anatomy Course Notes

Scott Eaton’s

Artistic Anatomy for Digital Artists

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© 2010 Scott Eaton, Eaton, www.scott-eat www.scott-eaton.com on.com

Table of Contents Introduction Lecture 1: Proportion and Skeleton Mass Conception Skeleton Bony Landmarks

Lecture 2: the Torso Forms Important Landmarks Examples Examples Practical Exercises

Lecture 3: Arms Important Landmarks Forms Examples Practical Exercise

Lecture 4: Legs Forms Examples Practical Exercise Practical Exercise

Lecture 5: Hands and Feet Hands Examples Feet Examples

Lecture 6: Head and Neck Forms Examples

Lecture 7: Gender, Weight and Age

Gender Weight Weight Age

Appendix A Ecorché

Appendix B

Learning Resources

© 2010 Scott Eaton, Eaton, www.scott-eato www.scott-eaton.com n.com

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© 2010 Scott Eaton, www.scott-eaton.com

Introduction Why study artistic anatomy? In the digital arts, specically character design, there is no subject that is more relevant. In act, the necessity or anatomical knowledge in character design is ar beyond that o the traditional arts. Te digital artist must not only know human anatomy to model the gure, but he must also have a thorough understanding o the how the joints articulate and how the body deorms. Sadly, there are ew opportunities or students and proessionals in the digital arts to receive structured training in traditional artistic anatomy. Tis course is designed to bring the anatomy lessons rom the traditional academies to the proessional digital artist. Over seven lectures, the course provides an intensive introduction to artistic anatomy and a method or continuing study beyond the classroom. Te course notes ollow the lecture order and cover the body starting rom the torso and moving toward the extremities. Te notes or each lecture begin with plates covering the musculature. Te plates are ollowed by a description o the bony landmarks and major surace orms o the region. Te notes continue with lecture images that illustrate the area being investigated. Space is let beside each image to annotate and take notes during lecture. Finally, each lecture closes with a practical exercise designed to help the artist apply the anatomical principles being investigated. “Hundreds o people talk or one who can think, but thousands think or one who can see.” – John Ruskin

Ecorche drawing over digital sculpture. Scott Eaton, 2005


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Lecture 1: Proportion and Skeleton “Every part o the whole must be proportionate to the whole... I will be well pleased i you avoid monstrous things, like long legs with short torsos, and narrow chests with long arms. “ -Leonardo Da Vinci “Te pose, proportion and construction o the gure should receive our rst attention, and placed to a hair’s breadth… beore the parts themselves are analysed” -John Vanderpoel Proper proportion is the starting point or building any well constructed gure. When constructing a realistic human gure proportions are even more important. You can produce a gure with ne musculature but without accurate proportions it will appear grossly incorrect, even to the casual viewer. o simpliy the assessment o proportion when constructing a gure reerence systems are helpul. For centuries artists have recorded their own concept o proportion, usually reecting the tastes o the time. One o the most accurate and detailed o these canons is that o Dr. Paul Richer. Orignally published in his book Anatomie Artistique, it has become a standard reerence or artist.

Plates by [Richer1890] Te ollowing plates show Richer’s canon o proportions or the human gure. Te canon is based on the 7 1/2 head gure. In addition to dividing the gure vertically into head lengths, the plates present inormation showing the useul distances between bony landmarks and also body parts o equal length. It is helpul or the artist to internalise these proportions.


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Plates by [Richer1890] © 2010 Scott Eaton, www.scott-eaton.com

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Plates by [Richer1890]


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Tis plate by Andrew Loomis presents alternatives to the standard 7 1/2 head gure described by Richer. Troughout history artist have varied the overall proportion o their gures to make them more or less heroic. For example, certain o Michaelangelo’s gures are known the be 10 to 11 heads tall.

