Download "Пластическая анатомия. Кости и мышцы кисти. - А. Рыжкин"

"videoThumbnail Пластическая анатомия. Кости и мышцы кисти. - А. Рыжкин

Как обычно рисуют СТОПЫ и как правильно рисовать!? - Александр Рыжкин

Как обычно рисуют СТОПЫ и как правильно рисовать!? - Александр Рыжкин

Channel: Александр Рыжкин

Поясничные позвонки - А. Рыжкин

Поясничные позвонки - А. Рыжкин

Channel: Александр Рыжкин

ВСЕ ПРО ЦВЕТ ДЛЯ ХУДОЖНИКА

ВСЕ ПРО ЦВЕТ ДЛЯ ХУДОЖНИКА

Channel: CG Speak

Как БЫСТРО научиться рисовать⁉️ 4 УПРАЖНЕНИЯ ✔️ - А. Рыжкин [ENG SUB]

Как БЫСТРО научиться рисовать⁉️ 4 УПРАЖНЕНИЯ ✔️ - А. Рыжкин [ENG SUB]

Channel: Александр Рыжкин

Как рисовать "Старение лица" - А. Рыжкин

Как рисовать "Старение лица" - А. Рыжкин

Channel: Александр Рыжкин

10 СОВЕТОВ начинающим ХУДОЖНИКАМ - А. Рыжкин [ENG SUB]

10 СОВЕТОВ начинающим ХУДОЖНИКАМ - А. Рыжкин [ENG SUB]

Channel: Александр Рыжкин

КАК нарисовать ГУБЫ. Как нарисовать лицо человека (МАРАФОН). УРОК 4

КАК нарисовать ГУБЫ. Как нарисовать лицо человека (МАРАФОН). УРОК 4

Channel: MaleyArt

Хрящи уха и носа. Пластическая анатомия. - А. Рыжкин

Хрящи уха и носа. Пластическая анатомия. - А. Рыжкин

Channel: Александр Рыжкин

Отличие ЖЕНСКОГО лица от МУЖСКОГО - А. Рыжкин

Отличие ЖЕНСКОГО лица от МУЖСКОГО - А. Рыжкин

Channel: Александр Рыжкин

рисование

как рисовать

уроки рисования

как научиться рисовать

рисунок

drawing

арт

учимся рисовать

простые рисунки

для рисования

рыжкин

александр рыжкин

строгановка

мгхпа

Московская государственная художественно-промышленная академия

рисунки

скетчбук

как нарисовать человека

рисование мастер-класс

как стать художником

для начинающих

как рисовать на графическом планшете

обзор

глазуновка

анатомический рисунок

пластическая анатомия

кости кисти

мышцы кисти

александррыжкин

какрисовать

лекция

костикисти

мышцыкисти

howtodraw

education

художник

образование

00:00:05

it was written there that it was my turn, the

00:00:15

tour time has begun, so friends, we continue

00:00:20

the conversation about anatomy, anatomical

00:00:27

drawing and the principle of

00:00:29

thinking that will help you, the image of the

00:00:33

Czech body, that's today's topic, our

00:00:37

tanker is in full swing, which you see,

00:00:46

let's go, we'll probably start what we need,

00:00:52

we need to decide first of all

00:00:53

with the bone structure of the hand and therefore

00:00:58

we have two territories with you that

00:01:01

begin our hand from the wrist and

00:01:07

wrist, this is the lower part which is assembled

00:01:11

from two rows, this is very bones

00:01:13

4 in one row 4 the other then there are 5

00:01:19

bones of the thumb, mouth and meat

00:01:24

bones of the index, respectively

00:01:28

the middle and ring and little fingers,

00:01:33

these are all the bones that we

00:01:35

have here and are formed by

00:01:38

water and the entire territory that we

00:01:41

see here, we usually perceive as

00:01:44

the territory of

00:01:45

no one of such a single volume that

00:01:48

attaches to our forearm, because

00:01:54

someone is talking about this block now and

00:01:56

then we have a finger on the flank,

00:01:59

each of the phalanges rising upward,

00:02:03

I continue the linear path of each of the

00:02:06

fingers, which is here here and

00:02:09

naturally continues the direction

00:02:13

consists of three fallouts, unlike the

00:02:17

thumb, the thumb we have

00:02:19

only two phalanges and

00:02:23

it ends in the middle of the first the phalanges

00:02:26

of the index finger,

00:02:28

respectively, the index finger, the

00:02:30

middle finger, the ring finger and the little finger

00:02:32

will be of different lengths and this is due to the fact

00:02:36

that each of the bones

00:02:38

that we have has a different

00:02:41

beginning and a different length, and here here and

00:02:44

partly, as the artists say,

00:02:47

this is due to the fact that the mass of the same

00:02:49

volume and mass of a different volume to arrive

00:02:52

and with respect to each other the joints did not

00:02:54

hit the tag of the trousers, this is an interesting

00:02:56

remark, it is very clearly visible that each

00:02:59

joint of here here and here

00:03:00

located is located specifically in the

00:03:03

territory

00:03:04

taking out and beyond the space, so if

00:03:07

for some reason you suddenly want to

00:03:09

draw a

00:03:10

finger in such a way that the joint

00:03:12

turned out to be at the bottom and the size

00:03:14

actually technically will not happen,

00:03:17

they will all be on different axes, it is

00:03:20

also a very convenient visually

00:03:22

memorable image, so

00:03:25

when you, for example, draw one

00:03:27

finger and see a joint here and here and

00:03:29

then draw in another finger, then it is

00:03:31

definitely with this will be a little bit

00:03:33

further, which apparently protects it when

00:03:36

squeezing when squeezing here and here

00:03:40

such an unexpected

00:03:42

visual notice inflates all the

00:03:48

joints of the fingers is always

00:03:49

parallel to each other here and here

00:03:52

so if we start the most familiar

00:03:54

stories of the history of our finger it

00:03:56

will be something like this we release in

00:04:00

I finish the first phalanx with this phalanx with such a

00:04:05

block form, the block form

00:04:09

budget is that it comes with

00:04:11

such a depression and the second bone, which is

00:04:14

explained, comes with the same response

00:04:17

form-building effect, so when

00:04:20

we look at the movement of the phalanx, we

00:04:22

will find that the fingers will only

00:04:24

bend but will not move in the other

00:04:27

direction, that is, in such a movement in the

00:04:29

same direction, fingers, some finger

00:04:32

will only bend in this direction, that’s why the

00:04:35

next phalanx, which

00:04:37

is located here, also had a stone

00:04:40

structure, then here 10 God, that is, all the

00:04:42

time there will be an effect of only flexion

00:04:44

extension as a result, the phalanges of the fingers

00:04:47

bend at this angle, if we

00:04:50

try to drive the phalanx relative to 1

00:04:53

phalanx here and here, then it will bend

00:04:56

exactly at an angle of 90 degrees,

00:04:57

respectively, the next phalanx in the same way,

00:05:00

immediately the integration camp, this angle

00:05:03

here and here through these points of rotation

00:05:05

will be 90 degrees, respectively The 5th bone

00:05:08

that is located here will also allow you to

00:05:09

bend at an angle. In principle, it is generally

00:05:12

accepted to be played, but in fact it’s not like that

00:05:15

because when we move our fingers

00:05:18

we bend them further and it is clearly noticeable,

00:05:21

for example, that the second phalanx in relation to

00:05:23

1 bends further has an angle of 90

00:05:26

degrees much more sharp, therefore,

00:05:29

looking at this parameter, you can

00:05:31

see that in relation to one and the

00:05:33

other form of the form, it bends at a more

00:05:37

acute angle and touch, a more

00:05:39

open space appears when this

00:05:42

volume moves, this is the plus of the phalanges that the

00:05:45

movement occurs, but all the phalanges are

00:05:49

absolutely parallel to each other and

00:05:51

so this is what we remember, that is,

00:05:53

how this happens if we release the

00:05:56

phalanx block, it doesn’t come out like this

00:06:00

round so that this is the round volume, then

00:06:04

we see two bones 1 and 2 these two

00:06:07

bones have this kind of

00:06:11

central point here

00:06:13

here this direction when we take the

00:06:17

subsequent head and attach it to the

00:06:21

surface of block

00:06:23

10 then we have two down and times.

