Extract from my course From blocks figures to muscles: a Figure Drawing Foundation course
Summary
TLDRThe transcript details a tutorial on human anatomy for artists, focusing on the muscular structure of the torso and limbs. It discusses the sternocleidomastoid, pectoralis major, and abdominal muscles, emphasizing their interplay and visual representation during movement. The instructor guides through blocking in muscles, considering body proportions, and creating harmony in the figure's structure. The session also covers the impact of arm movement on muscle appearance and the importance of understanding muscle interdigitation for accurate depiction.
Takeaways
- 🔍 The script discusses the anatomy and drawing of the human body, focusing on the sternocleidomastoid muscle and its relation to the ear and mastoid process.
- 🎨 It emphasizes the importance of understanding the body's structure and creating harmony in the drawing, which involves both knowledge of proportions and an aesthetic sense.
- 🤔 The process of blocking in the rectus abdominis and external oblique muscles is described, highlighting the need to consider the body's solidity and the effects of movement.
- 👀 The script explains how to visualize and draw the serratus anterior muscle, which covers the side of the ribcage and adds to the figure's profile.
- 📏 The importance of considering the body's three-dimensionality and how it affects the tonal characteristics of the drawing is discussed.
- 💡 The approach to drawing is described as one that considers the body as a series of volumes rather than flat shapes, which aids in understanding the form's interaction with light and shadow.
- 👕 The script describes how the pectoralis major muscle changes shape as the arm moves, affecting its appearance in the drawing.
- 🤲 The interplay between the serratus anterior and the external oblique muscles is highlighted, showing how they interdigitate and affect each other's visibility.
- 👉 The process of drawing involves considering the body's movement and how it impacts the muscle's appearance, such as the stretching of the pectoralis major when the arm is abducted.
- ✍️ The script provides a detailed step-by-step guide on how to block in and refine the muscles of the torso, emphasizing the need for accuracy and attention to detail.
Q & A
What is the significance of the sternocleidomastoid muscle in the context of the provided script?
-The sternocleidomastoid muscle is significant as it is discussed in terms of its external portion and its development towards the clavicle. It is used to illustrate the connection and fluidity between different parts of the body, emphasizing the importance of understanding the structural aspects of the body in movement.
How does the script describe the relationship between the earlobe and the mastoid process?
-The script describes the earlobe as being in a specific location relative to the mastoid process, which is felt under the ear. This description is used to provide a tactile understanding of the anatomy being discussed.
What is the purpose of blocking the muscle in the script?
-Blocking the muscle serves to observe the flow and connection between different parts of the body. It is a method to understand the harmonies inherent to the body's structure and movement.
How does the script suggest measuring the aesthetic sense in relation to body proportions?
-The script implies that the aesthetic sense in relation to body proportions is not something that can be directly measured. Instead, it is a result of the knowledge of proportions combined with an individual's aesthetic sensibility, which is reflected in how they put the elements together.
What is the significance of the rectus abdominis and external oblique muscles in the script?
-The rectus abdominis and external oblique muscles are significant as they are used to demonstrate how to block in the abdominal structure and understand the body's form and movement. The script describes their origin and insertion points, and how they change with the movement of the arms.
How does the script discuss the concept of 'interdigitation' in relation to the serratus and external oblique muscles?
-The script discusses 'interdigitation' as the process where the serratus and external oblique muscles interlace with each other. This concept is used to explain how the flat profile of the muscles becomes more complex and bumpy as they interact with each other.
What role does the pectoralis major muscle play according to the script?
-The pectoralis major muscle plays a role in changing shape as the arms move. The script describes its origin from the clavicle, sternum, and ribs, and how its fibers intermingle with the rectus abdominis. It also explains how the muscle's appearance changes with the rotation of the arm.
How does the script describe the process of drawing the figure considering the three-dimensionality of the body?
-The script describes the process of drawing the figure by considering the body as a series of volumes and forms rather than flat shapes. This approach helps in understanding the tonal characteristics of the subject and the interaction between different body parts.
What is the importance of understanding the structural aspect of the body in the script?
-Understanding the structural aspect of the body is important because it allows for the creation of harmonies that are inherent to the body's parts and movements. This understanding is crucial for accurately representing the body in various poses and actions.
How does the script guide the reader to visualize the positioning of the iliac crest and the navel?
-The script guides the reader to visualize the positioning of the iliac crest and the navel by suggesting that the navel is located roughly halfway between the top of the iliac crest and the sternum, providing a reference point for the abdominal region.
What is the significance of the serratus anterior muscle's digitations in the script?
-The serratus anterior muscle's digitations are significant as they contribute to the profile of the figure and interact with the external oblique muscle. The script describes how these digitations should be oriented properly and how they change the muscle's profile as they interdigitate with the external oblique.
