Hi @Romain Decotte, really nice studies! If you feel ready, continue to the next lesson :) - I think you might be making the scapulas too small in all of these (except the top middle one maybe). Getting them right will be easier once you have the shoulder muscles to relate to. The teres major will help you find the bottom of the scapula. For now you can consider standard proportions; the scapula is one cranial unit; the same height as the sternum (almost half the ribcage). Human Proportions – Cranial Units Human Proportions – Cranial Units - In the top middle one, the blade of the left scapula (our right) seems to be the wrong shape . I think you might have given it the shape of a right scapula. The medial edge should be vertical, the lateral edge is the one that is oblique and has a bump near the bottom. - In the top left one, the construction of the spine of scapula looks a little off. Study how it relates to the blade to help you connect the blade and the acromion with confidence. During a critique in November I came up with a mass conception of the scapula that I'm really happy with. It might help you draw the scapulas even in tricky angles. Hope this helps :) Keep up the good work!

Hi @William Starkoff , yes they are TOUGH! I struggled too with this assignment. I'll try to elobarate on the topic. Hopefully it can be of some help : X-RAY VISION I think Marshall Vandruff was the first one I heard using the term X-ray vision in drawing, meaning that an artist can see what's not visible on the surface. How does it work? I've been thinking some, and I believe what happens is this: - The artist learns to draw something, a bone for example, from imagination. He knows what it looks like from any angle. - When the artist analyzes the anatomy of a figure, he can't see the bone. - But then he thinks: what would this bone look like from this angle? - His brain compares his mental image to what he's seeing, suggesting where the bone might be The artist has "X-ray vision" by imagining what might be there, based on aquired knowledge. So a good starting point for getting the shoulder girdle right is to get to know the 3D model of the shoulder girdle and ribcage so well that you can draw it from your imagination. When drawing from a front view photo, you refer to your imagination to find the placement of the hidden scapula. For me it has also helped to use touch, to find hidden anatomy. Looking at a front view photo reference I would imagine touching the persons back, feeling were the scapula is. We've spent a life time in our bodies and it's fascinating how well we know and feel it. I could also imagine touching what's in my drawing to feel if anything seems off Imagining striking the pose yourself, trying the feel where you scapulas would have been, could also help. The figure you're drawing will have them in a similar spot. I hope this was helpful :)

I think is good, just I seem some minor adjustments like the structure of the rib cage and the consistency on the perspective, otherwise is good.