00:06:28

and 2-2 volume these two volumes that we

00:06:32

will have is this one. and this point here

00:06:36

will give us a very interesting

00:06:40

effect, that is, when you draw a finger, you will

00:06:43

see something like the following,

00:06:44

the shape will come, then there will be a skin fold,

00:06:47

then again a skin fold

00:06:50

and the finger will move inward in this

00:06:53

form and you will see the height of the

00:06:55

joint, that is, this point here and

00:06:57

here and you will see the edge of this

00:07:00

joint of the phalanx which turned downward

00:07:03

as a result, a certain

00:07:07

rectangular plane opens, so when you

00:07:09

draw a finger, be sure to make sure that there

00:07:11

is such a plane of turns

00:07:15

and the transition of one phalanx to another and the

00:07:18

transition of one phalanx to another will

00:07:20

occur through such a field of four

00:07:23

points, this will simply improve the quality of

00:07:25

reference, the appearance of this field, this

00:07:27

space, especially in real life, the

00:07:30

skin folds that light here

00:07:32

duplicate this space, you

00:07:33

will always see on the surface of the fingers

00:07:35

here and here on the surface of the finger

00:07:38

here and here you will always see

00:07:39

this field of 2 folds, which is mandatory when

00:07:42

the finger is straightened, this is one of the systems

00:07:45

of phalanges that can be done, and since these

00:07:47

phalanges are absolutely parallel to each other,

00:07:49

then make sure that this one.

00:07:53

this line here this line here the view of the arena and

00:07:56

in Qatar it was always parallel to

00:07:58

the other so that this surface was

00:08:01

also parallel to this part and so that

00:08:03

the territory of the nails of the house the red mask

00:08:05

could turn out

00:08:07

here here here here was also always

00:08:12

parallel to this from the side.

00:08:15

once or twice this parallelism will be

00:08:18

absolutely, and it is very clearly noticeable that if

00:08:22

you build the relationship of fingers to each

00:08:25

other, then the long index finger

00:08:27

to the ring finger are those distances

00:08:30

that are very low to each other; the length of the

00:08:32

middle finger in relation to all the

00:08:36

other fingers will be much

00:08:39

longer Of course, this doesn’t happen for everyone;

