Original subtitles

Very well guys so now we're gonna continue with the lower arms and one of

the things that I didn't mention before because it wasn't really as important

were the bones so just a quick reminder on the main like character of course we

have the the skull let me make the size a little bit smaller there we go so

that's too small so we got the skull right

of the character and then we got the rib cage and we talked briefly about the humerus which is the

like bone that we normally go goes from the shoulder all the way to the elbow now from the

elbow we're gonna have two more bones they're gonna be called the radius and the ulna and the radius

and the ulna are very funny bones and i'm gonna make something so that you never forget about

which one is which so if you place your arm like this like straight up and you have your little

thumb pointing up this is the antenna of your radius so the radius is going to be right here

and the ulna is this one right here the ulna is actually the big bone so when you touch the elbow

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on the back you're actually touching the ulna okay so the ulna has a sort of like hook thing that

hooks onto your arm and it allows you to do this sort of like movement it pivots from the elbow

doing this thing right here so the way or the reason why the forearm is so difficult to understand

sometimes is because it has this very interesting movement that allows you to rotate your hand all

the way across so this movement goes from something called supination which is palm up to something

called pronation okay in most anatomical books you're gonna find the hand in this supination way

however as character artists we usually do or sculpt our characters in a semi pronation position

with the palm facing towards the body of the character so the reason why this becomes a little

bit difficult to understand is because we're actually not going to be like sculpting characters

in a way that you normally see them on anatomy books so on the outer side of this where this is

where the hand would be of course so on the outer hand of your arm we're gonna have all of our

flexors okay so this movement right here this movement right here when i flex my um sorry

yeah my flexors so when i flex this fingers right here you're gonna see that all of my muscles on

this area are contracting and that's because on the inside sorry on the inside is where we have

all of the flexors right here so the big bundle of muscles called the flexors are going to start

on this area and they're going to go towards the hand with all of the tendons that we talked about

in muscle theory then on the outer side of our um of our hand we're going to have the extensors

and the extensors are going to do the opposite they're going to extend our fingers out and we're

also going to have this huge bundle here going to the back side of the hand however when we

semi pronate what's going to happen is all of those flexors are going to end up on the front

and all of the extensors are going to end up on the back like this okay so they're going to

crisscross each other there's other muscles that we're going to talk about just briefly but i just

want you guys to remind this we have the flexors on the inside and the extensors on the outside

so if we go to our character and we find where the elbow is we can we can start placing the let's

start with the with the inside here we can start placing the flexors again we start with little mass

and then we get more mass and then

we remove that mass again now in the case of this character we don't have to worry too much about all

of the independent muscles i'm still gonna like show them once we get to the again to the polishing

stage but we don't have to worry too much because of course the armor is going to be covering same

thing is going to happen on the legs so what's going to happen here as you can see is we're

going to get this big bundle here on the inside of the arm it's going to become thinner and thinner

as it goes towards the hand and towards the wrist of our character and on this other side we're

going to have the extensors that are going to create again a very nice little bundle right here

this is going to create as you can see the silhouette of my arm and they're going to go

towards the back of the palm of my hand now on the other side this line that we drew when we

were doing the proportions that's actually a bone that you can feel if you go all the way to your

elbow and you start filling the bone you can pretty much complete like the full like process

here and you can feel the ulna going all the way from this point to the pinky finger protrusion

that we have right here so on this side i'm going to just add a very big ball right there to indicate

that that's where the protrusion of the ulna is going to be happening and on the other side we're

going to have the little protrusion it's not as evident on the thumb but we got the radius right

around here so once we have that there's other bones that we're going to have or sorry other

muscles that we're going to have right here going towards the back of the hand again we're going to

polish and create those a little bit later but you can see this is already looking quite quite nice

usually we're going to see a sort of like b-shape going right here because these guys are going to

be dividing like half of the arm again these are going to be the flexors and these are going to be

the extensors and you can imagine right now we don't have the fingers or anything but you can

imagine that the thumb is going to be right around here okay so actually this one that's not the

position of the little bone should be a little bit further up but yeah so the hand is going to be

right around here we're going to talk about the hands later on don't worry about that

so now that we have this the arm looks good but it's not perfect and it's not perfect because

we're missing two very important muscles that are called the brachioradialis and the extensor

