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  • Stan Prokopenko: Hello, welcome to another critique episode of Proko. My name is Stan

  • Prokopenko. We're gonna be critiquing the rib cage today. If you haven't seen the rib

  • cage lesson, click on the link in the description below. There's a lot of people that submitted

  • their assignments in the Facebook group. So let's jump right in.

  • The first critique submission is from William Shepherd. So William, I can see you're still

  • thinking in terms of line. You're looking at contours. You're thinking two-dimensionally,

  • and you need to transition to thinking three-dimensionally, thinking in terms of boxes, cylinders, that

  • sort of thing. That's a really difficult thing to wrap your mind around. The only way is

  • to just start practicing drawing three-dimensional objects. Draw things around you. So for example,

  • when I look at your drawing here, I can see that you drew the cranium and then the jaw,

  • and it's all just one line. It's like a contour line around the head. You're not drawing it

  • as volume. So it would have been nice to have start with a ball for the cranium. Then cut

  • off a side of that. Just chop off a piece of that ball. Look how you just put a C in

  • there instead of actually putting a plane. Then mapping out a grid in here. You know,

  • now that's three-dimensional. And also, the features you drew are a little bit premature.

  • You didn't figure out the perspective of the face before you put the features on the face.

  • So it would've been nice to have wrapped this equator line all the way around. That'll tell

  • you the brow, and then from here, the nose, and then drop another one for the chin, and

  • then from there, find the jaw. See, when I start thinking three-dimensionally, things

  • start to feel more like volume. When you approach it linearly, it just looks cartoony. Start

  • getting comfortable with three-dimensional shapes. I know we're doing critiques on rib

  • cage and I just drew a head, but the same thing applies, really. You're doing that for

  • all of these forms. I feel like instead of thinking of volumes, you're just going through

  • the motions. You saw somebody do the Loomis head, and so you knew that, "Okay, you have

  • to draw a circle. And then you have to draw an oval on the side plane, kind of." And then

  • you remembered maybe somebody drew a nose with this kind of blocky form, but it seems

  • like you don't actually understand these forms. You're just going through the motions, like

  • step-by-step almost. Like, you're remembering the lines you have to put down rather than

  • imagining the form and putting the lines that represent that form.

  • Now let's move on to Alejandro Farrera Hernandez. This is a person that is thinking about form.

  • Alejandro, you are drawing three-dimensional shapes, and you're imagining them three-dimensionally

  • in your head. So this is a good comparison. There are a few areas, though, where I think

  • you can improve the three-dimensionality. So up here, on that first one, if you think

  • about the angles of the front plane, or from side-to-side, that you're indicating, these

  • are all good so far. And then uh-oh, what happened here? See that? This guy's here is

  • much lower than this guy, and it should relate in the same way that all these other side-to-side

  • relationships are relating. So just drawing some horizontal lines across there would've

  • fixed that. This second one looks pretty good. Maybe just not enough of a forward tilt on

  • this top plane that you're ghosting in there. I know the photo you're drawing from, and

  • I think we're gonna be looking right at that top plane. So if my hand is the top plane,

  • you're drawing it as if you're kind of looking under it, but it's actually more like this.

  • You're gonna be looking right at that top plane.

  • So it would look like just a straight line instead of a top plane. The third one here,

  • rib cage looks great. I like that rib cage. The pelvis looks a little bit twisted, looks

  • like the sacrum is pointing this way, and then you've got the pelvis kind of going this

  • way. And so things are getting a little bit twisted up. This fourth one, good job actually

  • drawing a female pelvis. I know that the model in the photo you were drawing from was a woman,

  • and so you actually drew a pelvis that is compressed, so good job. For the rest of these,

  • I think you're doing the same thing that you did in this first one. You are not relating

  • the angle from side-to-side of the bottom corners of the rib cage. You see how you're

  • bringing this bottom edge all the way down here? It should be more about there. That's

  • where it would end. Same thing on this one. It would end right there. Same thing on this

  • one as well. And same thing on this one. So all of them, I think you're just forgetting

  • to relate, 'cuz you're relating in other places but just not that bottom corner. So maybe

  • it's just not part of your thought process yet to check every side-to-side relationship

  • as you draw it.

  • Moving on to Todd Jaeger. So Todd, I'm seeing Ryan tilting back quite a bit. There's a center

  • line right between the pecs. So notice how Ryan is tilted back more. So always observing

  • the center line helps. Also, in complicated poses and weird angles like that, it might

  • be helpful to start with the big shape first. So getting a gesture line for the whole torso,

  • like that, would've helped, maybe containing the whole form. You know, if you drew something

  • like that, you could kind of divide that shape a little bit better and you can judge the

  • width to height relationship of that shape. And then if that's correct, then it's easier

  • to place the rib cage within that, and the pelvis where it would belong in there as well.