00:08:41

for many people, the index finger is

00:08:43

stronger or the ring finger is longer,

00:08:45

depending on the situation, that’s why

00:08:48

we will see that we need to remember

00:08:50

that there are people who have lines with the

00:08:54

ring finger and still point to,

00:08:57

or vice versa down, people whose

00:09:00

index finger is longer finger, both

00:09:03

are the norm if they are suddenly the same, it is

00:09:06

also normal, it has been noticed,

00:09:07

for example, intensive research

00:09:09

that says that if a person

00:09:11

has a ring finger than his index finger,

00:09:14

this check is physically stronger and with the

00:09:17

same training, this

00:09:19

person will have luck in relation to the one whose

00:09:23

index finger is shorter than The greater the

00:09:26

difference between the index and ring fingers of the

00:09:28

same person, the stronger

00:09:31

this person becomes, most likely he will

00:09:33

win. The little finger always ends with the

00:09:36

nail

00:09:37

at the level of the nail phalanx of the ring

00:09:42

finger, that is, the little finger always goes

00:09:44

to the place beyond the place where the

00:09:47

nail phalanx begins, there

00:09:48

it ends, there are so-called

00:09:50

maiden ones the hands whose makeup bag is very

00:09:54

short, that is, you can see,

00:09:55

for example, girls whose little finger is

00:09:58

small and even a third reaches this space and

00:10:00

it will be that much

00:10:02

smaller in space, but usually

00:10:07

small girls or girls of short

00:10:10

stature or women

00:10:12

who remain small, but it happens the

00:10:16

other way around it happens that this finger

00:10:18

apologizes becomes a little longer when

00:10:20

you get elongated fingers there is

00:10:23

another important point that also needs to be

00:10:26

remembered when drawing fingers is that

00:10:29

when you draw on the be

00:10:31

when you draw the nail plate, you need to

00:10:35

pay attention to the territory of the

00:10:37

entire nail phalanx with all the softness of the

00:10:41

volume which is under the nail mid one

00:10:44

very important feature is the distance from the

00:10:45

points of the joint to the place where

00:10:49

the nail appears and it ends,

00:10:51

usually these distances are equal and of

00:10:55

course if someone has, for example, a

00:10:57

manicure and the nail has grown further, then this

00:11:01

distance will be much larger than the

00:11:03

original shape of the original ones relationships,

00:11:06

if you take a bent finger, then the nail

00:11:10

plate of the nail plate and the rotation of the

00:11:13

finger gives the native distance here

00:11:17

here and here in connection with this there are many

00:11:20

interesting things that we notice

00:11:22

there are different shapes of the nail and therefore, for

00:11:25

example, if you looked at the

00:11:28

Megan Fox

00:11:30

transformers thumb there is a transformer

00:11:33

here fox me, and for example, a short

00:11:36

thumb and a nail phalanx is very small,

00:11:39

there is such a small artist, the

00:11:41

sculptor Shemyakin, who also has this

00:11:45

territory very small, that is, in

00:11:46

relation to an ordinary

00:11:47

standard finger, these fingers are

00:11:50

so small and when the

00:11:53

thumb is straight short, it is very

00:11:54

small here with this volume and a

00:11:57

small nail like this, there is a

00:11:59

very interesting feature that is

00:12:02

present in the nail plates,

00:12:04

the nail plates come in different thicknesses,

00:12:06

but the principle is this: if you take a phalanx of

00:12:11

which you look at it in profile, then

00:12:14

you will see that it ends in a kind of

00:12:16

hoof, that is, and if its profile

00:12:18

to look at the bone here there will be such

00:12:21

bone loosening there will be in this

00:12:27

part here there

00:12:28

bone loosening so when you

00:12:34

when you were see this edge it is

00:12:36

from this edge that our

00:12:38

nail plate comes up and rises up

00:12:42

as soon as it rose up here then

00:12:45

this bone plate part when it is

00:12:47

here and here this part it gives

00:12:50

the designation of the white cover which

00:12:53

will be here in this part you even

00:12:55

then seeing this white space

00:12:58

you see the place of attachment of the nails there are

00:13:03

nails one feature depending on

00:13:06

what shape your plate is pretty

00:13:09

it happens such a semicircular one can be

00:13:12

flat to the plate, it

00:13:14

forms this volume in different ways, but every time there

00:13:16

is always skin tissue behind the finger

00:13:20

that comes like this, the finger

00:13:22

is attached to this side by a cute

00:13:25

chicken edge, the so-called so

00:13:26

when you draw a nail, it is very important

00:13:28

to follow this volume of soft tissues

00:13:31

that grip the nail in order

00:13:34

to get the feeling that the new one

00:13:36

was once sunk

00:13:37

inside these skin turns, this will create the

00:13:39

correct effect the same in the movie who

00:13:42

let you and the sum operator enter each

00:13:45

time increases this tension should

00:13:46

give such a rounding where we are

00:13:49

here and here accordingly, from rochas,

00:13:52

the territory of the nails will also give

00:13:54

certain plates of hang-ups, so

00:13:56

if you draw a nail, then the nail,

00:14:00

for example, initially short, will

00:14:02

let in a leather

00:14:04

volume that will rise and give

00:14:07

us such a granny on the finger, if a

00:14:09

person has a tendency to have

00:14:12

such a finger when the nail actively

00:14:14

protrudes forward, then accordingly the

00:14:16

soft territory will come to this

00:14:18

plate will become tzatziki for this and the

00:14:20

other is the norm, the most important thing is to

00:14:22

understand for you now, draw as it is

00:14:25

more convenient for you to depict, therefore here and here

00:14:28

you can release it, for example, like this so

00:14:30

that the nail is the territory of the city surface

00:14:32

or you can extend the nail to

00:14:34

the very edge, it will come out, take

00:14:37

parts, plus the width of the nail

00:14:39

plate is also different, you can,

00:14:42

for example, see an elongated

00:14:44

nail plate on a finger, or on a finger you can

00:14:46

find a plate that has captured the entire

00:14:48

finger and covered a wide area, and

00:14:50

both are individual feature

00:14:53

check there long fingers movement when

00:14:59

we figured out this territory with our fingers

00:15:00

we need the territory that

00:15:03

goes in this part here in this part 5

00:15:07

ball not such charles if here we

00:15:11

had a knee joint and we were talking about only

00:15:13

one function of flexion and extension to

00:15:15

here in this territory where 5 bone

00:15:17

joins the territory and 1

00:15:24

here the following mechanism arises here we

00:15:27

will open a new layer layer what will

00:15:35

happen there look there will be such a story

00:15:38

we have a round ball you try and for me

00:15:41

this round ball attaches to the block of the

00:15:47

metacarpal bone and then a

00:15:52

successive four-part process occurs this is the

00:15:55

creation of these balls of which the drawing

00:15:58

team blog as a result of our gift guests

00:16:02

color palm surface we are as if

00:16:04

we are now drawing with you on such a palm

00:16:06

this territory of which will be here

00:16:09

later the thumb will always be awarded to

00:16:11

each of these hinge the cabinet

00:16:13

joins the eyelashes of the phalanx

00:16:15

I am here

00:16:16

here so this place this place

00:16:21

this is this ball to which

00:16:23

this phalanx is attached as soon as

00:16:26

it is joined to this ball

00:16:29

here and here in this part

00:16:32

then we see the following effects

00:16:35

the finger in this part is very important in relation to

00:16:38

this phalanx to this cap of the

00:16:41

attached so by grasping this sphere

00:16:44

which even here it can move in

00:16:48

different directions, that is, the finger can

00:16:49

make this movement if all

00:16:52

the fingers were bent only in

00:16:54

this part we can do this and

00:16:56

accordingly, since the effect of a

00:16:58

circular motion of rotation occurs, a very important

00:17:01

point is how as soon as we started like this,

00:17:03

I’ll try to rotate from the punch like this,

00:17:05

move the pivot fingers in the other

00:17:07

direction, we will have a very beautiful

00:17:11

system, let’s do this, we will have a

00:17:17

very beautiful system, the next thing we

00:17:19

can see is that our little finger and

00:17:22

ring finger, the index and middle

00:17:28

fingers can melt to the side these we

00:17:33

can see how the relationship to these rays

00:17:36

and to this form through these hinges, the fingers

00:17:40

move apart to the side once this is the form, because of

00:17:46

this change in response and the parts, a

00:17:49

strong one will happen, but the fall will be

00:17:54

given a reason for such an arc, that is,

00:17:56

such Oleg solidity will arise and now

00:18:00

in drawing hands, the next

00:18:02

problem arises, if earlier you could take,

00:18:05

for example, easily draw finger 1 2,

00:18:14

see the block of the best shape, then

00:18:19

put the next finger and feel

00:18:21

this parallelism of which they are here

00:18:23

between the next next finger,

00:18:25

now when you move your fingers apart, this is how the

00:18:27

following turns out now

00:18:30

when you draw one finger in one

00:18:33

control like this, the next finger

00:18:37

will be forced to

00:18:39

stand in the other with such a movement that the next one will be

00:18:44

burned will stand on the other ones

00:18:46

as a result, with the fingers spread out like this, an

00:18:49

additional

00:18:51

difficulty arises with the

00:18:53

first one tracking such a shape once and

00:18:56

now only the

00:18:59

structures inside the individual will remain parallel finger,

00:19:02

each subsequent finger will have a

00:19:05

different angle of inclination in relation to day 2,

00:19:08

this is a very important point because it does

00:19:11

not damage the tree, sometimes in

00:19:14

drawing it is very important how much you

00:19:17

control the parallelism of each

00:19:19

break where here and how much you

00:19:22

control the

00:19:23

arched shape of each finger that came out

00:19:29

the sphere of this,

00:19:33

as for now this sphere, there is one very

00:19:35

important point that we also all know

00:19:38

and go deeper a little bit into how this

00:19:41

small composition the composition of the joints of the

00:19:43

metacarpal bone of the salang comes form

00:19:49

goes another form without heavy paper

00:19:54

in order to manage this

00:19:56

space to manage this with the phalanx we

00:19:59

need a ligament that will extend

00:20:02

the finger and this is what the common extensor of the

00:20:04

fingers is called, so we will see the following:

00:20:07

in this part we will have a ligament on top of this ball

00:20:12

that goes along the entire finger,

00:20:15

here there is such a size that is

00:20:19

covered let us have a ball the sphere

00:20:24

that intersects the volume of 2 tendons is

00:20:29

superimposed on this sphere, this is

00:20:31

folded as a result, you see the

00:20:34

bone structure receding, you

00:20:36

can’t see it filling the bone

00:20:38

structure,

00:20:39

but this tendon was not placed on the ball

00:20:41

here, as a result, due to the fact that

00:20:44

it lies on top, very often the

00:20:46

following visual image appears here

00:20:49

here in this part here here the

00:20:53

effect of the so-called diamond appears,

00:20:55

you see such a structure here here

00:20:59

here going this is actually very

00:21:01

good because this one.

00:21:03

which is located here in red,

00:21:07

these glasses, this point has such a

00:21:10

triangular structure and a poet.