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Mass Conception Te task o constructing a human gure rom scratch is a daunting one. Te sheer amount o detail in the gure make it dicult to know where to being when building the gure. o make the task more approachable the arrangement o orms can be simplied into major shapes and planes. A collection o simple shapes is much easier to visualize and model than the complex intertwining o muscles and tendons. Once the larger planes and orms are correctly placed then the process o detailing muscle, tendon and veins can begin. In addition to making the task o modeling easier, simpliying the complex shapes o the skeleton and body helps the artist to understand the construction and unction o the individual pieces. An excellent resource that breaks the gure down into comprehensible shapes is Gotted Bammes’ Die Gestalt des Menschen (Human Form). Te ollowing images are taken rom this masterwork.

Images courtesy o [Bammes1969]

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Skeleton


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Bony Landmarks

Tese plates, modied rom [Richer1890], highlight bony landmarks that lie just beneath the skin and create visibible surace orms on the body.


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Notes

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Lecture 2: the Torso


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Important Landmarks Ribcage • Pit of the neck • Epigastric depression • 7th cervicle vertebrae vertebrae

Pelvis • Anterior superior iliac spine spine • Posterior superior iliac iliac spine • Sacral triangle

Scapula • Spine of scapula scapula • Acromion process

Forms Ribcage and Pelvis • e torso is a large mass and and has a collection of powerful muscles muscles to articulate it. • To ex and rotate the ribcage with the pelvis the primary movers are: in front, the rectus abdominis, the ‘six pack’ muscle; and on the ront/sides, just above the hip bone, the external obliques, the ‘love handle’ muscles. • e back has columns of muscles running from the inside of the rear of the pelvis (in the sacral triangle), triangle), up the spine and attaching onto the vertebrae and inner border o the ribs. Tese muscles, known as spinal erectors, counteract the pulling motion o the rectus abdominis. • e spinal erectors appear as round columns of muscles when the back is arched and atten out and lie against the ribs and spine when the back is rounded.

Clavicle and Scapula • Tog ogether ether the clavicles and scapulas make a bony clamp that grabs onto the top of the ribcage on each side. • ese two bones attach together at the point of the shoulder where where the outside end of the clavicle (the thin S-shaped bone on the top-ront o the ribcage) connects by ligaments to a square protrusion that projects rom the spine o the scapula (the acromion process). • e only solid attachment of this bony group to the rest of the skeleton is at the pit of the neck, where the inner end o the clavicle attaches to and articulates with the sternum. • e scapula has no movable movable attachments to the skeleton. It oats free along the back of the ribcage, being articulated by a complex set o muscules that will be described in detail in the lecture. • But, as a preview, preview, the intimidating list of scapular muscles are the: trapezius, deltoid, teres major, major, teres minor, inraspinatus, supraspinatus, supraspinatus, rhomboids, and the serratus anterior. • Of these, the trapezius muscle muscle covers the most surface area. area. e muscle is kite shaped shaped and lies centered on the upper back at the level o the shoulders. shoulders. Below o the centreline, the muscular kite kite has a triangular tail that narrows to a point as it decends down the spine to the base o the ribcage. o the let and right o the centreline, the trapezius attaches into the upper border o the scapular spine. It then wraps around the shoulder attaching into the acromion process o the scapula and then into the outer 1/3 o the clavicle in ront.

Art Ar tic icul ula ator orss of the Uppe per r Ar Arm m • e pectorialis major muscles (‘pecs’, (‘pecs’, the chest muscles), are square-ish masses of muscle that originate from the inner 2/3 o the clavicle, the length o the t he sterum, rom the top down to the level o the t he th rib, and proceed outward, thinning to the point and inserting a third o the way down the upper arm on the outside. • e pecs, pull the arm forward and and also help to rotate it inward. inward. • e deltoid, describe in more detail in the arm lecture, sit outside the pecs and mass themselves themselves over the top of the upper arm and shoulder. shoulder. Tey help to raise the arm to the ront, side and back. • Along the back there is the latissimus dorsi (lats), a large sheetlike sheetlike muscles that covers much of the lower half of the back. It overlays the spinal erectors, but because it is so thin and sheet-like, it does not mask their orm. • e lats transition from a large at sheet into a thin strap strap of muscle as it proceed upward and and wraps around the side o the ribcage beore inserting into the upper arm, where it helps to make the rear o the armpit.

