腿部肌肉 1

大家好,歡迎來到本週的《Legs》 您會注意到整個週記錄的速度很快 我正在修改我們正在看的參考圖 這是基於我推薦大家購買的六層納比模型 我們現在開始看納比模型 因為我們有足夠的時間 如果您有興趣可以購買 如果您決定購買納比模型 這也是圖書館的一部分 還有圖書館的一部分 這個小型納比模型 能讓您從各個角度看到肌肉 您可以轉動它來觀看 然後我們會在課堂上學習 只是前後和側面 但是它很適合那種 優美的反方向觀看 讓我們可以研究 身體的活躍面積 是一個不同的設計現象 與伸展面積 或是積極面積 或是非重量面積 當然我們希望您 總是在建造 所以這應該是您的第一步 在把所有這些肌肉準備好 我只是舉個例子 我希望您會在建造過程中 否則我會直接在這上面畫 我會輕輕地加一些 調整 另外一點 我把參考圖放在這裡 因為我們現在要看的 是比較複雜的部分 在細節上 肌肉的量在小範圍內 我們想要有更大的參考圖 讓我們可以更專注 在建造的過程中 所以不得不說 我把上星期的肌肉 丟掉了 您可以看到 這些肌肉 沒有被丟掉 我可以在最後 把這些肌肉 丟回去 這樣您會看到 整個腿 會比較乾淨一點 比較簡單 所以當我們研究腿部 讓我給您 一句謹慎的說話 到目前為止 我們把所有的肌肉 都建造在 肋骨的形狀 或是臀部 這些都是 比較容易 不僅是畫 也能做到的 所以如果我們在設計肌肉 或是肋骨 或是任何東西 它會比較容易看得到 不僅是圖像 或是圖案 而是肋骨 或是臀部 我們現在正在研究 更細緻的 和困難的角度 來增加肌肉 所以我建議您 先把圖像 設計成這樣 這是我們在第二 或第三週 但我建議 在腿部 尤其是 尾部的肌肉 或是 尤其是 臀部和肋骨 尤其是 尾部和肋骨 尤其是 尾部和肋骨 尤其是 尾後 尾後 I can break and understand in three So we're going to be focusing this lecture on The femur, the area of the upper leg I only need to know three shapes, or three groups To understand, memorize, and draw that area Those groups will be the quadriceps And your quadriceps are the sensors The antagonist to those are your hamstrings So quadriceps straighten your leg or hold it out Hamstrings bend your knee or flex the leg And then the third we could include for that The adductor Even though that's something that we covered a little bit with The adductor and its role is to add So that means bring the leg back in towards the middle Beyond that, now that we have our three shapes planned out Or three parts to that area Every muscle will be discussed as having three steps And this is one of three Ps So part, position, does it connect, does it change So that's a bit of rephrasing From the shape gesture perspective But I realize that it's going to be a lot more easy to remember If you just said the three Ps And just make them consistently the same First letter Okay, so that's it Let's start working on our leg And I'm going to focus on this straight leg for this lecture And then maybe when we come back and do the lower leg We'll add the other leg So it's just a bit more introductory For shape I'm going to begin with looking at the adductor This is something that we discussed briefly with our hip It's also one of the three of the femur itself So what is the overall part for this Triangle So this is the adductor Where does that triangle go So this is the part Now we're talking about position This part of the muscle Attaches to the front of the pelvis This part I'm going to make a dotted line Attaches under the femur So that goes under the bone That means we're not going to see it At least where it's attaching So the dotted line means you can see through the femur And it attaches all the way down So when I draw this One thing I'm going to do is change this line If the muscle is pinched or stretched If it's adding the leg Or if the leg is in towards the middle I'm going to give this a C-curve If the leg is pulled away from the middle I'll make that an S-curve So I'm going to do it on both sides So you can see that This would be a C-curve This is a flex muscle Because that leg is held under the pelvis Because this is a supporting leg And then this is where it goes So the one thing I want you to know about this Is that it's not just one muscle There's at least eight in here But they just kind of uniformly create This overall larger pattern So that's the part The position This is the C-curve On this side The same part Same position But because it's stretched I'm going to give it an S-curve So in this one Your hips would be active They'd be pulling Because the hips are abductors So they're responsible for pulling that leg away All right Now let's give this a color It is a little bit more interesting Or easy to see than brown This is the whole of the part You have to be familiar with So we've done part We've done position We're going to do perspective One extra thing that we can do is We've really been pushing the idea of three here Part, position, perspective We're going to do perspective now If I want to subdivide a muscle I can always come back to part again And look for three Each muscle shape can be divided Into three smaller shapes Give it detail Now I don't always think You need to do detail I want you to be thinking In terms of this class Of only using detail selectively We're going to call it selective detail You're only going to detail out areas That are contributing to The body's posture or holding weight So what is the perspective? The perspective here is that This muscle goes from the front to the back So that is a spatial consideration Another thing that's worth pointing out Is that this muscle group Has such a mass to it That it sometimes can make The inside of the leg feel like It's going a different direction Or better said It can feel like it's giving A different direction Than what the femur might be doing in space So we would know Let's say for example That the femur comes out in space The adductor is so big as a mass That it can make it feel like There's a secondary perspective to the leg With the muscle group moving that way in space So that is consideration for perspective