lesson assignments that you guys submitted. So thank you for everyone who submitted their

assignments in the Facebook group. If you're not part of the group and you want to participate,

you can go to facebook.com/groups/anatomy4artists, or just click in the link in the description.

Okay, so this first critique is for Gole Senosi. Now, when I look at this, I can see the perspective

is off. And that's actually the main thing that you guys are struggling with, is the

perspective of the bucket. And that's understandable, because this bucket is quite complex. It tapers

from top to bottom, it's tilted forward, it's squished from back to front. So it's not a

simple cylinder. It's kind of complicated. So I want to go over the perspective of the

bucket one more time, maybe a little bit slower and go over a few really important points

that I noticed you guys were doing wrong.

The first thing to start with, is to get the angle of the bucket, the tilt, the long axis.

So when I look at yours, I'm seeing this is the angle of the long axis, okay? So I'm going

to draw that angle, something like that, just draw it in lightly. The second thing is to

get the angle of the ellipse on the top cap, so this top plane that you drew. And you actually

drew that angle correctly, and let me talk a little bit about how you figure that out.

So the first thing I imagine is an angle perpendicular to the long axis, so that's perpendicular

to the line I just drew. Then I imagine the angle from side to side, so the angle you

drew here. Okay. So let's get that angle in there. Now, the angle of the ellipse will

be in between those two. Quite complicated. Now, the reason it's going to be between those,

is because the bucket is squished a little bit. So let's say you have a normal cylinder,

which is perpendicular, the ellipse is perpendicular, the more you squish the cylinder, the more

that the angle of the ellipse will go toward the squishing angle.

So let's say that we squish this along this angle, right? We step on it here and we compress

from here to here, so these points go this way. The more we squish this, the more this

cylinder will become like this. It's being flattened. So the angle of the ellipse will

go from here to here, at a completely flattened extreme. It's just going to be a straight

line, right? We completely flattened that cylinder and it's just a straight line across.

So since we're flattening this bucket from front to back, this angle of the ellipse will

be somewhere between this angle and this angle. So now that we found that angle, we can draw

the ellipse. And you don't have to draw the ellipse in one shot, okay? You can construct

it with a few lines. So you notice how I'm just kind of ghosting it in in sections. It's

easier to do that rather than trying to go one clean sweep in and connecting those dots

perfectly.

Okay, so there's my top cap, my top plane of the bucket. Now I'm going to find the side

plane, and notice how I'm still following this angle here, this tilting angle that I

established in the beginning. Now, it's going to look weird, it's going to look like, "Wait

a minute, shouldn't that be like this?" Well, no. We're squishing that cylinder. If we draw

it like this, we're just making it perpendicular. We're just making a normal cylinder. But since

it's squished, it's not going to look like a normal cylinder, okay? So same thing here,

the ellipse down here will have that same angle. And it's going to be a little bit wider

because we're looking down at it more. So there's my bucket. Now we can find some more

angles that will help us draw the pelvis in there, in correct perspective.

We already have the line from the left side to the right side. Now let's find the line

from front to back. And this is the middle. I always want to make sure it crosses that.

From there, I can drop a line down the front plane if I find the middle of the bottom plane.

I can keep these lines going around the bucket. So it's top plane, front plane, bottom plane,

and back plane. And as I do this, I want to make sure that the lines taper correctly.

These lines go from front to back, so they're getting smaller as we go back. So they need

to taper toward a vanishing point that way.

If I draw this line like that, now these lines get wider as they go to the back. That's wrong.

Things get smaller as they go away from us. So I've got to make sure that these angles

relate to each other correctly. Same thing with these angles. This one and this one are

going down away from us, so they should taper downward, get smaller. We can do the same

thing with this. The side to side will continue around the side plane, down the bottom plane.

And now I'm noticing there's an issue, okay? So we're looking from the left. That means

that if I draw a line from left to right, they need to converge to the right side. Currently,

these lines are getting wider this way; they're going away from each other.

Now, you can always think of a box. If this is the front plane and we can see a little

bit of the side plane. So we were looking from the left side and we can see this left

side of this box just like we can see the left side of the cylinder. So this edge is

farther away from us than this edge. That means these lines should converge. So that

means these lines should converge to the right, but they're not. So I'm going to correct myself.

Something was a little bit off because my drawing is a little bit sketchy. It's not

perfect. My lines aren't perfectly straight. My ellipse, I have a line here and a line

here, so I haven't established the exact position of that edge. So things are going to be a

little bit off. But if you check yourself at every step, you can make sure that you're

pretty close. So that looks like it's a better perspective. So now when I draw, let's say

if I find these corners in the bottom of the ischiums, I need to make sure that they are

converging. They're parallel to all of these, right? So that would be something like somewhere

around here. It would be those dots.

Notice how you are drawing a line this way here. You're drawing a line this way here,

and you're drawing a line this way here. Notice how your front plane is converging as it gets

closer to us. It's doing the opposite of what it should be doing. If you establish the perspective

correctly up to this point, before you start drawing the pelvis inside the bucket, if all

these angles are correct, the pelvis inside the bucket will be more correct. So make sure

that all your angles in the bucket are working before you start drawing the pelvis.

Let's move on to Sonal Prabhune. Sonal, the thing I'm seeing with yours, is you are drawing

these forms, the forms of the pelvis, as very thin shapes. They're two dimensional. You

need to show some thickness to these forms. So for example, right in here, you're showing

the outline but then there's no depth to these bones. Show this, show that there's a top

plane along the iliac crest. There's a front plane in here. You're doing that on this side,

so that's nice. You're showing some thickness here, but then this angle is wrong. It should

follow this angle from side to side, and then drop it down showing the thickness in there.

