If you do the assignments for each lesson, these demos serve as the answers for the assignment, so you can check your work. There’s an ebook version of each lesson that you can download as a PDF. Print them out or keep them on your device so you can quickly review the lessons. And finally the Premium section has 3d models that you can spin around, study, and draw from any angle. If you don’t want your drawings to look like this, go to