Now if you would like to break that up Turn it into three shapes One would be to Separate a little box here And this is adductor longus This is one that sometimes You can see on dancers If they're doing the splits Or it has a dark cone or line And it separates just in that area So you can If there's a need to show this An intense motion That really exaggerates The way that this muscle group Is supporting the leg We can get this to show a little bit more And then the last one is your sartorius In our subdivision We have one We have this kind of general mass behind And then the sartorius Is a really actually important muscle That I'm going to want you to Spend some time thinking about Even if we don't have a More decisive view of A musculature in the leg So the sartorius Starts from your as-is Which is the end of that pelvis right there And this side too This is again the landmark I would be using to construct the box If you just take the shape Directly from there And drop it down It's a sweeping S-curve It's going to come over And on top of those muscles And it's going to tuck Just barely behind the femur Swinging behind the femur Down And then attaching on The inside of the tibia So this is one of the longest muscles In my body And it does have the effect of Adducting and slightly rotating So that is our sartorius Now that does give us A couple of things That are really, really valuable For the leg One, this creates another overlap So that space It just sits on top of the other two General groups that we created That can be a little bit of an overlap there And then at the top Really important You can find this And then if you remember Back to last week On this same point There was the tensor fascia Which was the hip flexor That was described by me As an ice cream cone By the way that shape looks And that pulls off the hip in a way And comes out here Remember that one And what that leaves us with Is a triangle A triangle that points right up Like that as is Now this is really important Because what this creates Is what's called the fossa And that we mentioned in passing I'm sure That's a concavity And that's also what Your quadriceps need To reach this bone So remember We would call this The anterior superior iliac spine If you go about two to three inches down You're looking at The anterior inferior iliac spine This is just another little bone This is where your quadriceps attach Or at least the uppermost one does So this would be the workflow I would use Start with the adductor Create your landmarks Describe your shapes And then start to include Some of the information That we learned about in the hip Just so you find this fossa And then we can move on To our next muscle shape If we take a moment To try to include Some of these other views The adductors are visible from the back So it would be essentially the same But you would need to reverse that Consideration for space So for this one I wouldn't see it Connecting to the front But I would be able to see The connection of the adductors Like this Now does this really matter? No Because this is going to be Covered by your hamstring But it is worth trying to get Familiar with where the shape goes Prior to setting the ones That we have This one would be more like This is going to be an X shape So this This bump out here Which I got too close to In my first Layering of this muscle That's your hamstring Go all the way out there Because that's going to be on top Just like that I wouldn't see it from the side So I don't have to worry about it Too much there The sartorius is a pretty Consistently visible muscle If you are seeing something On the inside of the knee So again remember The connection would be here somewhere Down And then this always gives The inside of your knee A very soft curve So it would be ending here So you will see this In a number of different views Even if it's just the way That it designs And it gives a kind of a silhouette To your leg It will give a Contrast of that Curve versus sharp Sharp on the outside Being that Gliotibial tract Before we go any further I want to take a moment And detail out our knee A little bit more So let's Zoom in here And do some work on the knee To make it a little bit easier To understand the Things that we will later Be attaching I think it will also benefit you Just because for the knee What I really want is Something that can be An edited assessment I think people always go overboard In their descriptions of the knee So first things first Let's draw the Medial and lateral of the condyle There's any number of ways That you could draw these You could draw it as a cylinder You could draw it as a Prototype You can see now that it's Lowered in the middle Players at the end Cylinder seems to be an easy way It's also kind of functional In the sense that your knee Is a hinge joint So I think seeing the knee As a hinge or as a cylinder Might help you remember Its function Remember all bones Flare at the top and the bottom This here is going to give a good Reminder of that And we're going to start to use it As it gets higher