00:21:12

going beyond the sit there are some

00:21:14

worries that is, you felt a

00:21:16

change or a change in the plane here a

00:21:20

change in the plane as a result you

00:21:23

got several planes 1 2 of this,

00:21:26

which is very important from the point of view of searching from

00:21:29

anal relationships, you will

00:21:31

feel a single-channel plate

00:21:34

another zonal plate and a third

00:21:37

tonal surface which changed

00:21:39

this part plus, from these points

00:21:41

of the gray mane,

00:21:43

such a banal change will also occur here here and

00:21:47

here, that is, as a result, this joint

00:21:49

here in this part turns into a very

00:21:51

complex, very beautiful form that

00:21:53

most artists solve differently, it

00:21:55

all depends on how

00:21:57

well you work there is, for example, a

00:21:59

wonderful artist of money is infected, he

00:22:02

actually did this to the Kurt of each

00:22:05

network of planes with the color of the insults, so it

00:22:07

is recommended to look at the shape of the

00:22:11

tendon that crosses this product and

00:22:13

goes down, the

00:22:14

tendons appear, it will turn into gold, he

00:22:17

from do not forget that we will draw not a tendon,

00:22:19

which of course has of great

00:22:21

importance we do not draw the tendon on a

00:22:23

spherical volume here and here there is a

00:22:25

sphere so you definitely need to feel behind this

00:22:28

tendon this fall

00:22:31

the fall is ready so each of these

00:22:35

joints of will turn into

00:22:37

such a rounded space here and

00:22:40

sit like a giver of forms accordingly

00:22:43

when you go down the world will

00:22:45

happen

00:22:46

approximately the same desire to find this

00:22:49

composition, well, here another

00:22:51

effect will occur, here, of course, there are also spheres,

00:22:53

that is, a feeling of spherical volume, and

00:22:55

this sphere is associated with the articular capsule

00:22:58

that held it, but there is no tendon

00:23:00

that passes to this surface, then

00:23:02

here on the joint,

00:23:03

in this part you you will see that it is simply

00:23:06

ready to change on the surface in

00:23:08

relation to the other surface without

00:23:10

the tendon appearing here,

00:23:13

cooperation, yes, because this is folded

00:23:15

extensor, although it goes here along this

00:23:17

surface,

00:23:18

but it grabs the surface from the side, it

00:23:22

goes against the nail plate, splitting, it is not

00:23:24

attached to this edge, it is no longer as

00:23:27

noticeable as this happens in the upper

00:23:29

part, it is

00:23:31

clearly visible on any plaster or any

00:23:37

textbook, find this information, which is

00:23:41

in easy accessibility, we’ve sorted out

00:23:47

this now, let’s try

00:23:49

the joint, we’ve sorted out this network of rubbish, now we

00:23:52

need to go back to the back wrists and

00:23:54

look at this territory, 8

00:23:57

bones, so let’s try now we’ll go

00:24:00

deeper these territories to this

00:24:02

territory and I’ll try means that we

00:24:05

need we need to take the palmar

00:24:08

surface now we are going

00:24:15

back again the pigtails

00:24:35

so let’s go our territory of the wrist

00:24:38

our territory the order here is

00:24:41

attached to the palm and in order to

00:24:43

glide well and rotate the hand to

00:24:46

turn so this teaches the described

00:24:47

joint this first row of bones

00:24:50

that is located here consists of 3

00:24:53

parts which connects to this nothing

00:24:56

course surface and these bones

00:25:00

have the following shape the first of them is the

00:25:03

scaphoid bone the

00:25:05

boat which being in this

00:25:08

space

00:25:10

form such a surface

00:25:12

to this water the

00:25:15

next guest of this will join article the

00:25:19

next bone we have a

00:25:22

bone that is named

00:25:24

before the full bone the floor the

00:25:32

next guest that we have

00:25:34

is the bone after the full which is called the

00:25:37

triangular bone 3g bone here

00:25:42

in short this is the first row these tip they are

00:25:46

continuously assembled

00:25:47

with each other by ligaments sit here

00:25:51

here and here and It is the continuous

00:25:54

connection of these three bones that forms the

00:25:56

wrist joint, which is why the bone is

00:25:59

connected to this will accept the bones,

00:26:03

another bone intervenes in this form,

00:26:07

which is called the collapse, the lower bone

00:26:09

is on the surface of the trihedral

00:26:11

here is the g'rakha, a prominent guest,

00:26:15

this is the mountain of the righteous bones of the pea

00:26:17

which to use this part

00:26:20

belongs to the category of all the sons of prominent

00:26:22

bones, what does it mean and the prominent bone itself

00:26:24

is a bone that does not have its own

00:26:26

joint is located inside the tendon, that

00:26:28

is, it is necessary

00:26:30

that grabs the g'rakha prominent bone

00:26:33

and moves away with the tendon and days

00:26:36

the side of the metacarpal bone I walks the side with

00:26:39

hooks guests clings to those two

00:26:41

structures as a result, this is a pea

00:26:43

here, it seems to be floating in the air, this is the

00:26:45

only guest, in fact, which is

00:26:47

visible, the bone is located here, all the

00:26:49

other three pieces are impossible, but

00:26:51

Yuri, but it’s very good, here it will be, in

00:26:55

this part of the air, this is a pea, you can

00:26:58

easily you will find the skills with

00:27:01

serious pressure on it, you can

00:27:04

even move it a little, this is a very

00:27:06

convenient form of orientation, so

00:27:10

we usually draw the brush exactly up to this

00:27:13

razzl bone, since we all have the

00:27:15

palmar surface

00:27:16

taemin fixed in relation to the

00:27:19

thumb and it will be directed towards side of

00:27:22

the month to leave in this part then g'raha is

00:27:24

visible and just the next next row the

00:27:27

shape of the happy color is joined to these bones the

00:27:31

next bone that

00:27:37

we can see is the second row of bones a

00:27:41

large polyhedral bone or a large

00:27:44

trapezium bone does not join harry a

00:27:47

trapezoid joins the next guests

00:27:50

which is called small the bone is a trapezoid,

00:27:54

large, does not join the following,

00:28:00

or large or small polyhedral

00:28:03

large and small polyhedral or large

00:28:07

program question, next next to it

00:28:11

there is a darling on the bottom and on the floor, well, he has

00:28:16

a bone behind his head, here it

00:28:18

is attached from here and this effect is obtained on the

00:28:20

floor on which the grip itself

00:28:22

in fact, I draw like this, and it’s more like

00:28:24

this bowl that holds the shape of the

00:28:27

capitate along, and behind it, behind this capitate

00:28:30

guests, comes the next guest, which

00:28:32

is called a hook, you can see I got this

00:28:38

name because on the hook or the guests,

00:28:40

in this part, here and here there is

00:28:42

such the hook protrudes into the part,

00:28:45

let's also make it red here

00:28:48

the hook

00:28:49

which in relation to this bone

00:28:53

here protrudes in front of therefore a large

00:28:55

polyhedral bone with large trunks

00:28:59

through one point

00:29:00

the elevation here the handle is visible here I am here as

00:29:03

a result, these bones here in this

00:29:05