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© 2010 Scott Eaton, Eaton, www.scott-eat www.scott-eaton.com on.com

(l) plate showing the twist in the pectoralis major as it inserts into the humerus (r) plate showing the origin and insertion o the serratus anterior

Plates by [Richer1890] (l) plate showing the muscles o the scapula (trapezius and latissimus dorsi are removed) (r) plate showing the spinal erectors along with a scematic o their origin and insertions

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Examples


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Examples


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Practical Exercises

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Lecture 3: Arms


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Arms and torso showing the dierence in defnition between tension and relaxation


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Important Landmarks Elbow • Medial and Lateral Epicondyles • Olecranon

Forearm • Ulnar furrow

Wrist • Head of the Ulna • Head of the Radius

Forms Shoulder • e deltoid muscle has three heads and is the teardrop shape mass on the outside of the shoulder. • It grabs the outside of the shoulder girdle and wraps around in the front and the back, originating from the outer 1/3 o the clavicle in ront, the acromion process o the scapula on the side, and the spine o the scapula in the back. • e mass of the three heads converge to a point approximately three ngers wide half way down the humerus (bone o the upper arm). • In muscular individuals, the deltoid appears round and stout, often showing striated denition and separation o the three heads when under tension. • In slight individuals, the muscle is relatively thin and the majority of the shape of the shoulder is established by the underlying bony mass o the shoulder joint (the head o the humerus inserting into the cup ormed by the glenoid cavity o the scapula). • Again in slight individuals, the shape of the shoulder becomes two bumps when viewed from the front. Te top bump takes the shape o the shoulder joint, the lower bump is produced by the convergence o the bres o the three heads at their insertion point on the outside o the humerus.

Armpit • Underneath the arm is the armpit, a feature of considerable complexity because of the number of muscles that make up the region. • e muscles of the armpit (technically called the axilla) are: in the front, the pectoralis major of the chest; above, biceps muscle o the arm (more accurately, the coracobrachialis, a small muscle that will be explained in lecture); in the rear, the latissimus dorsi and teres major; and below the wall o the chest (showing the ‘ngers’ o the serratus anterior in lean individuals).

Upper Arm • Upper arm has two primary muscular groups: the muscles of the front which ex the arm, and the muscles o the back which extend the arm. • e muscles of the front are, of course: the biceps, the ‘hero’ muscle of the front arm; but also the coracobrachialis, which lies underneath the biceps muscle, hal way up the arm, and attaches into the armpit; on the outside, the brachialis, which appears rom the side as a thin rectangular mass which separates the biceps and the triceps. • e back of the arm is formed by the triceps muscle, which as the name suggests has three heads. • e main shape of the triceps is a horseshoe, with the middle of the horseshoe being the large common tendon which lies on the back o the arm and inserts into the elbow. Te tendon does not bulge in tension. • e rst of the triceps heads, the long head, sits on the inside of the arm and runs up to the armpit, inserting underneath the rear deltoid. • e second head lies on the outside back of the arm. e main mass is short but a long tail of muscle runs along the common tendon down to the elbow. • e third head is mostly hidden underneath the main tendon, but pokes out just above the elbow on the inside.

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Lower Arm

• Divided into exors and extensors • e extensor muscles originate from the outside point of the elbow (lateral epicondyle of the humerus) and run along the outside o the orearm down to the back o the hand • Extensors show a large amount of denition and each muscle should be learned and treated individually • Flexors originate from the inside of the elbow (medial epicondyle of the humerus) and run along the inside o the orearm transitioning rom muscle into tendon 2/3 o the way down the orearm • Flexors generally appear as a common mass and can be treated as a single mass. • Two ‘special’ forearm muscles, the brachioradialis and the extensor carpii radialis longus, create a mass that sits above the elbow on the outside and then loops around the other extensors to the ront. Tese two muscles are oten sculpted as a common mass except in extreme tension when they will show individual denition.