  • That always helps me. You know, start big and then start cutting it up into smaller

  • and smaller chunks. That would've solved your gesture issue, so he would be leaning back.

  • And also, I'm seeing the rib cage and pelvis much closer together. So let's say right about

  • there is where the rib cage would end, and then right about there is the pelvis. And

  • so look at how much distance there is between them. Very little. You're putting probably

  • three times as much distance in there. So big shape, create a container, put it within,

  • look for the gesture, look for angles.

  • This submission is from Caleo Nebula. Okay, Caleo, so you're pointing out here that this

  • is the way you used to draw it, and now these are your notes from my videos. So watch out

  • that you don't draw a perfectly round ellipse. Looks like this is a perfect ellipse for the

  • rib cage. The rib cage is more of an egg shape. So what you have here, as what you used to

  • do, is actually more accurate than what you did here from my notes. You remember in my

  • video, I said that the apex of the rib cage, of the side plane, that means the part that

  • comes out the most, is about two-thirds of the way down from the top. So it would be,

  • if this is the bottom of the rib cage, this is the top, this should not be the part that

  • comes out the most. And you're showing that as the part that comes out the most. The part

  • that should come out the most is about two-thirds of the way down. So if you divide that into

  • thirds, right in here would be the widest point, just like you have here.

  • So that's correct. The only thing I don't really like about how you used to draw it,

  • is that it's just a very sharp corner. I would soften it so that it's more of an egg with

  • the widest point two-thirds down. What you have here looks pretty good. That's a good

  • curve. Another thing that I'm seeing is that you're not only putting the widest part in

  • the wrong spot, but the top and bottom, you're drawing as the same thickness, but they're

  • not. See how the top is this thick and then the bottom is this thick? And that's the same,

  • but it's not. It shouldn't be. The top should get much narrower. So if I'm going to draw

  • a rib cage, let's- Okay, there's front or back view. Right in here, about two-thirds

  • down, is the widest part. And then right here is the width of the top plane, and there's

  • the width of the bottom plane. Try to remember that it's an egg. It's not an ellipse. It's

  • not just a stretched out ball. I do like your analogy here of the thoracic arch being like

  • the laugh line on a face. That's pretty cool. It's like the jowls right there. Right? You

  • can see it more on older people. You start getting those jowls hanging there. That's

  • pretty cool. It's a good way to remember it.

  • Moving on to this drawing you have on the right. I like most of it, the only thing is

  • the thoracic arch in this one, actually. You're not really following your analogy. See how

  • you have this curve, both of them are curving this way? Whereas on this one, you're kind

  • of showing it like that. From three-quarter view, the roundness of the rib cage starts

  • to overpower the U shape of the front. Right? So if you kind of think about it for a minute,

  • from the front, you do see this U shape. But from the side, everything is wrapping this

  • way. So do you draw the thoracic arch like this, or do you just draw it like this? Well,

  • it depends on the angle. You know, how much is it towards the front, or how much is it

  • towards the side. In this case, it looks to me like it should be more curved outward.

  • So this one is obviously gonna be curved outward, because it's following the U shape and it's

  • following the roundness of the rib cage. So that, no question about it. In here, it won't

  • be as curvy as the side on the left, or as the curve on the left, but it will still be

  • a little bit curvy. Maybe like this, just a very subtle curve. So okay, nice job, Caleo.

  • Let's look at what Austeja Vaicyte submitted. Okay, Austeja, so you're drawing things linearly

  • still as well, just like William did. So you need to also start drawing more boxes, drawing

  • things three-dimensionally. And another thing I'm seeing, is that you are trying to fit

  • the rib cage too tight into the body. You're kind of distorting the rib cage in order to

  • really fit it, so it looks like that rib cage is starting to blow up and it's starting to

  • press up against the body. So for example, in this one, see how you're really just following

  • the contour, and then here you start to go outward. It's not really gonna touch there.

  • You have to leave some room for muscles. So in some areas, it will protrude from the surface.

  • Like right here, that rib cage is really pushing out to the side, and anything that's covering

  • the rib cage is just stretched so thin that you don't really even see it.