territory form an exhibition as soon as

00:29:08

the exhibition was formed here with this

00:29:11

slot allows us to see how a huge

00:29:14

number of tendons pass into this

00:29:16

surface and are removed from each one,

00:29:19

and between the hook of the visible bone and

00:29:22

between the large polyhedral la

00:29:25

donna arises, this is the primary connection that

00:29:28

holds this part and creates a very

00:29:31

tight and very powerful hold on

00:29:34

this vault 2 rows of bones, the country

00:29:38

walks here as soon as we saw this

00:29:40

territory, respectively, this

00:29:42

connection, which is located between the

00:29:46

first and second row, this

00:29:49

leading angel, the connection here is very strong, the

00:29:53

connection here is also very strong, and the

00:29:56

connection between, respectively, all the

00:29:59

bones of the wrist here with celestial

00:30:02

cats is also very strong but despite

00:30:03

all this strength, there is actually

00:30:06

movement, that is, we can move our hand

00:30:08

in such a way that these bones

00:30:11

move slightly relative to each other,

00:30:12

this gives us the opportunity to see a very

00:30:15

beautiful pattern of movement that looks something

00:30:17

like this: we take and put

00:30:20

holes here and there this territory

00:30:24

of the wrist in relation to the 5th bones gives the

00:30:27

next movement, as soon as we

00:30:29

lower the hand down,

00:30:32

the upper part of the territory of the

00:30:34

wrist bones opens here and here we will see this

00:30:38

open shape of this volume here with a

00:30:41

certain tension

00:30:43

here a yokai of movements may arise

00:30:44

they want not very pleasant in

00:30:46

fact, two days with a power load, but

00:30:49

nevertheless, now when

00:30:51

we look at the planets, the hand has turned very actively

00:30:56

once, so this is the space when

00:31:00

we move the hand in the opposite direction and

00:31:02

get the little finger as on this side in

00:31:07

relation to all the others, a pack of then

00:31:09

this territory the wrists of the outer

00:31:11

surface

00:31:12

now we get an open wrist,

00:31:16

we look at the sides, so we got a very

00:31:19

interesting effect that we all know

00:31:21

when you draw a brush when the hand

00:31:24

rests on the school, whether the territory of

00:31:31

the wrist from colitis on top is completely

00:31:34

closed and therefore why am I a guest

00:31:37

who came here and the bones of the metacarpus here

00:31:41

is so close to each other that

00:31:43

the hand becomes very short,

00:31:45

only the meat territories remain in

00:31:48

relation to the GPS, when you

00:31:50

lay out or unbend the

00:31:52

other side here, you get the opposite effect, here

00:31:54

again we ourselves are creative and

00:31:57

walk here, but now when we lowered the one

00:31:59

acting down, we saw that on

00:32:02

the inside, the restaurants are now

00:32:05

the wrists, all these bones are

00:32:07

closed, the minos on the outside are now

00:32:10

open, and therefore you see

00:32:13

the territory of the radius here, here,

00:32:17

once I came, now here, there is such a

00:32:24

long distance,

00:32:25

and here it is practically not there. rothco

00:32:27

distances of water and then the red

00:32:30

bones went and the metacarpal bone went as a result of

00:32:32

here a pot of such glory here at

00:32:37

such a distance in length and in relation to

00:32:39

this space all this value and

00:32:41

this value here was added here of this

00:32:45

size because of this any any

00:32:49

attempt to draw eating will always be

00:32:51

accompanied from a profile point of view by

00:32:52

such very important moments

00:32:55

one two three times two three cooks always

00:33:01

need to cross this territory

00:33:03

in order to get the right palm with a

00:33:06

project built with the fingers if

00:33:08

this transition is not voiced in

00:33:12

general it will be strange so watch out for

00:33:14

this size and character

00:33:15

presence especially if the client

00:33:18

poses like this so that this plane is

00:33:19

present here and here and

00:33:21

move on now what we need to

00:33:24

see is which bones

00:33:27

join our song bones and so

00:33:29

clearly and the bone of the thumb

00:33:31

joins the large polyhedral

00:33:32

bone this is its territory and joins

00:33:35

she here owned the joints, this saddle

00:33:38

is digging and the sound around the polyhedral

00:33:40

bone allows the fingers to move

00:33:42

in a circle, we begin to slide here

00:33:45

this part with such circular

00:33:47

movements, if we take the first guest of

00:33:53

the index finger, then she

00:33:54

joins the little polyhedral guests and

00:33:57

gives us this chain here.

00:34:02

brought here the following bone, this is the bone of the

00:34:10

middle finger, it joins

00:34:13

the gallop read and extends out of its

00:34:17

guns, the articular surfaces are a little bit

00:34:23

higher relative to the index finger,

00:34:25

here this already appears with a ruler and

00:34:27

privileges of movement, although it’s not

00:34:30

always like that, sometimes it happens almost straight, but it’s

00:34:34

very clear that our the index

00:34:36

finger and our middle finger they are

00:34:39

here once in that scene here this

00:34:42

distance

00:34:43

I somehow freedom this is not actually

00:34:45

true because on the surface here and on the

00:34:49

surface here at the base of these

00:34:51

bone tests there are two surfaces

00:34:53

that connect to each other to

00:34:55

form a continuous joint that

00:34:59

keeps these cats warm to each other, also

00:35:02

from the following visible bones to this hook, you and

00:35:03

I are joined by the meat bones

00:35:09

of the ring finger and to the same hook, the

00:35:12

visible bones are attached to the 5th bone of

00:35:14

the little finger, that is, it turns out that there will be an

00:35:17

index finger, we have our own bone here is the

00:35:19

middle finger and the hook, the prominent bone

00:35:23

has taken on 2 bones and a summary

00:35:28

and the ring ones, it is also very clear here

00:35:31

that each of these fingers are

00:35:33

combined connected to each other, and so,

00:35:35

despite the fact that they are a bad son and here

00:35:38

at the base in this part there are actually

00:35:41

no fortifications very strong and therefore

00:35:43

you will see the following that are very important in

00:35:46

order to hold these bones there are

00:35:48

special ligaments these ligaments are located

00:35:51

on the surface of the hand now we will

00:35:54

do this so that you can see there are ligaments

00:36:00

that run in this part

00:36:02

here here here here here that

00:36:05

connect these to each other at the base of

00:36:09

these parts and the four bases there are no

00:36:13

these heads that are here

00:36:15

so that these red bones do not move apart

00:36:17

relative to each other spare parts so in

00:36:20

this part you will see these ligaments

00:36:27

located here here here they will

00:36:32

hold these bones because

00:36:34

they would swear but they will not interfere you are

00:36:36

squeezing, therefore, if we

00:36:39

return to this again to the surface, then what will

00:36:43

happen is, and if we look at the hands, it is not

00:36:49

possible to move apart in the area of guests, but it is possible to squeeze the health resorts