Outlines
🏃♂️ Anatomy and Movement Dynamics
The paragraph discusses the anatomy of the sternocleidomastoid muscle and its connection to the clavicle. It emphasizes the importance of understanding the body's structural aspects and creating harmonies in movement. The speaker talks about blocking the muscle and observing the fluidity and dynamism of the body parts. The focus is on the sternum, navel, and abdominal structures, highlighting the need for a good approximation of the body's proportions and aesthetic sense in movement.
🎨 Artistic Approach to Body Structure
This section delves into the artistic approach to understanding the human body, treating it as a series of solids and considering the effects of movement on the body's form. The speaker discusses the ribcage and its interaction with the muscles, particularly the external oblique and serratus muscles. The emphasis is on the tonal characteristics of the subject and how the approach to drawing the figure changes based on the perception of form and three-dimensionality.
🤸♀️ Detailed Muscle Anatomy and Interaction
The paragraph focuses on the detailed anatomy of the serratus and external oblique muscles, explaining how they interdigitate and change profile as they connect with the ribcage. It discusses the directional changes of the muscle fibers and how they appear 'bumpier' as they segment on the digitations. The speaker also talks about the pectoralis muscle, its various portions, and how its shape changes with the movement of the arm, providing insights into the muscle's interaction with other body parts.
🏋️♀️ Pectoralis and Bicep Muscle Dynamics
This section continues the discussion on the pectoralis muscle, detailing its clavicular, sternal, and abdominal portions. The speaker explains how the muscle's appearance changes with the abduction of the arm, noting the stretching and elongation of the muscle fibers. The paragraph also covers the insertion points of the pectoralis and bicep muscles, and how their positions change with arm rotation, providing a comprehensive understanding of muscle dynamics during movement.
Mindmap
Keywords
💡Sternocleidomastoid
💡Mastoid process
💡Rectus abdominis
💡External oblique
💡Interdigitation
💡Pectoralis major
💡Serratus anterior
💡Anatomical blocking
💡Tonal characteristic
💡Fascial structure
💡Volume and form
Highlights
Discussion on the sternocleidomastoid muscle and its flat and fusiform portions.
Explanation of the earlobe's anatomical position relative to the mastoid process.
Demonstration of blocking a muscle and observing the flow of forms.
Importance of considering the body's structural aspects and creating harmonies in movement.
The concept of measuring and understanding proportions in relation to aesthetic sense.
Technique for blocking in the rectus abdominal structure and its relation to the body's weight.
Description of the external oblique muscle's path and its connection to the rib cage.
Approach to considering the body as solids and predicting the effects of movement.
Technique for drawing the abdomen, including the rectus abdominis and the iliac spine.
Discussion on the use of fascia and its role in the abdominal area.
Explanation of the tonal characteristics of the subject and how they relate to form and light.
Method for blocking in the serratus muscle and its interaction with the ribcage.
Detailing the interdigitation of the serratus and external oblique muscles.
Technique for blocking in the pectoralis major muscle and its change in shape with arm movement.
Importance of understanding the 3D form of muscles rather than just their shapes.
Approach to considering the body's volume and form when drawing.
Technique for adding color and understanding form interactions in the drawing.
Final thoughts on the advantages of the discussed approach for understanding the human figure.