Change in the length o the biceps during pronation (palm down) versus supination (palm up).


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Plates by [Richer1890] Plates showing the layering o the biceps on top o the bachialis (above) and the orientation o the three heads o the triceps (below)

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Examples

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Practical Exercise


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Lecture 4: Legs


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Forms Pelvic Muscles • Because the legs have to support the mass of the entire upper body, they require a powerful set of muscles to attach them to the pelvis. • e muscles that attach the legs to the hips are the gluteal muscles of the butt. ey are divided into two the gluteus maximus and the gluteus medius. • e gluteus maximus attaches into the sacral triangle in back and wraps around to the side of the leg attaching approximately 1/3 o the distance down rom the hip to the knee. Tis muscle, along with at along the lower border, orms the mass o the butt as we know it. • Above the gluteus maximus attaching into the crest of the hip is the gluteus medius. • Used to pull the leg out to the side (abduct), this muscle creates a large bulge above the greater trochanter (bony projection o the emur), which appears as a a bump at the bottom o the depression ormed by the gluteus medius above, and the gluteus maximus behind. • In front of the gluteus medius is another muscle that helps to raise the leg to the front and side, it is called the tensor acia lata. • e tensor facia lata is a tear-drop shaped muscle whose top point attaches to the hip in front (anterior superior iliac spine) and the mass sits down the side o the leg just in ront o the greater trochanter. • e lower edge of the tensor facia latae lies about at the same level as the bottom of the gluteus maximus.

Quadriceps • As the name suggests, there are four head to the quadriceps muscle. But, like the triceps, one of the heads is mostly hidden underneath the others. Eectively this leaves three ‘quad’ muscles: on the inside the vastus medialis; in ront, the rectus emoris; and on the outside, the vastus lateralis. • ese three muscles approach the knee from three dierent angles before inserting into one common tendon that passes over the knee cap and into the lower leg (tibia) just above the kneeling point. • e vastus medialis starts halfway up the thigh and is a tear-drop shaped muscles that thickens as it decends beore attaching into the common tendon at the level o the knee cap. • e rectus femoris is muscle shaped like an elongated triangle which stretches from a point just below the hip to its insertion into the common tendon at a point nearly level with the midpoint o the vastus medialis. • e vastus lateralis lies on the side of the leg and is squashed under a thickened tendinous band called the iliotibial tract. Te majority o the muscle shows in ront o this tendinous band and a small portion squishes out behind the band towards the rear o the leg.

Hamstrings • e hamstrings muscles form the mass of the back of the legs. ey ex the knee and also help to keep the pelvis upright. • is mass is separated into two sides, on the outside the biceps femoris which attaches to the lower leg via a tendonous insertion onto the head o the bula. On the inside o the leg, there is a separate pair o exor muscles that insert low down on the inside o the knee. • In practice the muscles of the hamstrings merge and create an elongated oval mass moving diagonally down the back o the upper leg rom inside to outside. Tis nonuniorm mass is created by the variation in the length o the muscles and tendons o the hamstring muscles.

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Inner Leg • A number of muscles occupy the space on the inside of the leg between the quadriceps in front and the hamstring in the back. Tese are the adductor muscles o the thigh. • ey rarely show individual denition, but instead create a single ovoid mass that attaches into the lower inside o the pelvis and descend to the inside o the knee. • e tendons of the adductors contribute to the eshy bulge on the lower inside of the knee.

