Okay so I keep seeing people unironically posting this on my timeline all the time
I just wanna clear something up about it
1)It is an undoubtedly bad drawing, yes, the rule of art is generally “it’s wrong if it looks wrong” and this clearly looks wrong 2) The person who did that draw-over doesn’t have a much better grasp of anatomy and, I’m going to assume, isn’t very familiar with what bodybuilders look like
The Liefeld drawing was referenced from this photograph of Arnold Schwarzenegger;
this is a pretty common bodybuilding pose and photography technique, to do these slight upshots to emphasize the size of the chest as much as possible. You can find a million photos of even just Arnie striking this exact pose in different situations;
The thing about competitive bodybuilders is that their dimensions are so outside the realm of what the average person is accustomed to that they can look “out of proportion” in real life. Parts of the body that can’t change size like the head and hands appear comparatively small, and the girth of limbs can make them appear shorter than they really are
(In order these guys are Ronnie Coleman,
Daniele Seccarecci, and Jay Cutler if you want a source) side note, comments about the body type being “unattractive” aren’t necessary in this conversation, bodybuilding on this scale is a form of body modification, akin to being heavily pierced or tattooed. In other words, they aren’t doing it for you.
The problem is, if you make art referencing a body type that appears out-of-proportion to the layman and don’t fudge the scale of individual elements to make it seem stylistically balanced, it will look wrong to the audience. You can show someone a tracing of a body like this and it will more than likely appear more “wrong” to them than a version taking artistic license to enlarge the hands and feet and enlongate the limbs to something the contextually feels correct.
Honestly, it is technically possibly to fit a fairly correctly proportioned human arm behind that shield;
The wrist on a human body is about even with the groin when the arm is out straight, there’s room to fit a limb that long behind the shield. But the arm looks incorrect for a number of reasons; The chest wouldn’t appear at that angle if his far arm wasn’t wrapped around to hold his wrist like it was in the reference, the shield obscures line of his spine which causes his midriff to look massively thick, hiding the forearm behind the shield emphasizes how comparatively short the limb would feel even if the proportions were perfectly accurate, and the star on the shield causes viewers to assume at a glance that his arm is bent (if you look at the shield assuming the first point clockwise from the top is the actual top of the star it looks more in-proportion, but you have to stop and think about it so the drawing has already failed)
If you were to dump the shield and put the arms in a position that matches the way the chest is flexed, it makes a lot more sense what he was going for;
Which honestly isn’t even outside the realm of what actual human bodies can potentially look like;
I know this drawing is a long dead horse that everyone is sick of seeing beaten, but I wanted to throw this out there because hey, it’s a good example of what liberties to be mindful of taking when you work from references.
This one was a popular demand. Many people people asked me about anatomy tips.
I know how hard this topic is and how confusing at the beginning. It’s just so much to learn! Exactly! I remember how lost I was in the beginning and trying out things that actually didn’t help me understand anatomy better.
Actually what I want to convey here is that you can learn to draw human without learning all the muscles and bones. My personal opinion, based on experience is actually that you can do that as something extra. Learning muscles and bones won’t help you draw. True story.
If you grasps few essential concepts first you will be better off, plus you will be actually drawing characters. You will be more confident in your lines and gain knowledge that will be enough to create artwork you want.
Look at body as any other object you want to draw. Simplifying and remembering the simplest ideas is way to go.
Remember: these few ideas I am presenting are just a tip of an iceberg. As you will progress you will expand your knowledge beyond few essential points.
This is my personal approach so I can’t say it will work for you. I know that it works for me
This week I’ve prepared some tips for everyone who is confused with arms. I know that pronation and supination is confusing and I recommend to learn in by heart <3
I have also announcement!
The day is approaching when I will release ebook or Gumroad PDF with all my anatomy tips + additional lessons + commentary.
I still am thinking how I will publish this but it will be done. Anyone who’s interested finally will be able to get everything in one place and some more good content. I will post some dates soon so look for that in next few weeks !
“Anatomically correct” mermaid references. Artists unknown. If you know either artist, please let me know! I try to always credit artists, since I am one.
And before I have anyone reblogging this saying “mermaids with cetaceans tails only make sense”, please don’t. Mermaids (that we know of) aren’t real. So really no human/fish-tailed hybrid “makes sense”.
Mermaids live in our souls, they are spirits of wild, untamable freedom and mystery. 🧜🏻♀️🧜🏽♀️🧜🏿♀️
Ten core principles necessary for the remodeling of your brain to take place:
1. Change is mostly limited to those situations in which the brain is in the mood for it.
If you are alert, on the ball, engaged, motivated, ready for action, the brain releases the neurochemicals necessary to enable brain change. When disengaged, inattentive, distracted, or doing something without thinking that requires no real effort, your neuroplastic switches are “off.”
2. The harder you try, the more you’re motivated, the more alert you are, and the better (or worse) the potential outcome, the bigger the brain change.
If you’re intensely focused on the task and really trying to master something for an important reason, the change experienced will be greater.
3. What actually changes in the brain are the strengths of the connections of neurons that are engaged together, moment by moment, in time.
The more something is practiced, the more connections are changed and made to include all elements of the experience (sensory info, movement, cognitive patterns). You can think of it like a “master controller” being formed for that particular behavior which allows it to be performed with remarkable facility and reliability over time.
4. Learning-driven changes in connections increase cell-to-cell cooperation which is crucial for increasing reliability.
Merzenich explains this by asking you to imagine the sound of a football stadium full of fans all clapping at random versus the same people clapping in unison. He explains, “The more powerfully coordinated your [nerve cell] teams are, the more powerful and more reliable their behavioral productions.”
5. The brain also strengthens its connections between teams of neurons representing separate moments of successive things that reliably occur in serial time.
This allows your brain to predict what happens next and have a continuous “associative flow.” Without this ability, your stream of consciousness would be reduced to “a series of separate, stagnating puddles,” explains Merzenich.
6. Initial changes are temporary.
Your brain first records the change, then determines whether it should make the change permanent or not. It only becomes permanent if your brain judges the experience to be fascinating or novel enough or if the behavioral outcome is important, good or bad.
7. The brain is changed by internal mental rehearsal in the same ways and involving precisely the same processes that control changes achieved through interactions with the external world.
According to Merzenich, “You don’t have to move an inch to drive positive plastic change in your brain. Your internal representations of things recalled from memory work just fine for progressive brain plasticity-based learning.”
8. Memory guides and controls most learning.
As you learn a new skill, your brain takes note of and remembers the good attempts, while discarding the not-so-good trys. Then, it recalls the last good pass, makes incremental adjustments, and progressively improves.
9. Every movement of learning provides a moment of opportunity for the brain to stabilize – and reduce the disruptive power of – potentially interfering backgrounds or “noise.”
Each time your brain strengthens a connection to advance your mastery of a skill, it also weakens other connections of neurons that weren’t used at that precise moment. This negative plastic brain change erases some of the irrelevant or interfering activity in the brain.
10. Brain plasticity is a two-way street; it is just as easy to generate negative changes as it is positive ones.
You have a “use it or lose it” brain. It’s almost as easy to drive changes that impair memory and physical and mental abilities as it is to improve these things. Merzenich says that older people are absolute masters at encouraging plastic brain change in the wrong direction.