繪畫基礎課- 背面畫法

創造出更加複雜的想法 今天我們會用同樣的方法 我們會看一些基本的 有關背景的 一些基本的 And now let's just get in the spine Spine is going to be coming down something like this So I'm looking for the relationship obviously between the upper and the lower torso but I'm looking at the axis of each What direction is the shoulders moving in relationship to the hips So this line against this line Once again, getting tension on this side getting extension on this side Hopefully starting to create some dynamics in the drawing very early on So this leg is actually going forward away from me slightly and then coming back this way So for me, with the back The back starts That's what's called the occipital ridge which is this little bump at the back of your head You'll have it You can feel it back there And that's where the spine connects to the skull And it's also where a muscle called the trapezius attaches to the skull and then moves down in this direction So I really want to know where that occipital ridge is right there Now the reality is unless the model's bald you're not going to be able to see it So this is one of those cases where it's really useful to know where it is And for me, I draw it regardless of whether I can see it or not because as I said I need something to attach the anatomy of the back to at least up here I need somewhere to attach the trapezius to So if I understand that that's where the top at least for me where the top of the back starts then I can start to work my way out from there with the anatomy and understand that I'll be I'll have a good foundation for that So it starts up here The spine comes down this way And it stops down here at something called the sacrum Sacrum is a very odd little shaped bone But in its simplest idea It's useful to think of it in terms of a triangle Something like that Now here and here You'll see on a lot of models You'll see these little dimples I think they're called sacral dimples And I like to attach those two with a line coming across this way Because it also helps reinforce the axis of the pelvis So out from here The iliac crest will be moving up in this direction And then it'll be going around the form And it'll be attaching at the front Or working its way through the form to the front Meeting at the ASIS Which we discussed in the first video Same thing on this side The iliac crest coming around And it's going to be attaching at the front Something like that Moving down The bottom of the sacrum right here Is where the mass of the buttocks start So I can start to think in terms of Bringing in the mass of the buttocks down here Now they actually will be sitting lower than this line That represents the bottom of our pelvis So I want to think in those terms So that mass sitting in here And this mass Because this leg is going forward There might be a slight stretch on this side So they won't necessarily just be Right next to each other Or you're mirroring each other On each side of the form And we'll refine that As we move through the drawing Once again Simple idea for the upper leg Would be a tapered cylinder Something like this And just as we did in the last video I'm going to use more of an anatomical idea for the calf Just because for me that seems to make sense And keep in mind that the calf muscle Actually attaches to the femur above the knee So I want to be thinking in those terms Even at this stage That that's going to be coming down this way Down to the Achilles tendon down here Same thing on this side It's going to be doing something like this Now as we discussed in the first video If we're looking at using cylinders as large ideas To understand where things sit in space If a cylinder is coming towards us Or coming away from us Then we have the very useful tool Of being able to take that cylinder And as we did in the first video It was the cylinder was coming towards us And so we ended up with a form something like that In this case This leg is actually going away from us slightly In this direction So our cylinder will also be moving away from us Something like this Remember we put the lines Just to show the direction of the form Or the volume of the form In this case Those lines will be moving in the opposite direction Something like that So now I can understand In very simple terms Because obviously we're looking at three-dimensional ideas On a two-dimensional surface So this allows me to think About this volume moving away from me in space This one coming towards me In this case, it's static And our cylinder is just simply getting away Going down Something like that So I'm always thinking in these volumetric terms When I'm drawing And I will very often put these lines on the drawing To help me understand Where something Which direction something is moving in space Because I find it just helps mentally Kind of adjust And help the process of moving things in space So I might just very likely And it's not an extreme term But I might just very likely want to say Okay, well, this one's moving away from me Something like that Okay, calf muscle Once again attached above the knee here So the mass of the calf is going to be coming out In this direction Something like so I want to be thinking about The great trochanter Which is sitting approximately here And here And there's a nice little graphic idea That we can employ at this point Especially just for this area here Where we're thinking almost You could say like a butterfly effect See the way that looks Almost like the wings of a butterfly Same thing on this side We get this type of effect That's just where the gluteus maximus Is getting kind of pulled in Where it's attaching Across the great trochanter So I've always found this a useful Kind of graphic symbol to be looking for As I draw this general area You can almost see where now We have like a plane change So we have the mass here But then we have a plane change Where it gets flatter in here So something to keep in mind I've just found it to be very useful So moving up through the form Let's give a little bit more Of a complex shape to this ribcage Something like this We're going to still keep it very simple Now Excuse me Unlike the front Where everything is relatively static The back has the scapula Which are the shoulder blades Arm moves forward on the form The scapula almost comes to the side of the body Both arms go back like this Scapula tend to get compressed Very much towards the spine So I'm looking for that scapula It's one of the main ideas that I'm looking for Because obviously the arms are connected to it And so it's very useful for me to understand Where the scapula is sitting on the back Sometimes it'd be quite tricky to