Lower Leg • Lower leg is separated into exors and extensors much like the forearm. • On the front of the leg are the muscles that raise the foot (dorsiex) and extend the toes. ey create a mass on the outer ront o the tibia, just outside the bony ridge o the shin. • On the back of the legs are the larger ‘calf’ muscles that are responsible for extending the foot (plantar exion). Tese muscles are large relative to the muscle on the ront and account or the bulk o the lower leg. • e two primary muscles in the back of the lower leg are the gastrocnemius and the soleus. ey both attach into the Achilles tendon which inserts into a point on the back o the heel. • e gastrocnemius is composed of two elongated tear-shaped masses which originate as two muscular columns above the knee joint wedging between the lower end o the inner and outer masses o the hamstrings. • Halfway down the lower leg, the gastrocnemius bulges and then inserts into a wide at tendinious sheet, which slowly tapers to become the Achilles tendon. O the two bulging heads o gastrocnemius, the inner head is lower than the outer. • e soleus muscles lies underneath the gastrocnemius and shows on both sides of the lower leg. It inserts along the edges o tendinous sheet described above and descends lower than the gastrocnemius, nishing about 2/3 o the way down the lower leg. On the inside it occupies the middle third o the lower leg, on the outside it appears longer but thinner occupying the top 2/3 o the outer part o the lower leg. • Other smaller muscles exist on the inside and outside of the lower leg that don’t greatly inuence surface orm but do send a signicant number o visible tendons to the oot.

simplication o the knee by [Bammes1969]


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Examples

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Practical Exercise


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Practical Exercise

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Notes

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Lecture 5: Hands and Feet Hands Bony landmarks • Carpals: o Pisiorm (below the pinky nger) o rapezium (below the thumb) • Head of the Ulna • Head of the Radius • Fingers and knucles

Construction

construction o the hand [Loomis1944]

• Dividing the length of the hand from the end of the radius to the tip of the middle nger give the location or the base o the middle nger. • e index and ring nger extend to the base of the nail of the middle nger. • Tip of the pinky nger lies at the level of the knuckle of the fourth nger. • e knuckles (end of metacarpals) for a crescent shaped arc. • Beyond the metacarpal joint each nger segement (phalanx) is 2/3 the length of the preceding one. • Nails are just under half the total length of the last phalanx. • e palm passes over the metacarpal knuckles of the ngers, and, with the webbing between ngers, extends nearly ½ way up the rst phalanx. • Flexion folds on the palmar side of the ngers are evenly spaced and thus do not reect the actual proportions o the phalanges (2/3 proportions). • Origin of the metacarpal of the thumb sits on a plane lower than the metacarpal of the ngers. • Second knuckle of the thumb lies at the level of the rst knuckle of the index nger.

Forms • Metacarpals of the hand create an arch across the top of the hand. • A matching depression creates the cup of the palm. • Bordering the palm on the thumb side is the thenar eminence. is bulge results from a pair of muscles that insert just above the rst joint o the thumb and originate at the base o the palm. Tis pair o muscles creates a single unied mass that occupies proportionately the lower 1/3 o the palm. • On the outside is the hypothenar eminence created by a similar pair of muscles that attach into the pinkly nger just above the rst knuckle. Te mass extends down the palm in an elongated wedge where it attaches into the base o the palm. • Viewing the hand from the top, there is another signicant muscle that lies between the thumb and the rst nger. It is called the rst dorsal interosseus and it originates in the V-shape between the metacarpal bones o the thumb and index nger, and inserts just above the knuckle o the index nger. Tis is the muscle responsible or the egg-shaped bulge on the top o the hand when the thumb is pressed against the rst nger.

