Hi @K.O. Light, really nice studies! - In the drawings on the top row, I think you're puting the humerus to close to the surface. It's closer to the center of the cylinder of the arm. A trick to help you place the bones accurately is to imagine touching the arm, feeling where the bone might be. I hope this was helpful :) Keep up the good work!

Answering your questions: There won't be folds in the muscles. The folds will always happen in the skin in response to the contraction of the muscles. But the muscles themselves don't really fold. It's like when you wear a long sleeve shirt. When you bend your arm, its volume remains the same but as you bring the parts together the fabric will compress resulting in folds in the bending side. With that being said let's analyse the neck. When you extend the neck the semispinalis capitis, splenius capitis and trapezius will contract and bring your head back. Normally the result more plausible would be a straight line. But, in reality as the trapezius is attached to the spine through the nuchal ligament, so it will inherit its curvature. Since it's the muscle more close to the surface, it will force the other ones to its path and the result will be two fuller cylinders that follow more or less the curvature of the cervical portion of the spine. Depending on your body fat percentage, you can try poking the back of your neck when you look up. It's possible to feel the hard form of the muscles under the soft skin folds. That, hopefully will give you a better understanding o what happens. But remember that in reality you'll probably see the forms of the muscles blending the folds or in some cases it will be covered by long hair. But if you understand the theory you can design accordingly. Best regards

Very good, K.O. Light That's a very well done assignment. If I have to nitpick i would say that maybe you could use the direction of the fibers as cross contours to show a little more volume. But the way you draw is working well enough. The second part shows a lot of consistency in your process. I see you constructing your figures with the bucket and the bones underneath. When you take the time to do this kind of work it will show in the future as your anatomy becomes more and more solid. A tip on the second part of the assignment: the ones that you did just in line are successful because it makes sense to define every muscle with line. As you're moving towards more painterly figures you're adding 2 degrees of difficulty (value and edge). So you need to think more about designing your value arrangement and your edges. In both of those I missed a sense of more unified value structure and the edges are too hard (specially the second, which makes the figure looks tense). So whenever you're observing the anatomy, try thinking which muscles are tense and which ones are relaxing. Pay attention to the several degrees of softness an edge can have. And remember the hierarchy of forms when you're shading. Primary forms first then secondary, tertiary... In this case The primary form is the cylinder of the torso, then you have the the secondary forms of the muscles and finally you'll have striations. So arrange your values accordingly. Best regards and keep drawing

Nice!

Hi @K.O. Light, really well done studies! I've nothing to critique! About your question: By "anatomical position" do you mean the 3D model? The 3D model has confused me too; especially the merging happening with the highest digits. When I look through Elliot Goldfingers anatomy book, the serratus fans out more evenly, with the digits pointing to different parts along the medial ridge and they don't merge like that at the top. If I take a guess, I think Goldfinger's diagram is more accurate. What do you think @Stan Prokopenko?