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Friday, November 11, 2016

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stan prokopenko: hello, welcome to anothercritique episode of proko. my name is stan prokopenko. we're gonna be critiquing therib cage today. if you haven't seen the rib cage lesson, click on the link in the descriptionbelow. there's a lot of people that submitted their assignments in the facebook group. solet's jump right in. the first critique submission is from williamshepherd. so william, i can see you're still thinking in terms of line. you're lookingat 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 thingto wrap your mind around. the only way is to just start practicing drawing three-dimensionalobjects. draw things around you. so for example,

when i look at your drawing here, i can seethat you drew the cranium and then the jaw, and it's all just one line. it's like a contourline around the head. you're not drawing it as volume. so it would have been nice to havestart with a ball for the cranium. then cut off a side of that. just chop off a pieceof 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, thefeatures you drew are a little bit premature. you didn't figure out the perspective of theface before you put the features on the face. so it would've been nice to have wrapped thisequator 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 istart thinking three-dimensionally, things start to feel more like volume. when you approachit linearly, it just looks cartoony. start getting comfortable with three-dimensionalshapes. i know we're doing critiques on rib cage and i just drew a head, but the samething applies, really. you're doing that for all of these forms. i feel like instead ofthinking of volumes, you're just going through the motions. you saw somebody do the loomishead, and so you knew that, "okay, you have to draw a circle. and then you have to drawan oval on the side plane, kind of." and then you remembered maybe somebody drew a nosewith this kind of blocky form, but it seems like you don't actually understand these're just going through the motions, like

step-by-step almost. like, you're rememberingthe lines you have to put down rather than imagining the form and putting the lines thatrepresent 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-dimensionalshapes, 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 up here, on that first one, if you think about the angles of the front plane, or fromside-to-side, that you're indicating, these are all good so far. and then uh-oh, whathappened here? see that? this guy's here is much lower than this guy, and it should relatein the same way that all these other side-to-side

relationships are relating. so just drawingsome 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 thattop plane. so if my hand is the top plane, you're drawing it as if you're kind of lookingunder it, but it's actually more like this. you're gonna be looking right at that topplane. so it would look like just a straight lineinstead 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, andthen you've got the pelvis kind of going this

way. and so things are getting a little bittwisted up. this fourth one, good job actually drawing a female pelvis. i know that the modelin the photo you were drawing from was a woman, and so you actually drew a pelvis that iscompressed, so good job. for the rest of these, i think you're doing the same thing that youdid in this first one. you are not relating the angle from side-to-side of the bottomcorners of the rib cage. you see how you're bringing this bottom edge all the way downhere? it should be more about there. that's where it would end. same thing on this would end right there. same thing on this one as well. and same thing on this one. soall of them, i think you're just forgetting to relate, 'cuz you're relating in other placesbut just not that bottom corner. so maybe

it's just not part of your thought processyet to check every side-to-side relationship as you draw it. moving on to todd jaeger. so todd, i'm seeingryan tilting back quite a bit. there's a center line right between the pecs. so notice howryan is tilted back more. so always observing the center line helps. also, in complicatedposes and weird angles like that, it might be helpful to start with the big shape getting a gesture line for the whole torso, like that, would've helped, maybe containingthe whole form. you know, if you drew something like that, you could kind of divide that shapea 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 thepelvis where it would belong in there as well. that always helps me. you know, start bigand then start cutting it up into smaller and smaller chunks. that would've solved yourgesture issue, so he would be leaning back. and also, i'm seeing the rib cage and pelvismuch closer together. so let's say right about there is where the rib cage would end, andthen right about there is the pelvis. and so look at how much distance there is betweenthem. very little. you're putting probably three times as much distance in there. sobig 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 theseare 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 what you have here, as what you used to do, is actually more accurate than what youdid 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 ofthe way down from the top. so it would be, if this is the bottom of the rib cage, thisis the top, this should not be the part that comes out the most. and you're showing thatas the part that comes out the most. the part that should come out the most is about two-thirdsof the way down. so if you divide that into

thirds, right in here would be the widestpoint, just like you have here. so that's correct. the only thing i don'treally like about how you used to draw it, is that it's just a very sharp corner. i wouldsoften it so that it's more of an egg with the widest point two-thirds down. what youhave here looks pretty good. that's a good curve. another thing that i'm seeing is thatyou're not only putting the widest part in the wrong spot, but the top and bottom, you'redrawing as the same thickness, but they're not. see how the top is this thick and thenthe bottom is this thick? and that's the same, but it's not. it shouldn't be. the top shouldget much narrower. so if i'm going to draw a rib cage, let's- okay, there's front orback view. right in here, about two-thirds

