胳膊示範

Good evening, everyone. 今晚的開場會是關於手的,手的手法。 We have a male model. 我們有一個男性模特兒。 Hi, Marcos. 嗨,Marcos. We have beautiful expressive hand tonight. 我們今晚有漂亮的表達性手。 So, also, we'll take a look at the skeleton structure. 所以,我們也會看一下屍體的結構。 Okay, so let's start working. 好,那我們開始工作吧。 First hour will be demonstration. 第一小時會是示範。 And in the second hour, you guys will try. 第二小時你們會嘗試。 I hope you have some albums or some paper. 我希望你們有些專輯或紙。 So, you'll try some sketching. 你們會嘗試畫畫。 And then we'll go around and see how you're doing. 然後我們會到處看看你們在做什麼。 Of course, when we draw a hand, 當然,當我們畫手的細節時, we don't start from scratch. 我們不會從哪裡開始畫。 We always have to make a sketch of the figure first, 然後我們總是要先做個實體畫。 and then we'll draw the chest and head. 然後我們會畫肚子和頭。 So, when we start drawing such important detail as hand, 當我們開始畫手的重要細節時, of course we don't want to do it outside of the context of the figure. 當然我們不想在畫手的角度以外。 So, first thing that we want to do, 我們要先做個實體畫。 we want to do a live sketch of the figure. 我們要先做個實體畫。 Establish full figure first. 先建立整體的身體。 And then go into the depth already of the detail as the hand. 然後就開始畫手的細節。 So, we compose everything together, full figure. 我們把整體的身體組合起來。 Main parts is torso, 主要部分是肚子。 Pelvis, legs, arms. 臀部,腿,手。 And then the hand is already the consequence of that. 然後手已經是這個部分的後果。 So, but since tonight we're focusing on the hand specifically, 但因為今晚我們要專注於手的細節, we're gonna do a fragment sketch 我們會先做個細節畫, and then fragment development of the scheme. 然後畫出細節。 So, we will, as a fragment, we'll choose torso, 然後我們會從細節中選擇肚子, and then the arm and the hand. 然後手和手。 So, first we're marking the big forms. 首先我們要畫出大體。 So, now we're mapping our space, right? 現在我們在畫圖, and we're establishing big forms and main directions. 我們在建立大體和主要方向。 So, here we define first the general silhouette, 首先我們先定義主體形狀, already introduce a little bit of tone. 已經介紹了一點調色。 We're now just following the intuition, 現在我們只是按照感覺, following this fresh impression that we have in the beginning. 按照我們剛開始的新印象。 So, it's still the stage of the sketch. 所以這仍然是畫圖的階段。 Okay, so this, we've done our sketch. 好,我們完成了畫圖。 So, this is the stage of the sketch. 這是畫圖的階段。 What's next? 下一步呢? Now, the next step is to think about the constructive drawing, constructive approach. 下一步就是要思考建構性的畫圖,建構性的方式。 Okay, let's take a look at the skeleton. 好,我們來看看骷髏。 So, in order to draw a human figure and its elements in a realistic manner and to do it correctly, 所以,為了以真實的方式畫出人物和其元素, we, of course, need to know the bonal structure and the muscles that influence the surface. 我們當然需要了解骷髏的結構和肌肉影響表面的結構。 So, when we know that structure that goes underneath, 所以當我們知道下面的結構, and we know the muscles, then while we are observing our figure or the elements of the figure, 我們在觀察人物或其元素時, we do it thoughtfully, thinking of what is underneath that form, what goes on the inside, what is the content of the form. 我們會思考下面的結構和內在的結構的內容。 So, here we've established first the torso and the line where the pelvis starts. 所以,這裡我們先設定了肚臍和臀部的線條。 So, basically, we've set our map or our grid in comparison to which we could establish the arm and the hand, right? 所以,基本上,我們設定了我們的地圖或線條,以相比之下,我們可以設定手臂和手臂。 So, there are certain proportions of any skeleton, and that's something as well, we need to know, and we need to have it as a reference while we are establishing what we are establishing. 所以,有某些肢體的比例,這也是我們需要了解和參考的東西。 Then, after, once we show the elbow and the changing direction, so that's where the forearm starts, the silhouette is changing direction, and also there are other bones that we talk about here. 所以,當我們展示手臂和轉變方向時,就是四肢的位置。 