Transcripts
foreign
this is the Future 4 portion right and this is the flat portion right so if you look at
those electric quarter View actually probably use this one is better right
um we see how this is the stern external portion of the sternocleidomastoid from
behind this the fusi4 portion the flat portion developed and goes to the clavicle
makes sense that you see that's the ear hole right so the earlobe is here here and under
under there you feel the mastoid process right that's the mastoid process right so [Music] um
so now um here we're blocking this muscle and we should have seen that there are some
some flows right look at this it comes up down down
beautiful right see that very elegant right very elegant right so um
considering this type of connection right fluidity between the part or the body yes it's it's it
means that you respect the structural aspect of the body but also created these harmonies right
you created Harmony that that are inherent to the parts of the body in the movement Etc right
so what we expect that um and how do you measure that what you don't really measure
that it has to be the results of your knowledge of the proportion but also your aesthetic sense
how you put them together you can maybe kind of push that right for part of the [Music] um
on the movement dynamism flows Etc so let's just turn them right from here from the sternum down
here I guess I have the linear Alba right and um the navel is going to be about here
uh pretty much be halfway between not Halfway by at the top the level of the top of the iliac crest
right so now from here what we do we Block in the rectus abdominal structure of Dominus
um remember we have um when we Block in director's abdominals here uh we want to
make sure to occupy all the total weight here the central the central half more or less now
what this is tricky to do because it's not frontal it's in the front to front of you but
still we can you know we do good approximation make this smaller and this is slightly bigger
for example so from here um what is here here is the seven as a fifth right fifth is one head
down or or a little bit higher than the coastal Arch because the cost of larger the seventh the
rectus domini starts at the fifth so I go higher a little bit higher come down like this right
and you go down to the pubic bone now from here same thing right here here and you draw this
segments that connect rib cage and pelvis
for now we leave it just like that like like we did last week for the mail counterpart right
and we add now the external obeak so let's turn oblique starts from the fifth two right here next
to the rectus abdomen here out out like that and uh we need to leave a little bit of space
here between the lateral margin of director's abdominis and the
major margin of the external oblique several breaks that from here goes out a little bit
to the fifth fret connect with fifth fret and then it goes fifth sixth seven eight
9 10 11 12 in the back all right so like this wraps around like that right so when this
lateral margin of the external oblique reaches the profile of the rib cage then we have the um
the muscle covering as much as you can the Ricket but when we run out of Decay this goes out
to to the area crash right so you can see now how because of this tilt right this could be a
little bit compressed not much could be a little bit compressed because the pelvis comes up this
way right the ribcage goes down that way that is a soft part and a muscle so I might have a
little bit of a bump in there right so this is all speculation right but that's how the the
the the great advantage of this approach is that it makes you consider uh the um
the body as solids and what happened if I move this what happens if I squeeze that right
now from here I go following the profile of the ribcage out like this right and then because this
these two partners are distant probably this is going to be smoother in the stretch right here
so this profile connects with earlier Crest goes come in now when once so
uh here right the muscle goes here like this right here and then it keeps going a
little bit here like this keeps going here like this and then from here it goes up
right like this it goes up so all here I have the abdominal fascia which I'm going to block in later
so keep going down like this and then it goes up here
I do the same thing on the other side
like that so now the in your spine is going to be just here one here and one here
now from the iliac spine I go down to the pubic bone with a curved line
like this and you see how you know more or less right it's not really like that
exactly but more or less I have here the leg here with a curve like this right
and then I have the line of the England ligament down like that see that one and two in reality
there is a little bit more space in between these two but we just need to be essential now right so
now same thing on the other side from Ilia spine to the pubic bone down like this and up and that's
the end of the abdomen right so all of this is going to be uh fascia a phonologic fascia right
and um we can also block him some comfort here actually I'm gonna use a red a red color for that
compare and red
you start coating um
collecting the uh there's the this strimetric
structure with a layers right again this also contributes to thinking to make us think as
a drawing uh as a as a series of volume of forms and not shapes but not shapes
as you can see that the approach that you use for drawing the figure would change depending
how you consider how you read your form if you read it it's flat um is your shapes if
you think of these as Broad and form you think um you you use forms right three-dimensionality
foreign foreign
[Music]
that light again and then dark again here
so that's another advantage of that this approach is that
it it makes it easier to understand the tonal characteristic of your subject
now this goes out in under the cost of logic goes a little bit right
out the belly right out light and then dark below the belly here so we see this up here light line
because this portion here is the right leg is for the light then I move down below the Costa Raja
turns then the belly goes out and then below the belly goes back in right so light dark light dark
and then we want to um keep going with this we see that just above this area
here I have the pubic Mound here it's going to be light and below that dark right light dark
any question guys
I want to clean up
foreign how is the speed too fast to slow just right
good okay good good all right so now
um I can see if I can soften this up with this thumb frame here you go right here
okay all right so now um we can do we can block in the serratus right
so the serratus we think of the serratus as a
two two flat muscles here the cover the side of the rib cage here right so the stratus will
add to the profile remember the sarats here we add to the profile of the figure
goes from the first rib to the eight or nine to the ninth rib and it it kind of
connects here see that it continues to this margin of the external oblique and it goes
up like this to the first rib like this so we block him a volume here and a volume here
which is going to be less visible on this side because it's it's on the side right