00:36:53

at the bowl, that is, they converge

00:36:54

inwards here, so the bones are compressed

00:36:58

like this, and here it is very clearly noticeable how it

00:37:00

is being squeezed surface and squeeze by the

00:37:02

packs, so they don’t allow for stretching,

00:37:11

it’s squeezing inward, descending

00:37:13

year, they are able to

00:37:15

move inward there, the thumb goes through the

00:37:18

thumb and metacarpal bone, it

00:37:20

usually ends in the middle of the palm

00:37:24

here and here,

00:37:25

so if you ever have to draw

00:37:28

a palm, you need to remember the

00:37:30

following diagram is

00:37:32

what you do, you draw the palm as a

00:37:35

kind of rectangle and the thumb of

00:37:38

your metacarpal bone rising up

00:37:41

reaches the middle or surface

00:37:43

such a house is obtained from this house

00:37:46

comes straight or not

00:37:47

which is directed to the index finger

00:37:50

here here this will be exactly the level of

00:37:53

the radius

00:37:54

but edge level nothing guests also if

00:37:57

we extend this not in a straight line goes into the

00:38:00

axis of the ring finger here here and

00:38:03

here as a result the index and

00:38:06

ring fingers here work to

00:38:12

continue 2 1 if we draw the

00:38:15

central ones here we just hit the

00:38:17

center with the

00:38:19

middle finger of the morning gives the output not

00:38:22

symbolically what are all these three

00:38:24

fingers for? we have here the tendon ligaments themselves,

00:38:26

which come from the

00:38:30

extensors and flexors of the fingers,

00:38:32

so now we will make all these tendons now,

00:38:35

which come to this

00:38:38

point leading here, the pink side coming here, the

00:38:41

future in this this part, working

00:38:44

in a straight line through the transverse the ligament

00:38:47

when it is here is held when

00:38:51

the tension that comes is associated with

00:38:53

the tension, that is, these three fingers pull

00:38:56

the form and therefore when you work with

00:38:59

some form, you remember that

00:39:02

it is these three fingers and the first form as

00:39:05

a result when you carry how

00:39:07

heavy it is These three fingers work

00:39:11

to keep the little finger from standing apart

00:39:16

from this volume in this part and the

00:39:19

thumb is set apart, so the

00:39:23

result is that the function of the

00:39:25

thumb and little finger is needed to

00:39:27

interact with each other if

00:39:30

these three fingers are extended and across the width of

00:39:33

the wrist here and the expansion of these three

00:39:36

fingers here is very similar, they are very

00:39:38

close, the strength of the

00:39:41

territory of the little finger and the territory of the

00:39:44

thumb

00:39:45

as a result turned out to be directed

00:39:47

towards each other and as a result, the thumb

00:39:49

and little finger

00:39:51

now we also see the thumb and

00:39:55

little finger if these three fingers work in a

00:39:57

straight line to maintain the shape, but the little finger

00:40:02

and thumb work in the direction of

00:40:04

each other, of course, these fingers also

00:40:06

work in the direction of each other on

00:40:08

the little finger, the most powerful one brings

00:40:12

the palms to the surface, so this one.