Two bones in the forearm, after that there is the next block, again the form changes direction, and that's where the hand starts, metatarsals and then phalanges. 所以,當我們展示四肢和轉變方向時,就是四肢和轉變方向時。 So, the other bones that we have just mentioned, so ulna bone, radial bone, metatarsals, phalanges, each of those bones have their own proportion that needs to be compared to the big proportion of the torso. 所以,四肢和轉變方向時,就是四肢和轉變方向時,就是四肢和轉變方向時。 Here you see that the length of the shoulder bone is the same as the length or the height of the rib cage itself, the main mass of the rib cage, correct? 這裡你可以看到肩膀的長度和肩膀的長度是相同的。 They are almost of the same length, a little bit shorter, but it's almost the same. 所以,肩膀的長度和肩膀的長度是相同的。 So, here if we bend the arm, we can see that essentially it's two almost equal distances. 所以,如果我們把肩膀曲起來,我們可以看到肩膀的長度和肩膀的長度幾乎是相同的。 So, when you draw an arm that is bent in a certain angle, you need to also imagine and check the proportion, how would it look like if it's straightened down, and where does it finish. 所以,當你把肩膀曲起來時,你也要想像和檢查它的長度,看它是否直直的。 So, we are in the process of constant comparison, you compare the height of the rib cage to the arm, to the forearm, so you compare everything to everything. 所以,我們正在進行不斷的對比,你對肩膀的長度和肩膀的長度對比。 One important thing to remember is that apart from understanding the proportions and comparing element to element and what is the ratio of the proportions between them, 如果我們把肩膀曲起來時,我們可以看到肩膀的長度和肩膀的長度幾乎是相同的。 As soon as there is a certain angle, like in this case, there is perspective, which means there will be foreshortening in perspective, there will be a slight distortion that we need to consider. 因此,我們必須要注意到角度,因為像這個例子,角度就是在角度上會有一點短縮。 Ulnar bone has no distortion or no foreshortening in perspective Meanwhile ulnar bone and radial bone have just a slight distortion or slight foreshortening in perspective What does technically foreshortening means? It means a shorter distance from what it actually is because of the illusion that perspective creates Here we show a plane that shows us metatarsal bones, wrist Here as well we need to analyze if there is foreshortening or there is no foreshortening in perspective Our goal right now is to think, analyze and to make a scheme on the basis of this analysis Our goal is to not try to reproduce a beautiful silhouette of the arm of the model that we see in front of us and copy that But our goal is to now talk about the structure and to create a scheme that shows that structure Now we have this quite loose, quite lively sketch and now we are going to work more closely with the scheme itself of the hand The length of the bones The shoulder bone starts from the epiphys, epiphys is the end of the bone Takes this direction and then ends, connects with the elbow articulation Where we find the elbow articulation that's where we have the beginning or the epiphys of ulnar bone Here we have to address the point of the bone, the size, the bend The place of change of the plane We accentuate this place where we see the bone We have to put an emphasis and put a stronger contrast So here we have the arm or the shoulder bone starting to grow also from the articulation and that's beneath the structure of the clavicle and then clavicle connecting with the scapula Here we have the bones and here we have the bones. We have to emphasize the places Acromeion Acromeion is a rectangular, flat plane that is formed by the end of the scapula 它就像肩膀的一層層的層層 現在我們開始列出主要的方向 這邊是肩膀的一層層 這個是肩膀的一層層 這邊是肩膀的一層層 肩膀的一層層 我們也想強化它們的形狀,用一些更強烈的對比 所以我們有前面的,旁邊的平面,然後後面的平面 我們也想強化它們的形狀,用一些更強烈的對比 我們也想強化它們的形狀,用一些更強烈的對比 這裏我們看到輪子正在變異 輪子正在變異 這裏我們看到輪子正在變異 輪子正在變異 這裏我們看到輪子正在變異 這裏我們看到輪子正在變異