rights and I will clean this one up is well,
so soft Races back.
I think for the most part,
this one's pretty easy to read.
But there is just confusing.
I always find the leg to be the most confusing parts the body as far as the anatomy goes.
When I'm trying to define the anatomy in this way,
when I go to drop with again more skin on it,
it's not nearly as bad.
But,
um,
you know,
we need to know what it looks like without skin so that we can draw better with skin.
I guess so.
So again,
semi.
Ah,
what does this one semi 10 diagnosis I always have toe We look at the word on these ones
semi tender know,
sis.
And right next to that,
the semi member No sis.
And these are all gonna scroll down or swirled down and connect here on the bone.
Eso It's good to get these in as faras.
You know,
the kind of correlation that they have to one another get really thin and you've got let's
see,
123 and then you've got the sartorius so really four that come down collide in this area So
semi,
uh,
tender noses,
the semi membrane IHS or I'm sorry,
semi member noses and it passes beneath the doctor group right here than the Priscilla's.
I'm saying that one right,
Chris still is comes down like this all these again kind of spin and sprawl together into
this area and then the Sartorius sartorius is the one that allows us to rotate our leg from
the hip.
So pretty important muscle there gives us that range of movement.
Eso is when you draw them together like that.
It's not as bad,
I think,
because again you kind of look for these rhythms in the body that you can,
you know,
commit to memory that you can ah line basically.
Now remember right up here you also have this divide right here for the adductor group.
So I look at both of these like I look for the V pattern that you see there and really this
one's lower.
So as faras relationship going like this,
but they're both pretty distinctive V patterns be shapes,
but you can get in there like that and then the vast this media Alice which you need to
know introduction because It's a pretty popular muscle,
writes one that a lot of people work on when they're strengthening their quadriceps and
they're trying to get very powerful legs.
They go right for the quads.
That's gonna be the rectus femoris in the front there,
vast media Alice,
which you know to me,
it just looks like a really big teardrop shape.
So that's pretty easy to commit to memory than the patella tell a ligament or patella
tendon and then the gas truck name IUs in this one,
to me looks like a football,
and then you just kind of smooth out the edges that goes down to that Achilles tendon in
the back of a heel.
Andy to be Alice.
This is the bone there and solely ists and the flexor digital room longest.
Remember when you draw on the bottom of the foot,
you want to show some of those pads you do want to compress against a ground plane?
Our look nearly is accurate,
but,
uh,
but it's better than just drawn on.
You know,
you just don't want to draw a straight line.
Doesn't need to have a nice mix off in a straight line,
so it shows that there's some weight against those pads.
Okay,
so now what?
I'll do.
Like I've said in other lessons,
I'll make sure that we,
uh,
have this in a diagram version.
Uh,
and then that will help you commit more of this to memory.
But again,
it's really important that you just look for the relationships in this that resonate with
you.
Okay,
so for me,
like I've already kind of mentioned the back and forth Brigham of the Anatomy,
just like the lightning bolt method rates here.
The lightning bolt to me looks a bit like this,
minus that foot attachment,
but something like that.
So if we were to go across the front of it,
kind of talk back,
shoot down the back of it.
So that's kind of how I see it.
So it's probably a little bit more in the end,
set up like this.
Eso that's like a simplified skeleton if you want to call it that.
But again,
it's looking for these different rhythms and,
you know,
trying to memorize what works for you.
So if you look at it and you go,
I see something different,
Rabbi.
See?
You know when I pay attention to this.
I really noticed this.
You know this This y pattern right there.
Okay,
so if you look,
this looks like a kind of a bent.
Why?
And that might be your I don't know if it's called a pneumonic device,
but a device nonetheless is something that you used to commit to memory That makes it
easier for you to reconstruct this.
That's what you gotta find.
So hopefully the ones I show you help.
But then maybe you see something different,
and that becomes your again your device for memorization.
Um,
but again,
a lot of times you're going to forego a bunch of this detail a bunch of the segmentation,
and you're just going to get something that looks more,
um,
realistic to you,
whatever that might mean.
So,
again,
these curves relative straightness from side to side.
Two relative straightness here,
curve here,
curve here and a bit of an angle,
but still relative straightness even right there,
saying,
see,
it's a back and forth.
So there we go.
So now what we're gonna do you know,
we've kind of approached an illustrated the leg from these different viewpoints,
right?
So now we want to do is we want to put it in action.
We want to draw some that are more dynamic,
More expressive may seem trickier.
You know,
at first like how do we make this actually work and function?
But at the same time,
since we've taken the time to study the body and break it down in these different main
viewpoints,
it's now going to be easier to draw it more dynamically because we have reference points we
have.
We put some,
some working right.
So let's proceed on to the next lesson and start to do that,
and with that,
let's move on.