down, is the widest part. and then right hereis the width of the top plane, and there's the width of the bottom plane. try to rememberthat it's an egg. it's not an ellipse. it's not just a stretched out ball. i do like youranalogy here of the thoracic arch being like the laugh line on a face. that's pretty's like the jowls right there. right? you can see it more on older people. you startgetting those jowls hanging there. that's pretty cool. it's a good way to remember it. moving on to this drawing you have on theright. i like most of it, the only thing is the thoracic arch in this one, actually. you'renot really following your analogy. see how you have this curve, both of them are curvingthis way? whereas on this one, you're kind

of showing it like that. from three-quarterview, 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. butfrom the side, everything is wrapping this way. so do you draw the thoracic arch likethis, or do you just draw it like this? well, it depends on the angle. you know, how muchis it towards the front, or how much is it towards the side. in this case, it looks tome 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. sothat, no question about it. in here, it won't be as curvy as the side on the left, or asthe curve on the left, but it will still be

a little bit curvy. maybe like this, justa 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 youneed to also start drawing more boxes, drawing things three-dimensionally. and another thingi'm seeing, is that you are trying to fit the rib cage too tight into the body. you'rekind of distorting the rib cage in order to really fit it, so it looks like that rib cageis 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 gooutward. it's not really gonna touch there. you have to leave some room for muscles. soin some areas, it will protrude from the surface.

like right here, that rib cage is really pushingout to the side, and anything that's covering the rib cage is just stretched so thin thatyou don't really even see it. but from there, you're gonna have some scapularmuscles, 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 see how in here you have this angle, right, of the shoulders? if the rib cage is tiltedthis 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 curvesover 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 thereagain. it looks like you're just not familiar with what the rib cage should look like, andso it's harder for you to put a rib cage shape in the body. and so you're kind of just drawinga shape where it might fit in the upper part. now, i wanna move on to rebecca shay, becauserebecca, you're doing the same thing. look at the contours you're showing. look how wobblythis is. you're not drawing the structure of the rib cage; you're just drawing a shapein the top part of the body. again, in here, look at how wobbly that is. look for a simplecurve. look for angles. whoops. i almost made that same mistake. so i have established thisas the angle from side to side. so now if

i'm drawing the top plane, i have to makesure 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'sthe aspect ratio of the camera? you kind of have to feel it out. you could really pushthat. the closer you are to the person, the more of that effect will happen, but it'sreally 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 tolean it forward a little bit, just like that. and then find the center line, find an edgeto separate the side plane, and then maybe divide this in half. that's the sternum, andthen 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. maleor masculine rib cage, you'll make it more like this. so i'm making this much sharperof a corner. next is neville. with neville, i really justwanted to show what he did. this is such a useful exercise. he's drawing the rib cagepretty much from every angle, starting in the center, just straight on from about eyelevel. and then as you go up, he's rotating that rib cage back. and as he goes down, he'srotating it forward. then as you go left, you rotate the rib cage left. and as you goto the right, you rotate it to the right. so then you just have this giant grid of therib 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'smore than anybody else drew in the exercise, so that's good. the only thing i would wannasay, though, is try to keep the sizes correct. also, if this whole row is supposed to betilted just a little bit forward, why aren't they the same height? draw horizontal, andthen just make sure that all the rib cages fit within that space. but let me show you what i mean. so let'ssay i'm drawing the rib cage. i'll tilt it forward a little bit more. okay, so that'sleaning forward a little bit. if i was to now draw this rotated to the left quite abit, 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 findwhere this point is, by drawing another horizontal. so it looks like i need to bring this downa 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 thesame thing for the bottom of the sternum. now, what if i want to draw something in betweenthat? okay, now let's imagine what it's gonna look like. you can lightly draw somethingin if that helps you to kind of start exploring. okay, so there we have one that's tilted tothe left a little more, and it's leaning forward. it's somewhere in between this one and thisone. 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. thanksfor everybody who submitted their critiques. i will see you next time. bye-bye. hey, have you seen my new app? skelly: theposeable anatomy model for artists. go to, or click this buttonto 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 bye-bye.

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