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Landmarks: Key to Successful Anatomy Drawings - Arm Critiques

0 Просмотры· 11/12/19
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Time for another drawing critique! Thanks to the everyone who submitted anatomy drawings in the facebook group. If you want to get feedback, join the group at http://proko.com/groups

This is a clip from the anatomy critiques of the arm bones! All the critiques are available in the premium course at http://www.proko.com/anatomy.

In this video I’m going to focus on the importance of landmarks when drawing anatomy. Bones that we can see on the surface through the skin give us valuable clues to the rest of the anatomy. We can track the muscles easier because muscles attach to the bones. Also, bones are a lot more consistent between people. Muscles, tendon, and fat vary a lot, but we can count on bones to be more predictable. Let’s get started!

Related Links:
Drawing Arm Bones: https://youtu.be/Ai0s4KHi_js
Landmarks of the Human Body: https://youtu.be/Qwt_wggUFHg

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Course Description

This free drawing critique is a sample of the Anatomy for Artists course offered on Proko.com. The premium section has more demonstrations and extended lessons on the forms of the human body. It also has ebooks for each lesson that you can print out for review and has 3d models of bones and muscles that you can spin around, study, and draw from any angle. The premium section for this critique offers additional feedback and more student work. Get the course at http://proko.com/anatomy

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CREDITS:

Artist | Instructor | Producer - Stan Prokopenko (http://www.stanprokopenko.com)
Production Assistance - Sean Ramsey (http://www.peoplewhodrawstuff.com), James O’Shea (jfoshea.blogspot.com), Maggie Ivy
Editing - Dzmitry Tsydzik (http://white-agency.com), Sean Ramsey, Stan Prokopenko
Students - Alisa Lee, Alex Lee, Audie Carpenter, Donald Sandor, Felix Gephart, Sherry Wang, Miguel Arguelles, Flay Downes
Models - Yoni Baker, Anthony Narsis, Laura Dasi, Mallory Ownbey
Music Used with Permission
Intro - The Freak Fandango Orchestra

#Landmarks #HowToDraw #ArtCritique

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