Same thing in here, you're showing a little bit of thickness but it's just not enough.

The bone would snap like a potato chip if it was that thin. Okay, something like that.

And then you're not showing any thickness at all on this side. So same thing on this

one. Looks like on this one you're showing some kind of lip, but it's not boxy enough,

because you're not showing angles. It doesn't look like it's a top plane or bottom plane

or side plane. In fact, if there was a top plane, you wouldn't see it from this angle,

right? It would kind of go like that, the thickness would disappear toward the top.

But you're showing it all the way around. So it looks more like a lip around the whole

thing rather than thickness. This one's too tall. So with this one, you just didn't get

the proportions of the bucket correct.

Now I want to contrast that with Bae Soo-hyoung work. Notice how much thickness he is showing,

and this feels so much more solid. It feels like he's understanding the forms. You could

feel them in space, right? It's not like a paper cut out that's skewed. He's really thinking

about the perspective and the angle of all these things. So very nice job. I really don't

have a critique for you other than just showing that you did a good job showing the thickness.

Next critique is for Raphael Ventura. Raphael, your lines are just too wobbly. When you're

drawing structure, when you're drawing something that requires a lot of form, a lot of blockiness,

it's good to draw with a lot of straights. So I would say fill up pages and pages of

straight lines. Draw a dot on the page, draw another dot, and try to connect them. Practice

drawing straight lines and make sure that they feel straight. And also, make sure that

you can draw specific angles.

So if I want to draw a horizontal, I should be able to draw an accurate horizontal line.

If I want to draw a 45 degrees, I should be able to draw something near 45. Notice how

you're constructing things with curves. You're drawing the outline of things. And even in

areas like this, where you're indicating a front plane, but you're doing it with just

little swipes instead of clean lines. This would feel so much more structured if you

had just drawn a box, a clean box, for that iliac crest. See how much more solid that

feels?

Much better down here. That's a nice line. That's a nice line. These are nice lines.

Right here, these are all nice lines. So this drawing down here in the bottom right is your

most successful one. Try to redo all these other ones, one, two, three. Do those again

and do them with more structure. I think you were maybe warming up a little bit, and so

your lines were a little sketchy. You were following contours too much, and then you

slowly got better.

Next up is Francesco Franzini. Okay, Francisco, I think you need to study the proportions

of the bucket. Your bucket shape is very inconsistent. This one is very squished from top to bottom.

This one is very tall. And this one is somewhere in between, a little bit closer to what the

bucket actually is, but still maybe a little bit too flat.

In the Facebook comments, Rebecca Shay provided a link to her blog, where she actually measured

the bucket and found the height, the width, the depth. And you could see all these numbers

here. I really like how she went that extra mile and she's studying the dimensions, trying

to figure it out. This is good. Ultimately, we are visual people, I'm assuming, since

you like to draw. And learning these numbers might not really help a lot of us. It's just

this isn't visual; it's numeric and it's kind of hard to imagine sixteen by eleven by nine.

So I think the better approach to learning the proportions of the bucket is what I provided

in the premium section. We have these models, right? We have the model of the bucket, and

the pelvis inside of it and we can rotate it, we can look at it from any angle, and

we could really just study what the bucket looks like from all these different angles.

So the better approach is to just draw a lot of these buckets, and just engrain it in your

visual memory. So then you'll know this bucket just feels too tall, or this just feels too

wide. It's better to go off of instinct than to say, "Oh, is that sixteen by eleven? No,

it's more like 18 by 11." It's just not going to work that way. So if you have the premium

membership, I really recommend going in there, rotating these from different angles, and

drawing the bucket over and over and over again. You have this ghosted architecture

and you can see through it, and then there's the pelvis inside of it. So start with these

lines of the bucket. You've got the ellipse of the top cap. You've got the front to back,

side to side, all that stuff. Draw it in and then draw the pelvis inside of it. And simplify

the pelvis too, how we did it. Instead of drawing all of these curves, you would just

drop that line straight down. You guys probably already know about this, so let's move on.

Next up is Prikka Harvala. Prikka, it's proportional issues. So let's see, this one, too flattened

top to bottom. You could see, actually, it just feels taller. This pelvis just feels

taller. This one looks like it's the correct height but it's just not wide enough, like

you didn't expand these wings out far enough. So you need to show a little bit more of a

taper. In fact, that taper is consistent throughout. Look at these three on the side, almost vertical.

You're showing very little taper, so you need to really push that bottom plane to be smaller

on all of these guys. Okay, so that's a consistent issue. Whenever you're doing something consistently,

that means that you just have that ingrained in your mind already and you have to reverse

it by doing a lot of drawings of it correctly. Otherwise, you're just going to continue making

the same mistake.

I had that with quick sketch drawings, where I would consistently make people's legs too

long. I would just keep doing that, keep doing that. And I didn't know why. I mean, I didn't

even notice it, because it was like that's what I imagined it to be. And the only way

I got over it was to have my instructor come by and constantly saying, "Hey, those legs

are too long." And I would have to just make them shorter than I thought it should be.

But eventually, it just kind of clicked. I would slowly take my perception of it closer

to what it should be.

Okay, let's move on to Brian Williamson. Brian, looks like you were having a hard time finding

the angle of the top ellipse, because you drew five pelvises, looks like they're from

the same angle, except this one. You drew each one with a different angle for the top

plane. So let's look at them. This one is pretty much a circle. Maybe it's a little