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Examples


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Feet • e foot owes its load bearing capacity to its mechanical arch that distributes the weight across the padded surace o the sole o the oot. • e image below presents a simplied approach to constructing the oot and is a good starting point or understanding the larger masses and planes o this oten neglected body part. • e bony structure (tarsals and metatarsals) is responsible for the majority o the surace orm o the oot as there is little at or muscle that is subcutaneous on the top o the oot. • Most obvious bony landmarks of the foot are the inner and outer ankle bones (medial and lateral malleoulus). Notably, the inner bone sits at a level higher than the outer bone - a helpul pneumonic: High Inside (HI), Low Outside (LO). Together these two bones make a clamp that locks onto the high tarsal o the oot (the talus), and creates the joint o extension or the ankle. • e exion, extension, and rotation of the ankle is driven by the pull of tendons decending from the muscles o the lower leg and attaching onto the bony structure o the oot. Tese tendons produce signicant surace orm when the oot is under tension in any direction. Te pattern and ow o the tendons and their insertions should be studied to accurately model and articulate the oot. • In addition to the tendons decending from the lower leg, there are muscles that reside on the foot to assist in moving the toes. Most noticable is the short extensor muscle o the toes (extensor digitorum brevis) which creates a small oval protrusion in ront o the lateral malleolus o the ankle. • Additionally there are two abductor muscles, one on the inside and one on the outside of the foot, which attach onto the big and little toe respectively. Tey create small, elongated, muscular bumps along the length o the oot. Teir orm is subtle but adds realism o a oot model.

simplication o the planes o the orm o the oot by [Bammes1969]

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Examples


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Lecture 6: Head and Neck

Etchings by Bernhard Siegried Albinus

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Forms Forms of the Head • Successful construction of a head relies on a solid understanding of the skull underneath. e bony sections of the ace must be modelled with a quality that distinguishes them rom the eshy sections. • Spend time understanding the forms of the skull and how they translate to surface form in the live model. • e bony shape of the orbital socket should be considered before constructing the eye that it contains. Let the bony landmarks guide the placement o the sot orms and muscles. • e widest point of the face generally corresponds to the zygomatic arch, the cheekbone, that runs from underneath the orbital socket and wraps around to the ear like a pair o sunglasses. • Flowing o the side of the nose diagonally downward is the infraorbital triangle. is is a critical eshy feature and one that shows much variation between individuals. Te ‘triangle’ is bordered above by the inraorbital urrow, the line that runs diagonally downward rom the inner border o the eye, and below by the nasolabial urrow, the old that separates the cheek area rom the mouth area. • Pay attention to the corner of the mouth where there is a slight ovoid swelling called the ‘node’. is is the point o attachment or a number o acial muscles that help pull the corner o the mouth and shows varying degrees o prominence between individuals. • Understanding the attachments of the muscles of the face and their direction of pull is crucial to modelling acial expressions. • e face is dicult to model well. ere are a number of large and small planes that need to be properly proportioned and correctly placed. Within these planes, the eatures themselves need to be constructed accurately.

Forms of the Neck • e neck is a column of muscle, bone, fat and cartilage. It projects rom the top o the rst rib, and like the rib, is lower in the ront and lits diagonally towards the rear where it is marked by the prominence o the 7th cervical vertebra. • In prole, the front of the neck rise from the depression between the heads o the clavicles and projects orward as it rises. In men, it encounters the bump o the Adam’s apple midway to the jaw. • Near the top of the neck in front, the direction o the prole changes and it starts to project towards the chin. Te change in direction is marked by the hyoid bone, a U shaped bone whose contour reects the overall shape o the ront o the neck. Simplication o the planes o the ace by Loomis • Wrapping around the side of the neck is the sternocleidomastoid muscle. e structure and function of this muscle should be studied careully as it is responsible or the majority o surace orm in the neck when the head is exed or turned to the side. Most notably it attaches in two places on the body, the rst head attaches in the pit o the neck and the second along a small section o the inner border o the clavicle. • Around the back of the neck, the trapezius muscle narrows from its wide expanse at the shoulder and tapers up to a nal attachment into the back o the skull. • Other smaller neck muscles inuence surface form when the head is tensed in certain directions, but these orms should only be explored once the major orms described above are understood.