and covered by muscle In the shaft of the bone And then if I do start with the cylinder Often times I'm going to move in And just push that top down So that we start to feel like There's this central area That's a little bit lower This is what the patella glides in So let's give our patella shape A bit nicer of a description A little bit of space to it And we want that patella Sitting directly in front Or on top of the joint But above the tibia So we're going to put our tibia down here I'm just going to try to visualize it As a heart box Or a heart rectangle This is the plateau of it And the reason that we have to Detail this out is Your quadriceps are connecting At your tibia So we have our plateau Our plateau becomes this Very triangular form That triangular form Ends at what's called The tibial tuberosity Which is a raised Pronounced area of bone That is slightly beneath The plateau of the tibia This is where your quadriceps go We are going to add The bone for our lower leg The tibia That would be back here So that small bone Starts on the back of the tibia Then that's coming down And so just focusing on The upper leg Come back and fill all this up So something like that would be good If you've also drawn a box You know like I recommended to start You could also just use the box And you could just be this This is just as good As kind of showing something That's more detailed like I did It gives you that immediate change And you could just put your Tile over it And maybe be on top of it And have the lower leg So that's enough That's enough to give me the The information I would need to Start the next group And What I'm going to do with each one of these Is give you the shape So when we talk about advector We need the shape We'll keep sharing down here of shapes When I start my quadriceps Let's get a new color And The Quads are always going to be an egg So this is the shape we're going to be starting with And that's because I want to keep my area Economical Right? So if I want to learn the upper leg I only have to study these shapes You know Egg triangle and whatever it is So now how do I get started Is the way to see the quadriceps So where does the quadriceps go? Oh I know it ends down here It gets there by way of a tendon ligament So I'm going to start at the top of the patella And draw a straight line That shoots up into that ossa I just have one line That tries to connect those two points Now over this I'm just going to draw an egg A larger egg That comes out Sweeps down Is going to stand on top That femur right there This moment It's going to cover the sartorius Come up I'm trying to use that center line That guideline To create a An egg or oval A void shape That is suspended symmetrically to it So that it can feel as though it's So I'm trying to get the placement to be such that This center line Gives me an area where I can aim To get that egg to look consistent Now it's colored in That's my part The position Let's talk a little bit more about where these connect So The name Means four We're only going to be drawing three of them Because one's an internal Here are the connection points You have one that goes here And you have two that start on the top of your femur Do we have to show that? No You just have to have a Relative idea Of where those are So that when you Tend your line You could just direct it as if it's headed in that direction Now first thing Before I get to describing the separate muscles What does this do? If I use this muscle It's going to straighten the leg or knee And kick a ball Or just keep my leg extended One of those Now what's going to happen to the sheet If it does that So the shapes in your legs Anatomically work a little bit different Than what we've been talking about so far So let's say If I have a muscle That's on the bone That's basically what I have right now Anytime this muscle gets used Its mass and its weight Is going to shift up So think of like your bicep When you flex your bicep That shape gets higher And more contracted And this is the same thing for your leg So if I'm going to use an active design I'm going to push the shape up So it's going to feel fuller and more flexed That would be the way to handle an active design Something that's passive is the opposite If this is relaxed These muscles just kind of fall And start to get very close to the knee So it kind of softens all the area of bone That we would see down there This would be a passive gesture So it's really up or down It's shifting mass and weight up or down In this case So now let's do the perspective So I have some good overlaps up here If this fits in This is overlapping And then as soon as it touches my femur Since I drew my knee I'm going to walk it across that And that's a good perspective too So all those things can contribute there Now as far as the shapes Let's subdivide them What I'm going to start with Doesn't necessarily have to be one of the three But it's a really important shape Just for reconciling the knee I'm going to add a tiny house That stands right on top of your pelvis And this