locate But you can get a general idea Just from kind of deduction Of where the arm is And how certain forms are sitting They can give you a sense of Okay, that's the scapula there As with everything else I want to work from simple to more complex The simplest idea I can have for the scapula Would be essentially a triangle So I'm going to have a triangle coming up this way This arm is say going up here On this side That triangle is representing the scapula It's going to be a little more relaxed Maybe this arm is coming down this way Like so So we now are starting once again To go from simple to more complex Coming in the trapezius Attached to this occipital ridge Are going to be coming down in this direction And it's actually the trapezius is attached To the clavicle The collar bone And it's attached to the scapula On the side here We have this little Like dimple that you can feel right here It's attached to that And it's also attached to the back Edge of the scapula So With that in mind I'm coming in this way I know that that little flat plane of the scapula Is going to be sitting here So I want to come down And I want to attach something like that I want to think about the deltoid The muscle of the shoulder Once again Attached to the clavicle at the front And to the scapula So I'm thinking about that mass Just in very general loose terms Sitting in here Something like that You can always refine these ideas later But I just want to roughly get something in place On this side Because this arm is down and relaxed It's going to be sitting more like so And then I can maybe think Okay, but the tricep Is coming up this way And the bicep Is doing something like that Working with a straight against the curve Because the tricep Generally speaking Even when up like this The tricep tends to hang kind of like a hammock Right? It's attached to the elbow It's attached up to the upper arm But it seems it kind of hangs loose In the middle Whereas the bicep Especially when the arm is extended It's quite taut It's under tension And it's long flat muscle So I want to get a sense for that here And here To show the difference between the two Showing tension Against something that's relaxed Showing a straight against the curve From a design perspective That's something that I'm trying to achieve Okay, so we got something like this Now if I take the occipital ridge back here And I follow my finger around from there Just from the underneath of the occipital ridge And I come around As you can see It cuts just to like the top third of my ear So with that in mind I know that my ear is going to be sitting roughly in here And I can just very likely Indicate the form of the skull Maybe I can see the front plane of the face there So I just very likely want to just kind of Get a sense of where that's going to be Something like that I've got a muscle called the latissimus Which is a large muscle of the back And when we talk about back anatomy in detail We'll get into that But the latissimus It's attached to the humerus up here And the latissimus kind of comes down this way like so And it actually comes across the form like this Does the same on this side Very large muscle But we will see it And we'll see the scapula Kind of pushing that latissimus out slightly Giving it more volume and mass Same on this side We're just going to see the latissimus muscle in here Once again, the scapula kind of pushing that volume out We're going to use the obliques As we did in the first lesson To attach the upper and the lower torso So with that in mind That oblique comes down this way And it attaches to the iliac crest here Something like that Now on this side, it's quite stretched But on this side There's going to be a certain amount of compression So we're going to want to Illustrate that in our drawing Attached to the iliac crest Coming down this way There's a fat pad On females Especially that will sit Around where the hips are And the bulk of it actually tends to sit slightly lower Than this great trochanter But you can just kind of You can just start to Roughly indicate where that will be in here Something like that Without getting into too much detail About anatomy right now There's a couple of things that are useful to know Attached to the sacrum here And to the iliac crest The hip bone here There are actually four muscles Rope-like muscles That move their way up the form In this direction And so what that tends to do Is it gives us an effect Almost like a valley So we have something like this And then we come around the form like this And it creates shadow Because the spine is actually sitting In the middle of that valley Now there's four of them Generally speaking You tend to just see this As two volumetric ideas Don't tend to see those four muscles As individual muscles But that will help you bring And as they go up here They branch out They get quite thin And they are layered underneath the latissimus Further up underneath the trapezius So we don't tend to see them up there But we do see them down here So it's useful for us to illustrate those Things are roughly where I want them at this point We can just kind of rough in the trapezius Which we're going to see back here Coming down to the elbow joint It's going to be sitting something like this And then the forearm coming down this way And as I've said before In classes to come We'll discuss all of these ideas in more detail Right now we're looking at What's kind of like Almost like the minimum we can get away with Then we can talk about The subtleties and the details Of each one of these ideas As we move forward Okay Upper lower torso Everything is kind of roughly where I want it now So now it's really about going in And making that final statement with a line Rather than working with this More lighter kind of tonal idea And as you may recall from the first class I talk about a checklist I'm going through mentally asking myself What is it that I'm drawing I've just found it to just be a very useful Kind of concept So I might start here And I'll say okay I got my oblique sitting in here Coming up this way Then I'm going to have a direction change For the rib cage coming up here Then my latissimus And scapula sitting up here Coming into my tricep Coming up this way Okay Work my way down the form Thinking about Okay, I've got that great trochanter sitting there And then I've got that fat pad And now I'm coming down to the hamstring system And when I'm done with the hamstring system I have the knee system So I've got to think like okay What's the next thing As you get more experience with this Obviously you won't have to Literally spell out Each particular