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Examples

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Lecture 7: Gender, Weight and Age Gender • Variations in gender are a result of variation in skeletal proportions, areas o at accumulation, and muscular development. • Structurally, females have wider, lower hips that are more open in ront to accommodate pregnancy. Te pelvis also has a greater orward tilt. • e lateral projection of the greater trochanters rom the emale pelvis establishes the widest point on the emale torso, alling nearly in line with the width o the shoulders. • To accommodate this wider pelvis, the ulna in the emale orearm has a 10-20 degree deviation rom vertical. • e rib cage in females is proportionately smaller when compared to the pelvis. • e arch between ribs in females is narrower, generally around 60 degrees, versus 90 degrees in males. • Females tend to carry more fat and less muscle on their bodies giving an overall sotening o orms. Te diagram by Eliot Golnger on page 52 shows the diference in at distribution between men and women.

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Weight

Image courtesy o [Goldnger1991] • An increase in fat results in an overall softening of forms, but fat accumulates more readily in certain areas (see above). • In the obese, the extreme accumulation of fat give a pneumatic eect to the appearance of the body. • When modelling fat people, care should be taken to layer the bodily mass over a skeleton of regular proportions, because it is only the eshy proportions that increase in size, not the underlying structure. • Despite a large accumulation of fat, wrists, ankles, hands and feet retain, more or less, their original shape and proportions.

• Fat accumulation in the ace primarily afects the areas o the lower ace. Te bony prominences o the cheek bones, nose and rontal bone are not appreciably afected. • Despite sizable at deposits, the jaw always retains a noticable crease underneath the ront o the chin.

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Age • Age has an overall slackening eect on the body, aecting skin, muscle and fat. • e skin loses its resilience and begins to form bags and folds, showing the eects of years of ghting against gravity. • In addition to an overall sagging, the skin is inscribed with a network of wrinkles and furrows that run perpendicular to the line o pull o the muscle that moves the skin in that area. For example, the wrinkles o cheek are the result o years o the zygomatic major (the smile muscle) pulling the cheek into compression. • With age, the muscles atrophy and the body begins to show more of the bony structure underneath. Te general weakening o the muscles causes a gradual bowing in posture. In the extreme it gives the elderly a hunched-over appearance. • In the face, loss of teeth makes the lips retract into the mouth, making the nose and the chin appear to project urther rom the ace. • e image below, by Stephen Peck, illustrates the common aects of aging on t he human face.

Image courtesy o [Peck1951]


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Appendix A Ecorché

Écorché: French for “ayed” or “without skin”. e word is commonly used to describe the artistic practice o drawing or sculpting a gure without skin to show the interplay o muscles over the skeletal orms underneath. Te practice dates back to the 1500s when western artists began showing an interest in the realistic representation o the human gure. Écorché drawings are one o the best ways to study the origins, insertions, and surace orms o the muscle groups. o begin, choose a photo, sculpture, drawing, or painting that shows good surace anatomy. Ten using a thin overlay o tracing paper, start by locating the bony landmarks on the gure. From there workout the ow o muscles rom points o origin to points o insertion. Accuracy is important and a good anatomical reerence should be used to clariy any orms that are not understood. Continue until the gure is nished. For a nice efect, composite the ecorche drawing over the original image in your avorite 2D program.

Male Nude by Pierre-Paul Prud’hon (image courtesy of Art Renewal Center). Écorché by Scott Eaton

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Male Nude known as Patroclus, by Jacques-Louis David. Image is courtesy of the Art Renewal Center. Écorché by Scott Eaton


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Appendix B Learning Resources Anatomie Artistique Dr. Paul Richer, 1890

Artistic Anatomy

english edition, translated by Beverly Hale Watson Guptill, 1971 • Authoritative reerence in the eld • Dicult text, but worth the efort • Clear, accurate plates

Atlas of Human Antomy for the Artist by Stephen Rogers Peck Oxford University Press, 1912 • Classic, must have reference • Many small illustrations explain dicult concepts • Lucid text

Die Gestalt des Menschen by Gottried Bammes, VEB Verlag der Kunst, 1969

• Constructionist approach to the skeleton and gure • Excellent simplication of forms • Highly recommended even if you don’t read German

Human Anatomy for Artists by Eliot Goldnger Oxford University Press, 1991

• Contempory • Exhaustive coverage of musculature • A must have reference

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anatomy Course Notes

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