house is going to have A slanted and leaning outside To its roof And what this is Is your quadriscapular tendon This is a common tendon That's shared by all of the muscles In your quadriscapular I think it looks like a house Maybe a house that's inverted through It's not perfectly symmetrical A house that's fallen over And that's what gets this Through the patella So that common tendon Covers the patella And then by the time it's bottom Then we have a ligament It's called your patellar ligament And this ligament attaches to the patella For that to be able to cross So all of this works together You need to have flexibility above the knee So that the patella can move But then down here I want this to be stationary The ligament I want this area to not have that Part of the importance of the design in this area Is that the patella It has to always stand In the opening of the knee It has to protect that inside So it just shows your house The ligament is something That can be a little bit more advanced But for homework You don't necessarily need to show that Okay, so how do I break up My three shapes here The first shape that we have Is called the erectus femoris This means muscle of the femur And this is in the middle of the group It's also the highest So you can draw a shape Just to the peak of the roof In that house And you can still use that center line to do it So as I drop this down And do that I'm using that center line That started this whole shape To help gauge where this should be That's the erectus This is a slightly unique muscle In terms of the way that it ends up looking With its own color Just to make it a little bit clearer As to what it is that I'm thinking of If you were to give this any detail This is a muscle that is bipennate Which means that it has two striation patterns And you always see this in muscles That are bracing a larger group And that's kind of what this is doing here It's in the middle of a larger group If you were to look closely You would see that there are fibers That go this way And this way And that's the design That builds strength for a muscle That's in between two others So that's erectus femoris Now everything in this group Gradually shifts down So it is with asymmetry of its own Slightly darker pink Now that I've created this one I've automatically created my next shape I'm going to do some names here That pink one that we just did With the bipennate structure Is erectus femoris So just femur This one that I have the X on That's slightly darker It's called the vastus lateralis That just means muscle of the outside That one is going to be slightly lower So that's on the kind of sloping roof Of the house there Flash back to last week This is the muscle that has the iliotibial tract Pushing up It's something that we'll break up later Once we've kind of Bring some resolve To all of the things that we've covered here In the week or so The very last one in this group Let's just keep it there The red team Is called the vastus Let's address this again Medialis Which means middle So you're saying Outside, inside That's how those two are compared in that way That's just what's left on this side The only thing I'm going to do To make it so different Is this muscle is very low Compared to the other two So that one is going to curve down here So all I'm doing in the adjustment For kind of breaking up this larger mass Is just shifting them So that one feels lower One feels higher And let's A little bit better job Just kind of shifting that down Now it's hard to see in this Because of the way that we're We're working We're not being super rigid With observing these insertions and origins But this rectus femoris is on top The one that we're drawing now The medial Has to go under To get to here So that's where it started So it's creating like this big long diagonal Underneath the rectus For the tallest muscle there And then this is another That contributes to the softening Of the inside of the knee Where your sartorius is So it's pretty low Now since we have our sartorius up here We'll revisit it And make sure we include it Not involving it at all Just spacing out that color So that we can Associate it with the other area So in this We've had it up here before All the way down Now that middle part of the sartorius Is hidden by the vastus In the front of the knee So one thing to keep in mind The leg is not symmetrical The designs of the muscles In the leg Are not symmetrical So any that I'm looking at here Are always going to be in some way With the tumbling effect The pelvis is high The medial is slightly lower I'm sorry, the lateral is slightly lower And then the medial is even lower itself And that creates that initial effect So we can look at the texture One curve against another Alternating against the energy of Get one more And that is the key Thematically to Producing any life-like effect In anything So that is our first Completed view of the quadriceps I can also give you a view of this We can just Since we're just focusing on this straight leg I'll do the Side view over there as well