form that you're drawing You'll get You'll have a more intuitive sense for it But I found it especially starting out It's kind of useful to ask yourself What is it that I'm drawing So here oblique sitting in here Once again a little bit more compressed And on this side Coming into the rib cage And coming into that latissimus Slash scapula Sitting in there Something like that Moving down the form Into the pelvis area Coming down Fat pad Hamstring muscle Knee system The buttock starting at the bottom Of the sacrum here So we'll just come in And now we'll just start to Give A final idea to that mass on that side Once again this one Might be coming forward Ever so slightly Something like that or stretched So It's a fat pad here on the upper thigh Then we come down Hamstring system Knees You can see a little bit of this thigh Coming in here down to the knee there Calf muscle Coming in this direction Something like that down to the Achilles tendon Then down to The heel of the foot down here You're also probably going to see our ankle In here something like that On this side slightly lower Calf muscle Coming down And attaching down here And I want to illustrate Where that volume of the calf is in here So we understand that as a volumetric idea Calf muscle coming down Once again Achilles tendon Down to the heel Calf muscle coming down And Same thing just What's this volume look like Something like that Now One other little thing From an anatomical point of view Which I think is kind of useful to understand is The trapezius at the back here Up towards the neck They tend to thin out The trapezius thins out in this area here And what that does is You almost get like this You could say it's almost like a little Triangle effect Something sitting like this Will be one always Certainly won't be this Kind of obvious On the model But what it does is It exposes what's called C7 and T1 Which is the Two vertebra That you're very likely to see On most models On a very lean model Very athletic model You certainly may see more vertebra These two you tend to see Almost I won't say completely regardless of weight But they do tend to show themselves And what you tend to get here Is like a little dip in here like this Flat And then something like that Once again something to be mindful of When you get to the light and tone stage of the drawing So the trapezius on this side This arm is up The trapezius is a little bit more Bunched up here So I just want to kind of Try and show that A little bit on that side Something like that Whereas on this side That trapezius is coming down And it's a little calmer Coming down Into the deltoid down here Deltoid up here Showing its Volume here Before we then get into That very kind of straight idea For the bicep Let's show some of the tricep in here Coming down this way Elbow system in here Coming down to the forearm Like so And we'll discuss all of these anatomical ideas In more depth As we move on through the different sessions Something to keep in mind As we've discussed before When we come to joints Elbows, knees, wrists, etc. Things tend to get a little boxier Where the bones come to the surface of the form Things get more angular So for example We have quite a Roundness to the forearm up here But then when we come down to The wrist Things start to get much squarer So as you can see here This is a relatively flat plane Compared to up here And we have quite a sharp edge Whereas that idea softens At the further we get up the forearm You'll notice the same type of idea With knees Ankles Anywhere there's a joint really Where the bone is coming to the surface You'll start to see More of a squaring out of the form So you can think kind of Thigh, soft, round, knee, boxier It's the way I like to kind of think about it Okay So now I've been thinking volumetrically It'll be relatively straightforward For me to think about The forms turning in space And where we're going to go from light into shadow So just very quickly With that in mind I might say to myself For example Okay, well If the light is coming from up here Something like this Well then This may be all lit But then as the form turns I'm going to have a core shadow here And then this part will be coming into shadow Might have what's called a cast shadow under here Which is generally a darker shadow Than say the reflected light Or the core shadow up here The cast shadow is obviously a shadow That's being cast by this butter So I can go through the form Using something called conceptual light Where I basically I make up The ideas of the relationships Between light and tone Rather than maybe relying on What's going on with the model Especially if the model If the model's in a room Full of fluorescent lights With multiple directions of light It's going to be very hard to find A simple relationship Between the lit side of the form And the shadow side of the form And in my experience The simply you keep those relationships Between the lit side of the form And the side of the form That's in shadow Generally speaking The more successful Your drawing will be So we'll talk about light and tone Another time But I can go through now Even without reference in front of me And kind of get a sense Of asking myself Okay Where is the form turning And where is something Going to be in light And where is it going to be in shadow And I can start to add tone Accordingly That's one of the great advantages About thinking volumetrically And rather than thinking Just graphically As far as a series of shapes and lines Because I'm thinking about The form turning in space Then when I get to the lighting stage There's a very logical kind of approach To asking myself Where is something in light Where is something in shadow And I can add my shadows Accordingly Okay so We work from simple to more complex As we develop Understanding our knowledge of anatomy The more informed choices we can make And the more we can apply those subtleties To our drawing But learning anatomy takes time So don't stress If you feel like you don't understand All the anatomy yet You'll learn it as time goes on And then you'll be able to apply those Incrementally Those ideas to your drawing as you go Keeping in mind Starting very simple Getting those proportions right early on Be very very difficult To start changing proportion Obviously at a stage in the drawing But if we start that early And we catch it early Then as the drawing develops We can move forward With a certain amount of confidence Okay So I hope this helps Please let me know if you have any questions Anything that you might like me to Address in these videos And I'll see you next time Thanks a lot