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  • Hello, welcome to Proko. My name is Stan Prokopenko. In this video, I'm going to critique the pelvis

  • 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

  • bit longer in this direction. This one looks like the angle of the ellipse is going this

  • way. This one, the angle of the ellipse is going this way. This one, maybe like that.

  • Actually, no, this one's more like this. And then this one is also very similar to that.

  • So notice you put five different angles for that top cap. Now, which of them is correct?

  • Well, let's figure it out.

  • So the angle of the pelvis is like that. That's the long axis. So let's draw that long axis.

  • Now, the perpendicular angle to that would be this. But remember, the angle of the ellipse

  • is not going to be perpendicular, because it's squished. So we have to now find the

  • angle from side to side, which looks like, in all of them, they're consistently horizontal.

  • So if we draw that horizontal, that's that. And the angle of the ellipse will be somewhere

  • in between that, like this. There's the angle that we need to use. And so which one's the

  • winner? Ta-da! This one right here matches the one that I found here. So this one, looks

  • like you made it perpendicular to the long axis. This one matches this angle. This one,

  • not sure what you did there. You were maybe trying to make it perpendicular to the front

  • and back, not sure. This one also very close, actually. So these two are almost the same

  • angle. This one, looks like you were also maybe trying to make it perpendicular or parallel

  • to the front and back.

  • So hopefully that helps you figure that out. When I draw these, I don't actually draw all

  • these angles, I just imagine them in my mind. I'll draw the long axis, and then in my mind,

  • I'll imagine this. I'll imagine side to side, and then I'll draw this. And so I would only

  • have these two lines, and then I would draw the top cap, bottom cap, and so on, okay?

  • So it might take a little bit of time to imagine these things, to be able to see that in your

  • mind, but the more angles you draw, the more lines you draw and the more boxes you draw,

  • the easier it will be for you to imagine this stuff in your mind. So like I keep saying,

  • Marshall keeps saying, draw things around you, construct them into boxes. It really

  • does help. It's in everything you draw. You're going to have to draw them in perspective,

  • unless you're drawing abstract. But if you're taking these classes, you're probably not

  • drawing abstract. So focus on drawing angles and boxes and geometric primitives. It'll

  • really help you.

  • Final person, we're down to the very end, is Josip SilvOkami. So Josip, it looks like

  • you did something that actually I didn't assign but I should have. We were drawing the bucket

  • and the pelvis and how it fits inside the bucket, but we never really looked at how

  • it fits on a model, how it actually fits on a real body. So thank you for doing this so

  • I could point it out to you guys. However, it looks like you didn't position it inside

  • the body correctly. The main thing is you're drawing them just too small. The pelvis will

  • actually be on the surface of the body all the way around the sides, how the aces points

  • in the front actually protrude. And even on heavier people, that bony area of the iliac

  • crest will be very close to the surface. There will be some fat but usually above and below,

  • unless that person is very overweight, then everything is covered. But usually the iliac

  • crest will be very close to the surface, and so this distance that you're showing here

  • is just too much.

  • If you have a model and you just can't figure out where to put the bucket, there's a few

  • things you can look for, the landmarks, the bony parts that will be on the surface. Those

  • are very important. It's hard to tell from your rough drawing of the contours exactly

  • what position the model is in, but I'm just going to assume some things. For example,

  • the pubic bone will be somewhere in here, ileac crest will end right there-ish, at the

  • aces points and then right there on the other side. So I got this triangle shape, right?

  • I'm going to draw these points on the side here so I can draw a little bigger. So something

  • like this, that's generally the relationship between all these points. So you've got the

  • angle between the ASIS points, and then you got the pubic bone down here. So this is about

  • the triangle I'm seeing in your drawing.

  • Okay, now I'm going to take these landmarks and draw a bucket that fits on those

  • landmarks. So let's see, so I know that this pubic bone is going to be the edge of the

  • bucket. It sits at the very front. So I could draw the angle of that bucket, and I know

  • that the angle of the bucket is something like this. Okay. And then we know that the

  • aces points are going to be slightly forward from the center of the top cap, right? These

  • are not the middle. This is not the center line of the top. The center line will be slightly

  • back. And then I'm going to get a really rough shape in there, for where I think the bucket

  • would fit. So it's going to be a two dimensional shape, something like this. This helps me

  • to visualize that bucket. Very rough, I might deviate from that later once I get more points

  • in. Then I'm going to adjust this line real quick. It should go right through the pubic

  • bone, not in front of it. Okay, there you go.

  • So now I have to figure out the top cap, which is going to be at an angle about like this.

  • And it has connect these aces points, and it has to touch the front of the bucket and

  • the back. So basically, I'm just trying to find an ellipse that will connect that or

  • connect all those points, and that ellipse needs to be roughly that correct angle. That

  • long axis should be something like this. I can maybe taper this a little bit more now

  • that I have that top ellipse. It helps me realize that my initial shape was just a little

  • bit too flat, not flat but too parallel. The bottom needs to taper more.

  • Okay, so now I got the top cap. I got the sides, now let's find the bottom cap. And

  • that's going to be at the same angle. I've just got to find an ellipse. And let's see,

  • maybe this is a little bit too tall for a female pelvis, just a little bit. I'm going

  • to bring this up, because remember, a female pelvis is going to be a little bit wider and

  • shorter. So we're searching right now; we're exploring. We're not really sure exactly where

  • these lines are going to go. We're trying it out, analyzing it. If something is off,

  • we adjust and we slowly get closer and closer to the correct shapes. That looks about right

  • for that bottom cap.

  • Now, this point right here that I have, which is kind of like my center line

  • or my center point, it's not really the center so I have to make them adjustments to this.

  • Let's see, the center of that ellipse would be about there. So that's the center horizontal

  • or a center from side to side, and then front to back. Well, looks like if the pubic bone

  • is right there, the front is right about there. So if I just connect that to the middle, that's

  • the angle from front to back. You do the same thing for the bottom cap.

  • Okay, so that's pretty good for the bucket. I'm just going to cut out that wedge, just

  • take it one step further. So remember, the pubic bone is about halfway down. At this

  • point, I made it shorter. I made this bucket shorter to be a female pelvis, so I'm going

  • to just bring this pubic bone just a little bit higher. Our initial landmark was just

  • maybe a little bit off. Unless the female that you were drawing has a taller pelvis,

  • then that would have been correct.

  • And then from that center line, we could wrap a rubber band, so another ellipse around there,

  • a little bit lighter. And then from these aces points, we'll just drop verticals. That's

  • the step down. There's that edge between the front plane and the top plane. Okay, there's

  • a pretty good looking bucket. If I wanted to, I could put another layer over this and

  • clean up my lines a bit because they're messy, we were exploring, but I'll just leave it

  • at this. So hopefully that helps. Very good exercise. Thank you for showing that Josepp.

  • And that ends all the critiques. Whew! Thank you guys for submitting all your drawings.

  • I'm going to continue these critiques for the rest of the bone exercises. If you'd like

  • to submit your assignment for all the future lessons, go to proko.com/groups, and it'll

  • forward you to the Facebook groups that we are using right now. And there's a great community

  • out there, so join in, help each other learn, critique other people's work if you see a

  • mistake. Submit your work, people will critique you. Just keep the community going. I'm really

  • happy to see how much you guys are actually helping each other. It's been a great thing.

  • I'm really glad I started up that group. You guys were asking for it for quite a while.

  • All right, enough blabbering. See you next time.

  • Hey, have you seen my new app? Skelly, the Posable 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.

Hello, welcome to Proko. My name is Stan Prokopenko. In this video, I'm going to critique the pelvis

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