  • But from there, you're gonna have some scapular muscles, you're gonna have the lat, and that

  • is going to take up this area in here. Okay? So really look for the actual shape of the

  • rib cage and think of it three-dimensionally. So see how in here you have this angle, right,

  • of the shoulders? If the rib cage is tilted this way, then the bottom of the rib cage

  • should also be tilted that way. So in here, let's end the rib cage here, like you did,

  • but then bring the other side down farther, all the way over here. And then remember that

  • the thoracic spine curves this way. It curves over the roundness of the rib cage.

  • Okay, let's look at another one of yours. Maybe this first one. You're stretching it

  • out and you're making it really tight in there again. It looks like you're just not familiar

  • with what the rib cage should look like, and so it's harder for you to put a rib cage shape

  • in the body. And so you're kind of just drawing a shape where it might fit in the upper part.

  • Now, I wanna move on to Rebecca Shay, because Rebecca, you're doing the same thing. Look

  • at the contours you're showing. Look how wobbly this is. You're not drawing the structure

  • of the rib cage; you're just drawing a shape in the top part of the body. Again, in here,

  • look at how wobbly that is. Look for a simple curve. Look for angles. Whoops. I almost made

  • that same mistake. So I have established this as the angle from side to side. So now if

  • I'm drawing the top plane, I have to make sure that that angle converges somewhere.

  • Now how much do I converge? Do I go like that, or do I make it almost straight? Well, that's

  • up to you, really. How much perspective, what's the aspect ratio of the camera? You kind of

  • have to feel it out. You could really push that. The closer you are to the person, the

  • more of that effect will happen, but it's really up to you.

  • Okay, and then from there, drop the side plane. And then I'm not gonna draw that top plane

  • parallel to the bottom plane. I'm going to lean it forward a little bit, just like that.

  • And then find the center line, find an edge to separate the side plane, and then maybe

  • divide this in half. That's the sternum, and then there's the thoracic arch. And this is

  • a female rib cage, remember, female rib cage, you really wanna make it more feminine. That

  • thoracic arch would be more like this. Male or masculine rib cage, you'll make it more

  • like this. So I'm making this much sharper of a corner.

  • Next is Neville. With Neville, I really just wanted to show what he did. This is such a

  • useful exercise. He's drawing the rib cage pretty much from every angle, starting in

  • the center, just straight on from about eye level. And then as you go up, he's rotating

  • that rib cage back. And as he goes down, he's rotating it forward. Then as you go left,

  • you rotate the rib cage left. And as you go to the right, you rotate it to the right.

  • So then you just have this giant grid of the rib cage from every angle, and so you have

  • to draw it from every angle. It's very tedious, but once you're done with it, you've just

  • drawn, like, 50 rib cages. You know, that's more than anybody else drew in the exercise,

  • so that's good. The only thing I would wanna say, though, is try to keep the sizes correct.

  • Also, if this whole row is supposed to be tilted just a little bit forward, why aren't

  • they the same height? Draw horizontal, and then just make sure that all the rib cages

  • fit within that space.

  • But let me show you what I mean. So let's say I'm drawing the rib cage. I'll tilt it

  • forward a little bit more. Okay, so that's leaning forward a little bit. If I was to

  • now draw this rotated to the left quite a bit, let's draw perfect horizontals and let's find the angle. So it's tilted forward

  • a little bit. And look at this. We can find where this point is, by drawing another horizontal.

  • So it looks like I need to bring this down a little bit more. So there's that whole plane.

  • If I'm seeing this much of that top plane, then I should see that same amount even if

  • I rotate it a little bit. So I could do the same thing for the bottom of the sternum.

  • Now, what if I want to draw something in between that? Okay, now let's imagine what it's gonna

  • look like. You can lightly draw something in if that helps you to kind of start exploring.

  • Okay, so there we have one that's tilted to the left a little more, and it's leaning forward.

  • It's somewhere in between this one and this one. Maybe a little bit closer to this one.

  • But anyway, great exercise. Thank you, Neville, for suggesting it. And that was the last critique.

  • Okay, thank you guys for watching. Thanks for everybody who submitted their critiques.

  • I will see you next time. Bye-bye.

  • Hey, have you seen my new app? Skelly: The Poseable Anatomy Model for Artists. Go to

  • proko.com/skellyapp, or click this button to get it on iOS or Android. That's it. Thanks

  • for watching. If you're enjoying the course, don't be all selfish. Tell your friends. And

  • if you want to subscribe to the Proko Newsletter, go to proko.com/subscribe. Bye-bye.

Stan Prokopenko: Hello, welcome to another critique episode of Proko. My name is Stan

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解剖評論 - 肋骨籠 (Anatomy Critiques - The Rib Cage)

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    vulvul 發佈於 2021 年 01 月 14 日
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