Hi Daniela, There is a couple of things I see in your arm drawing that I think you could work on. To begin with, the arm has no gesture, it's very straight and stiff. Your anatomy and the way you are thinking about the flex and relaxed part of the muscles is what is contributing to the stiffness. It's easier to show then explain, so I did a quick sketch to show you what I mean. I hope this helps :)

Hi @Tsotne Shonia, nice studies! Your tracings of the anatomy look pretty accurate💪 - I think I would give you the same advice I gave you on the foot bones assignment: to practice drawing from imagination. Drawing from imagination reveals what you don't know and helps you get to know the anatomy even better. In some of these I'm lacking a sence of a bone beneath, and the muscles being layered on top. In drawing 1, 2 and 5 I feel like we're lacking some of the arm's volume; maybe because the unvisibile anatomy hasn't been clearly considered. I like to treat my anatomy studies, kinda like écorché sculptures; you build from skeleton up to the surface. - I think the drawings would look even more appealing if you balance the round forms with some hard planes. Try to be a bit more boxy in you mass conceptions. In image 6 for example, you have a wonderful opportuniy to draw an almost box like biceps. - Try to consider the gesture more when adding the structure and anatomy. If you study this drawing by Michelangeo https://i.pinimg.com/originals/21/86/5f/21865fe4ea3811d6cdad9a961d5d5ce3.jpg, you might notice how every single line is contributing to the gesture. It might help to think about a river flowing through the body; the forms are like rocks that the water flow across, around, smashes into, splashes over and the lines you draw is the water interacting with them. One of the difficulties with figure drawing is to keep on adding to the gesture, while adding the forms and details, and this river analogy might help with that. Hope this helps :) Keep up the good work!

Really nice!

Hi @David Gutmann, nice drawings! Good gesture and shading, I can clearly feel the forms. - I would do some deeper studying of the anatomy to make sure you know all the muscles from this lesson and their attachment points. In drawing 2, I'm unsure whether you're aware of the biceps's insertion point at the radius and the presence of the brachialis, since they don't seem indicated (though I'm seeing a light line that might be part of the brachialis). Maybe you were, but choose to leave it out for a focus on light- and shadow-shapes? You can shade of course, though for your anatomy studies I would recommend that you lightly indicate, or at least in the lay-in, find the muscles and bones that lie deep as well. In image 3 you've indicated the coracobrachialis, though I'm unsure whether you know where it's heading for the coracoid process. In drawing 4 you seem to have grouped the biceps with the brachialis into a single cylinder. Hope this helps :) Keep up the good work!

Nice work! Keep going

Looking reaaly good.

For you last drawing, the gray part seems to be the brachialis, not biceps brachii. It looks like you can identify your muscles well though!

Well done. For your drawing of the woman, the deltoid and biceps brachii lines should be touching, as there's nothing in between them at that area. Your drawings look structural and has volume though so keep up the good work!

Awesome!!

Hi @Johan Kurniawan, I think you're studies are awesome! Very good structure! Learning about the triceps in the next lesson will definitly help in distinguishing the brachialis from the triceps. They are separated by the medial inframuscular septum (MIS), which goes in a straight line from the medial epicondyle and up toward the head of the humerus. If the brachialis and medial head of the triceps are two hills, then the MIS is the valley. Look for a subtle depression For identifying the coracobrachialis, or any muscle, I find it helpful to indicate the bones. The key landmark for the coracobrachialis is the coracoid process, where it originates. GENERAL DRAWING Again, the drawings are really nice! I think they would be even better with more gesture (revisit the first part ofthe figure drawing course. You can do gesture drawings as warm-up, while continuing with anatomy) Dare to exaggerate! Dare to bend the cylinder of the arm in a c-curve if the gesture is a c-curve! When you can combine the awesome structure in your drawings with awesome gesture, great things will happen :) I hope this was helpful :)