00:40:14

here this point here they strive for

00:40:17

each other very actively closing the volume

00:40:20

so the holding occurs with the help of

00:40:22

the little finger 3 fingers are already held and pressed

00:40:26

spatially

00:40:31

so when we look at the little finger on the

00:40:35

territory of the little finger which is located

00:40:36

here and the mainland or thumb

00:40:39

this part initially

00:40:41

we see two elevations which for us are

00:40:44

absolutely false and very important from the point of

00:40:46

view of drawing, this is the elevation

00:40:48

of the little finger and the destruction of the thumb, and

00:40:51

so we will now create another new

00:40:53

layer and take it and let’s go, so when you

00:40:57

draw a palm, you do this from the

00:40:59

palmar part, you see such an

00:41:03

ellipse of the little finger

00:41:05

that we you have and you see

00:41:08

this pepper and you see you want an oval of the

00:41:12

thumb,

00:41:13

also you see this shape of the

00:41:17

fingers that end here as

00:41:20

a result, the palmar surface consists

00:41:22

of an elevation from the little finger to the elevation of the

00:41:26

thumb to here the house

00:41:31

automatically immediately appears and departs

00:41:34

the shape of the thumb and this elevation gives per

00:41:37

month apartment side index

00:41:41

finger ring finger as a result between

00:41:46

these two volumes such

00:41:50

activity arises to grab the depression

00:41:52

space what is it this is the palmar

00:41:55

aponeurosis Ladoga

00:41:57

water muscle house with de bakker of the hand it

00:42:00

comes with the transverse ligament with this

00:42:02

and forms this convenient

00:42:05

surface which is presented to

00:42:07

again not red bones and makes

00:42:09

our palm bend, then this

00:42:11

advancement is made on this same side, here are the

00:42:14

surfaces of the transverse ligament here and

00:42:16

here we have muscles and they are arranged

00:42:19

very interestingly, does it have

00:42:21

a sit on men

00:42:23

that abducts the little finger and in this direction the

00:42:26

abductors and there is music that abducts,

00:42:32

they work like and in such an arc they are

00:42:35

parallel to each other when they

00:42:38

withdraw this surface from with to you

00:42:40

get abductor forms above this and

00:42:46

here and here they abduct but there are muscles

00:42:51

that are needed in order to adduct

00:42:54

and that’s why here we have the husband who

00:43:03

will be the same and here, accordingly, there

00:43:18

will also be a front sight that brings the

00:43:20

thumb and he is here, these two groups

00:43:28

respectively adductor adductor these are those

00:43:31

that lead such as a result of these

00:43:35

two volumes appear on the same

00:43:37

plane a whole group of muscles that

00:43:39

work in different directions contradicting

00:43:42

each other these masses

00:43:44

here here attached to the middle

00:43:47

finger in this surface converging

00:43:50

territories gives us a very beautiful

00:43:52

form of linear drawing because when you

00:43:56

draw your palm and immediately drew

00:44:00

Thomas and I drew this form with lines

00:44:04

coming here it immediately gives you the

00:44:07

opportunity to see these masses of quantities

00:44:14

these lines become very clearly

00:44:17

visible, he sees the folds that are located

00:44:20

here in this life, so in this

00:44:25

part, this part where the fingers

00:44:27

connect to each other, there are ligaments

00:44:29

between them, here, here between the

00:44:32

fingers, such tubercles appear, these in the heat of the moment

00:44:36

are called the beavers of talent, the

00:44:39

protruding volume is who has handles hand

00:44:42

glue God and, accordingly, more

00:44:44

who have them the same era and accordingly

00:44:48

they will be all the ligaments that are located

00:44:58

here in this part the flexors of the fingers

00:45:01

passing through the stage the parts go in the

00:45:03

direction of the transverse ligament behind the

00:45:05

hooks of that part there is a large

00:45:07

multifaceted bone leaving the charter there

00:45:10

is one feature associated with with these

00:45:12

flexors me 20 in order to bend the

00:45:14

fingers we have such a wonderful

00:45:16

mechanism,

00:45:17

which means if we take the first phalanx if

00:45:21

we take the old one

00:45:22

we take the assets and the vine and we need a function

00:45:25

so that we can bend, for example, only the

00:45:27

nail phalanges, that is, only the finger

00:45:30

will remain behind

00:45:31

and only the nail phalanx will shoot

00:45:33

before this we have about God the flexor of the

00:45:35

fingers

00:45:38

they went down the palm of

00:45:41

the surface

00:45:42

goes to the forearm through the person

00:45:46

will pull himself up but we also have the surface

00:45:50

flexors it was deep which

00:45:52

only bent and so you could see

00:45:55

people who are capable they bend

00:46:00

only the nail plate and the tendons

00:46:05

that are attached to the surface here

00:46:07

pass and, accordingly, bend this

00:46:12

in order to bend the entire finger

00:46:15

as a whole to be able to bend the finger

00:46:17

now or to bend even across the face from the

00:46:25

whole like this relative to the palm so

00:46:26

that it bends we need a muscle on the

00:46:29

surface of the flexor of the fingers

00:46:30

it goes on top of this tendon it is then

00:46:33

covered from above and when it

00:46:37

covers it it reaches three phalanges, it

00:46:39

opens into this and is attached to

00:46:42

this phalanx section

00:46:43

in the second phalanx here and here it

00:46:45

turns out as if it were splitting the leg,

00:46:49

it came here and clung to which

00:46:51

surface to go out of such an attachment it

00:46:54

bends the tentacles entirely, bending

00:46:56

space 5, we have two muscles

00:46:59

that work on one finger at the bottom

00:47:02

of the bend, but in order to extend the

00:47:04

flight from the reverse side, we

00:47:06

only have one muscle leading, so when we

00:47:10

look from the outside and from the

00:47:12

inside of the finger, we will find

00:47:14

the following from the outside, if

00:47:17

you look at the finger, the tendons,

00:47:23

unprotected by anything passing from the side, are

00:47:26

very clearly visible in this part,

00:47:28

extension 502, both parts of

00:47:32

this ligament entered entered this side and

00:47:35

went 3 hotels

00:47:37

inside the side, we do not see them

00:47:40

because the volume of the skin tissue is very durable, the

00:47:46

signet is located

00:47:48

necessary conveniences to protect our

00:47:50

fingers, so all the ligaments here inside we will

00:47:53

never see here, it is very difficult to

00:47:55

notice only at the very beginning where everything

00:47:58

is happening, it seems to be given a lecture, this is

00:48:00

quite possible with any palpation, you are unlikely

00:48:03

to find relationships to see them, it

00:48:05

will be possible to flexor the fingers here on this

00:48:08

surface, that is already here

00:48:10

these spears they will appear only here

00:48:13

in the lower part and therefore when you

00:48:16

move your fingers you will find that in

00:48:19

this in this in this part you have a

00:48:21

movement of tendon ligaments

00:48:24

that move

00:48:25

on this surface here this

00:48:28

surface here is almost none who can’t

00:48:29

see the movement of these tendons in the

00:48:34

fingers themselves with the muscles

00:48:36

so that we can make the movement of

00:48:38

flexion and extension, now so that we

00:48:41

move the fingers away from each other, we

00:48:43

use the muscles that are located between the

00:48:45

red space, so when I

00:48:47

now return to this layer here and

00:48:51

what we we will see in order to move the

00:48:54

phalanx in order to move the phalanges in different

00:49:01

directions we need between the meat muscles and these

00:49:06

between the meat muscles are located here

00:49:09

in this bag in a clear space here

00:49:11

and here here here these bags clear

00:49:16

muscles are good because they are attached to

00:49:19

this edge in the gruel with you from the side of the

00:49:22

world dessert side the sound of sarov and when

00:49:27

we make such a movement promotion we

00:49:30

just use the muscles that

00:49:32

are located on the surface between the

00:49:35

peculiarity is that here it is

00:49:37

impossible to see and here it is impossible to see them

00:49:39

they lie very deep in space

00:49:41

the only thing to see and you will see the

00:49:44

muscle that is engaged in what they

00:49:46

abduct for a month

00:49:47

now we will show this this muscle

00:49:52

here it abducts the

00:49:55

index finger this territory

00:49:57

this volume

00:49:59

so if you suddenly look and

00:50:01

start moving your finger to the side then

00:50:03

here in this part you will feel

00:50:06

a lump that will be accepted

00:50:08

when you move to point, he is afraid

00:50:11

this movement will give this fullness,

00:50:13

this territory is here

00:50:15

and it always has its own line superimposed

00:50:19

on the thumb, such a movement

00:50:22

and the line of the thumb always goes

00:50:24

inward under the index finger with such a

00:50:27

drawing system you should see this

00:50:30

that the joy is that the most important thing comes from the

00:50:32

index finger at this point, is

00:50:35

it here the video of the territories is clear to the bones of the

00:50:41

thumb and such a

00:50:44

mass arises that allows us to shake

00:50:47

the point, but here with the thumb

00:50:51

all the lines go inward under it as

00:50:55

a result, such a connection will arise

00:50:58

here to walk through this, not

00:51:01

the other way around,

00:51:02

also very important, the abductor

00:51:05

thumb will be here and here,

00:51:08

so we got this system of

00:51:12

muscles that abduct and spread our

00:51:20

fingers, if you like, even if it’s not very strong

00:51:22

because they can be easily held with

00:51:24

your fingers, the negativity of them is not very here

00:51:30

here now when we have figured out this

00:51:34

form, let's try to do

00:51:36

the following, let's try to draw several

00:51:40

diagrams of how fingers are drawn when you now

00:51:43

know where it all starts,

00:51:46

they usually do this if you draw palms for anyone with

00:51:49

water, that first you need a

00:51:51

simple diagram of the palm in the form of a

00:51:54

rectangle, to this diagram of

00:51:56

the rectangle you attach or

00:51:59

you feel the trunks in each of the packs and

00:52:01

releasing each finger, you begin to

00:52:04

perceive it either as a ceres,

00:52:08

perceive it either as a cylinder or as a

00:52:12

rectangle, it all depends on

00:52:13

how you like the next

00:52:16

phalanx that you release,

00:52:17

you determine the angle of inclination in the same way

00:52:21

and immediately transform its

00:52:26

rotation structure finger maintaining correctness,

00:52:29

each subsequent finger that you

00:52:31

draw in exactly the same way should

00:52:33

turn into what is this for, that is,

00:52:35

why does this matter every time you

00:52:37

draw a finger, determining the direction of

00:52:41

the palm if you imagine

00:52:46

this cross-section of the fingers, in most cases

00:52:47

they are always in perspective, then any

00:52:51

representation about a cylinder

00:52:54

directed in the southern direction, you will

00:52:57

get the correct depth of the fingers and

00:53:00

the correct sense of space, that is,

00:53:03

this planet will not appear

00:53:04

when drawing just what if

00:53:07

you draw the fingers and silhouettes, they may turn out to be

00:53:10

so short,

00:53:13

but if you upset them through a section,

00:53:16

start building through a section each

00:53:19

joint then the fingers become very deep

00:53:22

so here it is very important to remember that

00:53:24

this world is drawing through a section it

00:53:28

becomes the most important thing for us it gives the

00:53:30

depth of the fingers they try very

00:53:32

deep from our bass player assigned

00:53:34

always use the section if the hand

00:53:38

is directed at you the angle then you will

00:53:39

get space if these

00:53:42

sections of

00:53:43

me walk that depth somewhere, so

00:53:48

if you like this path through

00:53:50

the cylinders, very Roshana, there is a path through the

00:53:53

cubes, also a very good path when you

00:53:57

initially understand how one

00:54:00

cube is rotated in relation to the other, in

00:54:03

principle, this is usually within

00:54:05

your tasks, why is this needed?