so it can just turn we see less or the volume of the uh serratus right so here
and then we need to remember last week after blocking the form right we can give
it some color overall here so we see how a form interact with another form right
it doesn't interaction interact with a four interaction interact
with another form like this then um so this of the
it goes behind it goes behind yeah sorry you can show me back in the clavicle because it goes to
the ribs right it goes to the ribs um and um it starts from the um the coastal face of the scapula
but let's let's not worry about that because it's behind we don't see it right so it's basically
caused the the ribcage on the side like this right the upper the upper the upper portion down down to
the nine so you know a little bit more than just the upper portion most of the top of the ribcage
all right so um now here we have um from here right from here this is the fifth right this
is the fifth trip so remember director's abdomney starts to the fifth the Serato sorry the external
oblique starts to the fifth and at the fifth digital fifth rib we have the fifth digitation
or the surrounds right these are the digitation right so now we take this flat muscle and then
we divide it in segmented on the digitation and as we do that the flat profile will become
um bumpier like this see that here here here
and what we can do now we can this fifth digitation will come down at the gentle angle like
this see that here then below that I have the six let's come down this slightly sharp angle right
and the seventh like that so now what we want to do we want to make sure that we have this
change of profile right where the digitation here show their own individual form and
at the space here between the digitation single digitation we need to take off the margin
the original margin or the muscle that we blocked in because this here this Jagged
line see that here is where we have with the serato's interdigitates with external oblique
interdigitation right so that now first we had two two flat lines I continuous to each other now we
have interdigitation so um this here at this this point in here what it is is uh this is the fifth
the segment of the external oblique that starts from the from the fifth trip this is the segment
of the standard week they start from the sixth trip this is the seven star for the seventh and
so on and the seratos here uh goes uh just to stop where the um this segment of the external
break begins where this begins Etc and the direction of this spastico of the external oblique
it starts as 45 degrees angle more or less right and gradually as we move down it verticalizes
the direction of the of fibers verticalizes down like that right
right so now we can keep going so um as we go up right with this with the digitation we see
that the so the fifth is like at an angle right the fourth tip will kind of horizontal but still
have to wrap around so that's relative right and then the third is kind of change the direction
then the second and the first will go up like that but but these two the first and the second maybe
also the third certain second are much even more complicated than that uh they do they connect also
with ribcage in different ways but we don't see them so it's easy for us easier for us to think of
the digitation of the serratus is organized on a regular radiating pad like that
and not don't worry about what happens up here because it's hidden it's hidden by the pectoralis
it's hidden by other muscle we don't see what happens up here so we don't worry right but
down here let's say from the third fourth fifth sixth seventh we see them so we want to we want to
Orient them properly yeah right so now um we can block in here the pectoralis right
uh with this uh uh Abduction of the arm we can also study um the pectoralis how the
pectoralis kind of changes shape as we move the arms right so the pectoralis starts from
um the lower margin of the clavicle right and it goes this is the clavicular portion right this
is the clavicular portion so remember last week right so clavicular portion
external cluster portion because this group in here attached to the sternum and in this
and and the ribs Coastal Ribs Right and the lower portion is the abdominal portion that is connected
with the abdominal fascia so um start with a um a medial half right of the clavicle lower margin
so I mean largest a little bit more so you can see it there you go right even better right so
now goes with the median margin of the sorry the media have or and the lower margin of let me say
that again divided clavicle in two take the medial half the lower margin or the major half
is where we have the uh clavicular portion of the pectorize then from here the pathology goes down
along the sternum down like this when we get to the level of the fifth or sixth year principle for
the fibers the fibers of the tendon of the rectus abdominis here kind of intermingle with the
fibers or the pectoralis like the energy abdominal portion right here down with the sixth okay so now
maybe a little bit more up here now we have a c see that is C right like that
uh that's your point of origin the point of research we have seen is along the
uh side of the humerus but the humerus now uh if I see it from the front like this
uh the origin of the insertion of the pictology is on the side of the humerus a little bit below
the head of the humerus but if the arm now turns in like this right this side here is
not going to be it's going to be here now make sense because the arm now is rotated right so um
let me get that let me get the norm right [Music]
foreign
foreign
[Music]
[Music]
this is the opposite all right but still as the armor rotates inward right then this
comes to the center so when you have the arm like this the arm kind of rotate like this
and now it's on the side here it's not I mean here not on the side makes sense
so um for now we will do we go Mark here a line that represent the point of insertion you see
in that line that rough line is quite it's quite big and you want to consider that see this notch
in here right that's where the tend on the bicep goes here the tendulip pectoralis goes over that
and the biceps start from comes out from under here which we're gonna so the the
bicep will be from here under here under this Notch here like that right
that's the bicep so now We Go From Below point of um it's relation to the high point of origin
and to the high point of insertion dual point of order you can do also vice versa right so
but side and down like that now as I do this I the pectoralis here in this portion here
will be stretched right would be stretched like this so not gonna be so thick here it's going
to be more elongated like that and change the direction to this right so this portion here
the pectoralis now is the portion that creates like sort of a bridge right connects the two
right so this portion here the picture is attached to the this the rib cage right
but this portion here now is going to be stretched because the arm moves away so this portion he gets
elegant so I'm gonna have some sort of do two different forms here one here like this
which is the stretchy part and one and actually let's see if I can find it in the pictures right
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