carpi radialis longus

again don't worry too much about the names if you can learn them that's great

but these two muscles again if we look for them online real quick just for quick reference

you're going to see that we have the brachioradialis there we go and the extensor

carpi radialis lungs these two muscles originate all the way in the arm they actually start on the

arm and they cross the articulation and go all the way to the to the hand so you can see them

right here that's the brachioradialis the green one and there's two others we're not seeing them

in this diagram right here we might need to go to another diagram over here there we go this one's a

little bit better so brachioradialis is this red one and then the extensor carpi radialis longus and

brevis these two guys are going to be on this side as well and these guys are very important because

remember the brachialis that we talked about up here well they're going to originate right around

there so they're going to start right there and they're going to go around the arm and they're

going to pretty much bundle together with the flexors to create the very nice like silhouette

that we normally see on the arm so you can see the silhouette of the deltoid a little flat area where

the brachialis is we might see a little bit of the tricep like poking through that specific area

and then from here all of these guys are going to go towards the front and that's going to get

closer to where the wrist is so all of these guys are going to go this way so you can see now that

we have this volume up here and this volume down here and again similar to how we see the tricep

being a little bit higher than the bicep the extensors plus the brachioradialis and extensor

carpi radialis longus are going to be a little bit higher than the flexors right here i'm going

to use a trick here with trim dynamic and i'm going to remove a little bit of volume from the

wrist because as we approach the wrist i usually like to keep the wrist in a sort of like a thinner

or flatter effect so as you can see we're going to get this very very interesting silhouette

where we got the flexors going to the inside of the hand like that and the extensors going to the

outside of the hand which is going to be on this side another thing that i like to do and i can see

that max did it on the concept right here is i like to bend the wrist a little bit on my characters

that tends to give it a little bit more you know like life or something so i'm going to go to my

mask lasso and even though we don't have the hands just yet i'm going to go here to the mask lasso

there we go i'm going to mask out the hands and then i'm going to press alt and click on this

area so that the pivot point goes there i can invert the mask with ctrl click and i'm just

going to rotate this a little bit just a little bit it gives this again this sort of like a more

interesting look and instead of being like super straight it looks a little bit more relaxed maybe

not that much something like that and it also allows me to more clearly see

where the arms are going to be ending and where the hand is going to be starting.

So from a proportions side of things, it's also a really good idea to pinpoint where things

are going to be modified.

Some people, it's not going to happen in this character, but some people like to push this

as well here to create a nice little curvature going towards the hand.

I personally like to have this thick forearms and thick wrists for characters like this

one.

But yeah, so now it's just a matter of playing a little bit here with the proportions, making

the wrist a little bit thinner as we go closer and closer to it on this side and keeping

this like upper areas very nice and sharp.

I'm going to use my Trim Dynamic here to create like a nice sharp point on this area to separate

like the flexors and the extensor carpi, the atlas longus that we've talked about before.

Now on the backside of the character, it's very important that we also give enough like

room to see the division of the elbow.

So as you can see, that elbow right there.

And I want to show you a technique that is very, very useful for us artists to do,

to make sure that things are looking good. And a problem that we very frequently face,

that I see very frequently with student work, is that you just focus on making something that

looks really cool, but you don't think about the production pipeline down the line, right?

So you don't think about the rigors, you don't think about the animators, you don't think about

how this character is going to deform and move. So it's very important that we put our character

to the test. Now, we're not going to bring this into Blender or Maya to rig it and try to see if

this works. Some people might do that. We're just going to do a quick like posing test right here.

So first, let me save. I'm going to save this as Oni3. There we go. And what I'm going to do is,

first, I want to see if the length of the arms is right. If it's fitting with the proportions

that we know we're going to need for this character. How do we do that? If we press

Control and go to Mask Lasso again, I can mask out all of the arms right here.

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And then I can press Ctrl and click on the mask to soften it up a little bit. You can also,

as we've mentioned before, go to the Masking menu and use this Blur Mask or

Shrink Mask to polish it a little bit more. So I'm going to soften this up. I'm going to

press W and with Alt, again, I'm going to click on the connection where I would expect this arm

to bend. I'm going to Ctrl click to invert the mask. And if we rotate this thing right here,

we should be able to bring the arms down. So what are the things that I'm looking for right here?

