Rib cage perspective and shadows practice 2

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This topic contains 12 replies, has 4 voices, and was last updated by Aunt Herbert 1 month ago.

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  • #30867

    i drew an other set of rib cages https://imgur.com/a/GwCi1co

    I am putting my first attempt here because i didn't have got recieved comments on it yet https://line-of-action.com/forums/topic/rib-cage-perspective-and-shadows-practice

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    #30877

    hi! these look like really accurate recreations of the 3d model. i don't really have anything to comment on there. i figure it might be more helpful to look at a real skeleton at this point, or find photos online to draw from. i found this 3d model of a human skeleton that could be useful here

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    #30881

    Thanks for the tip but what am i going to do with a whole skeleton, drawing bone after bone? it was feasible enough with the rib cage, how can i even learn to draw the lovcraftian monster that is the skull , like i can't even visualize it as a shape

    #30930

    First, big applause for chosing ink. Second, yepp, looks like you got the shape of the ribcage down. That should be helpful for designing the masses when drawing pose.

    If you are interested in more bones, I would advise shoulder bones and clavicula next, that way you basically got the complete foundation for the upper torso.

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    #30932

    Hello.

    Nicer job on your recording of the really more basic lines and shapes of your ribcages. Greater job, but I'm not getting enough of how well you apply them into your figure drawing. How would you like to please do a 30 minute drawing class of figure studies, all with an emphasis of combining the ribcages with the poses, and all drawn with an underhanded position, and all drawn from your non-dominant hand?🤚

    The logical juxtaposition behind this thing is because it can and will help you loosen up your control and understanding of the bones by the neck. To do that, you can begin with the simpler gesture sketches and the lines of action, then you can go for the simpler, more geometric shapes and forms and spaces. Finally, you can and will try out going for measuring your relationships; or proportions and angles. For more than enough tips and details, kindly go for a Joseph Sheppard Human Anatomy Book on Amazon.

    My hat's off to you, and thank you.

    #30935

    Claviculas are really hard to conceptualize to me. Actually, any other bone besides the rib cage is impossible for me to simplify... I feel so sorry to ask you this, but, how do you visualize it?

    #30936

    There's a reason I cannot put as much effort into figure drawing as I am doing here. I can't see through the body fat or the muscles; the ribcage remains a simplistic shape to draw. Despite being advised to observe its position where it protrudes, when I attempt this, it doesn't appear like the model I've practiced, in fact, it doesn't even look like a ribcage at all.

    #30938

    Pheew, explaining how to visualize something is a bit tricky. But here is s 3d-model I found of the clavicula and shoulderbone: https://sketchfab.com/3d-models/coraco-clavicular-ligament-42689ac0f46d4c28854af990733ad487

    The clavicula are two shallow curves, extending from the center top of the ribcage outward towards the shoulder joints. If you understand their level of mobility, you understand basically all the ways the outline of the upper torso can transform.

    And, yepp, when drawing an entire torso the ribcage is a simplistic shape, nobody can really "see" through the body, because we don't have x-ray eyes.

    You don't have to be able to literally "see" everything, or to practice to draw everything perfectly from memory, but having a general idea of how that stuff looks can give you an idea if you drew an outline of a shoulder or a neckline and something looks off, but you aren't sure what's up.

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    #30940

    Uhh, I can see the learning curve got stiff pretty quick, if I can aproximate the ribs as one single shape; how can i ever understand to draw this two connected bones?

    https://imgur.com/a/KRFd011

    #30941

    Well, you don't see the shoulderblades when drawing from the front, and you don't see the clavicula from the back. What IS visible from the front is that one slightly tilted curve underneath the neck that leads towards the shoulder joints. (or rather the pair of them that lead to both shoulders from the centre)

    You only ever have to draw both shoulderblades and clavicula in a rather odd pose, where you get a glimpse on the shoulder directly from above, and in that case they just form sort of a rounded v-shape.

    If you draw the shoulders from the back, the shoulderblades are often quite easily visible, and they don't have a very complex shape either. Knowing about them will just help you understand where those bumps and shapes you see on the backside of a model come from.

    If you told me to draw an anatomically correct clavicula and shoulder blade, I would probably mess up quite a bit, so you don't have to worry so much about "drawing them correctly".

    Just if you look at a body and think about why it is hard to identify where the ribcage is underneath all those muscles you mentioned, those shoulderbones are where the upper side of those muscles end. Knowing where they are and how to look for them helps you connect the ribcage to the outline of the upper torso. They are basically the missing link. The outer border of the part that you can't see through, in a common pose from the front.

    If you insist on worrying as much as possible, you can probably spend a few hours to practice drawing those until you can publish them in an anatomy book, and time spent drawing is never time spent wasted when your goal is to improve your drawings, but in practical terms it is entirely sufficient to be aware of how those curved lines and the ribcage relate to the outline of your reference.

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    #30948

    OK, by the end, I arrived at a conclusion. I now comprehend how to sketch the scapula from various perspectives; they are essentially curved boxes with a slight base. However, I am struggling to simplify the clavicle, which appears distorted already, and drawing it from multiple vantage points has led me to trace it from references.

    here is the result of my very first attempt.

    #30949

    Well, you did it super accurately, as always. I am way to sloppy a draftsman myself in comparison. I am fully content, when I see on a reference that curve between neck and shoulder. When I do sloppy quick sketches I almost treat her as just a bit of a single bent line from the center of the neck towards one of the shoulder joints. After all, the only thing usually visible is that typical shadow bump, caused by the upper edge of the clavicula pushing against the skin. And when I have more detailed questions, I just touch my own shoulder and feel for example how much the clavicula moves, when I move my arm (usually not so much, as the connection between clavicula and the shoulder joint is quite mobile.)

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