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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

• 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