I'm trying to see if the elbow right here is aligned with the navel of her character.

And yeah, we're pretty much there. I think we're in a good position.

And then I'm trying to see if the hands of the character are roughly where the pockets would

be. And here I can see that the hands are a little bit small. See that? Can you see that

the forearm is looking a little bit small? So one of the things that I might need to do is I might

need to grab the hands and probably the whole arm, to be honest, something like this. I'm going to

push the pivot point right there, invert the mask.

I'm going to move the pivot point so that it's aligned.

I'm pressing Alt here.

I'm going to move the pivot point so that it's aligned to the X-axis.

And then we can go right here.

Let's align it to the arm and just scale this up a little bit.

Just a tad bit.

And then we adjust the position.

This right there with just the position right there.

And this arm should look a little bit better.

I usually tend to go for slightly longer arms.

I like how these are looking.

I think the hands are a little bit too much.

I'm just going to bring them back.

And again, we do another test.

We grab these guys right here.

We bring this point to that position right there.

And we invert the mask.

And that's a lot better.

Remember that these hands look too big right now.

But again, when you bring this down, that looks a lot closer

to what I would expect from the character right here.

You can even try to find the exact pose.

In this case, the arms are kind of pushed back and out.

Yeah, that looks proportional.

I think we're in a good position right now.

We can exaggerate the arms a little bit more, because I can see that on the concept he's got

this very, very thick forearms. So I'm going to exaggerate the arms a little bit more. I normally

wouldn't do this for my characters, but I'm going to follow the concept here to get this very,

very cool effect. I'm going to make this a little bit thicker. And there we go.

Now, here's another test that we can do. We already did the up and down test to make sure

that the arms are falling in the right proportion. Again, here, one other thing that we can do,

for instance, is we can hide the legs so that we only focus on the torso, because the legs are

definitely making the character look a little bit weird. But this right here, this looks really,

really nice. And I want to check the bending of the element. So is this thing going to bend

properly? So I'm going to mask out where I would expect the bend to happen. As you can see, here's

the elbow. Let's soften that right there. And we're going to bring the pivot point to the elbow.

We're going to push it in, orient this so that it faces or it has like a nice direction.

So we're going to use the x-axis in this case to try to make sure that it's as straight as possible.

There we go. And then if we bend this, it should bend relatively nicely.

Of course, this is not going to be a perfect bend, but it should look natural.

In this case, I think it looks okay.

I do think I might have grabbed a little bit more right there.

So let's, there we go.

That's a lot better.

So when we bend the arms, this is what we get.

If the bend of the arms looks good, if it looks like that's how the character would look,

then that means that we're in a good position.

All of this distortion, that's things that the riggers are usually going to be figuring out.

But in our case, as long as this thing looks natural, like, hey, what's up, guys?

All of this movement, that's perfect because it tells me that the proportions and the general

movements of the arm are looking nice.

So eventually, if we were to rig and animate this character,

it should be looking fairly, fairly good.

I do think my elbow is a little bit high here, so I'm just going to...

do some modifications. For instance, the tricep, I kind of want to add a little bit more volume

on this side, but those are just like small fixes that we're going to be doing to the character as

we keep pushing forward. If you have the option to work on a T-pose character, you're going to

have to add some muscles on the armpits as well. In our case, we will like polish some of the stuff

later on when we get there to the polish section, but I don't think we really need to do that much

stuff. One more thing I'm going to do is I am going to push the deltas just a tad bit more,

because I can see that very intense effect right here on the shoulders, so it definitely

needs to change the silhouette. But look at this. Not bad, right? We're getting a very cool shape.

We're capturing the proper main forms of the muscles, and once we start polishing them,

we're going to be able to generate a very cool anatomy. So I think we're in a good position

right now to do a quick test to see how this thing is looking. So I'm going to go over here

and let's load our first tool right here.

And yeah, like this is how we started with our usual guides.

And now look at how much more buff the character is looking.

So it's always important to check back and see if you're like going forward or if it

doesn't look as good.

If it doesn't look as good, stop, go back to a previous version and then keep working

and keep building until you get something like this.

Cool.

So I'm going to stop the video right here, guys.

I'll see you back on the next one where we're going to be focusing on the hips.

So make sure to get to this point.

Make sure to save frequently and I'll see you back on the next video.

Bye-bye.