I have the photos here, I've been working on the scapula, acromium and scapula. I have also completed the angle of the rib cage and used a 90 degree separation (females apparently tend to have 60 degree separations).
From here the next steps are to mark out the processes of the elbow.
anyways, all help welcome, I hope I have laid out the prominences correctly, please let me know if there's any alterations I should make.
It may help to mark in the spine seeing and the ribs, neck, hips and tail are blocked in - i.e. draw in a line on the model where the ridge of the spine is. It will help you to see the boundaries of the shoulder, and help you judge how much the flesh of the back has to bunch up (or stretch) in that pose.
Double check the clavicles - remember they are a mirror image of each other and so they should be identical in length, and curvature.
Thanks Philip, I've repositioned the clavicle, put in the spine and marked out the scapula on the back.
Ironically it's the scapula that's a bit tricky in this one, mainly due to the shoulder positions, one rotated out because of the arm stretching forward, the other closer to the spine because of the rotated shoulder and arm.
Sorry I've been so quiet, there's been a huge amount going on.
First off and perhaps more importantly, the course, what can I say?
Well, it's exceptional, the styles used to teach anatomy and the lessons in learning how to spot mistakes is perfect, he's even going as far as showing up mistakes made in things like hollywood films.
I want to sculpt badly, but there's still five weeks remaining of teaching, though so far, the back, stomach, chest have all been covered and explained in detail. I feel torn in two, not sure whether to start beyond armature building or simply to let the course finish and then take all the knowledge from it and apply it fully to sculpting, rather than wait for stage by stage pieces.
The other thing which has me pausing is super sculpey, awesome stuff but I'm almost worried about using it, I feel like I should be breaking myself in more gently and with large models (Ogre sized and upwards). Again, as before I've already started on an armature, I just don't want to get dragged into the danger of going one way and then another.
As for the armature, I've correct the scapula and clavicles, having an idea of where the muscle heads attach, insert and move is proving very useful.
I think as you learn you view of this armature is going to change.
There is nothing wrong in trying out a few builds as you learn, each time trying to get it correct from the start, incorporating your new knowledge, adding selected muscles, and seeing how your thoughts change.
It might be an idea to save the serious sculpt for when you have finished your course, and simply try out a whole load of practice builds/ armatures while you learn.
This allows you to get a lot of practice, but also see how your armatures change from the beginning to the end of your course. You'll see that change in all the practice armature - rather than endlessly correcting one, where you only see the end result.
I may show up errors in your process, or (more importantly) allow you to discover new ways of doing things.
As for fear of trying new things: simply shrug your shoulders and say to yourself 'this is a f**k up test' and then proceed to royally balls it up. You can then learn from your mistakes. It's a truism that you can't learn through experimentation unless to make mistakes. The more you try, the more mistakes, the more you learn. The bigger the mistakes the bigger the opportunity to learn (mistakes in learning though experiment generally go from massive to small, then so small most wouldn't recognise them as a mistake).
Fear is just your mind telling you something exciting is about to happen.
(Disclaimer - in physical pursuits big mistakes can mean broken bones! (However, in art there are no broken bones, only crushing disappointment - which probably hurts just as much. A broken bone for the mind. But it will heal ;D))
Well that's my Dr. Phil skit done...
As for the armature, looking good so far, though the bend in the right arm is causing me huge concern. It looks like there is a kink in the upper arm bone. That bone should be nice and straight from the elbow to the shoulder.
Looking at it in the new pics I think the shoulders a too narrow for what you want (as judged against the picture references you have posted). I suspect the arm kink is you instinctively putting the lower part of the arm is where you want it, but the kink is correcting to the new shoulder part that you sculpted (the experimental bit).
Try imagining how those muscles are going to cover that armature, and I think you see that what you want: is not going to 'grow' from what you have. I think the shoulders need to be a bit wider (where the clavicles end on the outer side). Roughly bulking in the neck may help you judge where the shoulders are going to go. Remember that the outer end point of the clavicle is right above, and roughly nested in the middle of, the deltoid (you can feel it in your own shoulder). It's an 'anchor' to judge how the deltoid is going to form in your sculpt.
That's good to hear. Once you are over the whole fear thing, and understand what is really is, it will probably transform to excitement. Experimenting is a lot of fun, and I would be very interesting to see your experiments!
'Perfect' does not exist for the artist; for the simple reason that once you complete something and learn from the experience, you are then in a position to critique the finished article with a fresh eye with new ideas developed during the process a creation.
'Perfect' exists for the viewer, the one who does not have the skill level/ knowledge required to critique the work. To the common viewer a work of art can be 'perfect'. However it is unlikely that the work is perfect to the artist who created it.
There is always room for improvement, we are always learning, and the journey (hopefully) never ends (well it ends at death, but not before!) ;D