00:54:07

the direction of the stroke

00:54:11

the drive in such a construction will give you no

00:54:14

points, it will give you the construction will be a little

00:54:17

easier to control, of course it is better that it

00:54:19

remains inside your eye and the viewer

00:54:22

sees only elegant lines and settings,

00:54:25

for example, a joint, then the volume of the phalanx

00:54:29

of the edges, and therefore when you

00:54:31

build hotels, do not immediately go out per

00:54:36

person but inside your head there are of

00:54:39

course these points here here

00:54:43

here you will hold each finger the

00:54:46

last thing to say is about the

00:54:49

thumb if you look at the palm

00:54:52

look at the territory of the palm then all the

00:54:55

fingers lying on the surface lie like

00:54:58

this and like this in relation to the surface

00:55:01

here here here here it’s beautiful here the

00:55:04

thumb relative to this

00:55:06

volume the environment lies turned at an angle of

00:55:09

45 degrees in relation to the palm, that

00:55:12

is, it will always be at an angle

00:55:19

[music]

00:55:24

to everyone else, read its angle of

00:55:26

rotation will be like this in relation to

00:55:29

this part as soon as you move your finger to the

00:55:32

side you will get 90 crosses this is a

00:55:36

rather complicated procedure, the hand lies down

00:55:43

and it is clear that all the fingers lie parallel to the

00:55:46

plane, the thumb lies at an angle

00:55:48

to the surface if you want the finger

00:55:50

to turn around you need to move it at an

00:55:53

angle of 90 degrees then we were the

00:55:54

surface also lies parallel like

00:55:56

all the other fingers in

00:55:57

any other case, it will be

00:55:59

at an angle of 45 degrees to this jump,

00:56:02

although technically it can probably be

00:56:04

believed to regenerate, but on its own would

00:56:07

rather hold this stable

00:56:09

position,

00:56:15

this territory that turns this

00:56:20

vertex now as for the next

00:56:23

drawing system and so

00:56:26

we can draw a ball shape draw an

00:56:30

even smaller one

00:56:32

attach another in the shape and lucy another

00:56:36

ball another face shape

00:56:38

so when you draw a finger formally

00:56:41

it consists of the volume of the joint and the volume of the

00:56:48

phalanx again the joint with ligaments

00:56:51

that hold up

00:56:53

again and again so in order to

00:57:02

exactly the blue shape here this is a very

00:57:05

nice

00:57:06

linear system where you correctly

00:57:10

designate the poop from the shapes how it

00:57:17

connects

00:57:19

to hold the finger correctly

00:57:23

the structure you somewhere need to feel

00:57:25

this line we honor them to put each of

00:57:29

these tonal

00:57:33

forms that end will be fgos us

00:57:37

here will be extinguished here accordingly

00:57:39

something like this happens ringing the shape

00:57:42

is an immediate feeling of volume, so with

00:57:44

quick sketches and close drawings,

00:57:46

usually where they do it, the key ones have indicated the

00:57:49

edge of the edge of the shape, lined up, let’s say the

00:57:53

index finger and the little finger,

00:57:56

and you need to indicate the volume, so

00:57:59

since this is a sphere and this is also a sphere, this is also a

00:58:02

sphere here here here here,

00:58:03

respectively, following the path from this

00:58:06

side and immediately a dense house from here and

00:58:09

immediately putting several of these

00:58:13

tonal spots at once by placing

00:58:16

several of these tonal spots at once

00:58:19

you immediately get a feeling of volume, like you

00:58:22

immediately got a feeling of mass

00:58:25

when you go down all the joints and the light,

00:58:27

for example, that comes from here already

00:58:29

closes and accordingly you will see

00:58:31

how this volume has gone out, the leg point and here,

00:58:35

accordingly, it will also be

00:58:37

very convenient to track, I understand that this is a

00:58:41

spherical volume, this is the volume and,

00:58:43

accordingly, the side surfaces

00:58:46

immediately give a feeling of mass fullness,

00:58:49

each of course is immediately read to

00:58:52

diomed and but friends, this is, in principle, a

00:58:56

task which you can perform,

00:59:00

draw, analyze, maybe

00:59:02

it will be about a better point of view of

00:59:04

drawing these butts, this and this lecture,

00:59:07

respectively, can be viewed by

00:59:09

second-year students of Stroganoff

00:59:17

and first-year eyes, notes, that’s why

00:59:21

you will also definitely receive a link and

00:59:23

see where, well, it’s like that with

00:59:26

a brush, it seems like today with a bone

00:59:28

structure with a part of a man's structure sorted

00:59:30

out, this is not the last conversation

00:59:32

against us, such cards are more difficult,

00:59:35

maybe they were still coming back and they also

00:59:37

broke it back, well, thank you

00:59:43

very much good luck and see you how I now have to

00:59:46

click somewhere to stop

00:59:48

broadcast

Description:

Добрый день, Друзья! Рад снова видеть вас на канале. Сегодня будет лекция по теме "Кости и мышцы кисти". Спасибо за подписку и комментарии;) До новых встреч! 💥 Поддержать канал https://www.donationalerts.com/r/rizhkins 💥 Мой Instagram https://www.facebook.com/unsupportedbrowser 💥 Мой Facebook https://www.facebook.com/unsupportedbrowser 💥 Моя группа Вконтакте https://vk.com/public193360823

Preparing download options

Popular

HD video

Only sound

All

* — If the video is playing in a new tab, go to it, then right-click on the video and select "Save video as..."

** — Link intended for online playback in specialized players

Questions about downloading video

How can I download "Пластическая анатомия. Кости и мышцы кисти. - А. Рыжкин" video?

http://unidownloader.com/ website is the best way to download a video or a separate audio track if you want to do without installing programs and extensions.
The UDL Helper extension is a convenient button that is seamlessly integrated into YouTube, Instagram and OK.ru sites for fast content download.
UDL Client program (for Windows) is the most powerful solution that supports more than 900 websites, social networks and video hosting sites, as well as any video quality that is available in the source.
UDL Lite is a really convenient way to access a website from your mobile device. With its help, you can easily download videos directly to your smartphone.

Which format of "Пластическая анатомия. Кости и мышцы кисти. - А. Рыжкин" video should I choose?

The best quality formats are FullHD (1080p), 2K (1440p), 4K (2160p) and 8K (4320p). The higher the resolution of your screen, the higher the video quality should be. However, there are other factors to consider: download speed, amount of free space, and device performance during playback.

Why does my computer freeze when loading a "Пластическая анатомия. Кости и мышцы кисти. - А. Рыжкин" video?

The browser/computer should not freeze completely! If this happens, please report it with a link to the video. Sometimes videos cannot be downloaded directly in a suitable format, so we have added the ability to convert the file to the desired format. In some cases, this process may actively use computer resources.

How can I download "Пластическая анатомия. Кости и мышцы кисти. - А. Рыжкин" video to my phone?

You can download a video to your smartphone using the website or the PWA application UDL Lite. It is also possible to send a download link via QR code using the UDL Helper extension.

How can I download an audio track (music) to MP3 "Пластическая анатомия. Кости и мышцы кисти. - А. Рыжкин"?

The most convenient way is to use the UDL Client program, which supports converting video to MP3 format. In some cases, MP3 can also be downloaded through the UDL Helper extension.

How can I save a frame from a video "Пластическая анатомия. Кости и мышцы кисти. - А. Рыжкин"?

This feature is available in the UDL Helper extension. Make sure that "Show the video snapshot button" is checked in the settings. A camera icon should appear in the lower right corner of the player to the left of the "Settings" icon. When you click on it, the current frame from the video will be saved to your computer in JPEG format.

What's the price of all this stuff?

It costs nothing. Our services are absolutely free for all users. There are no PRO subscriptions, no restrictions on the number or maximum length of downloaded videos.