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Joseph Sheppard - Anatomy: A Complete Guide for Artists

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Joseph Sheppard Anatomy: A Complete Guide for Artists
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    Anatomy: A Complete Guide for Artists
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Anatomy: A Complete Guide for Artists: summary, description and annotation

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In this superb guidebook, a skilled practitioner of figure drawing demonstrates how to achieve mastery of anatomy through careful, knowledgeable articulation of the muscles and bones lying beneath the skin. Joseph Sheppards concise instructions have been carefully integrated with over 250 halftone illustrations and over 180 line drawings to lead artists one step at a time through the techniques required in rendering human anatomy convincingly.
The opening chapter of the book presents the special techniques involved in mastering human proportion.The chapters that follow each deal with a separate part of the body: the arm, hand, leg, foot, torso, head, and neck (with special coverage of facial features and expressions) and the complete figure.
Each of these chapters follows a basic format that combines drawings of the featured body portion from many different angles, coverage of the specific bones and muscles involved, a table of muscle origins and insertions, and coverage of surface anatomy and depictions of the body part in a variety of positions.
Joseph Sheppard taught drawing, anatomy, and painting for many years at the Maryland Institute of Art. He is the author of several books of art instruction, and the recipient of a number of distinguished prizes and awards for his sculptures and other works of art, many of which are in the collections of art museums across America.

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Table of Contents - photo 1
Table of Contents

1 PROPORTION Proportion varies as much as people do However the classical - photo 2
1 PROPORTION Proportion varies as much as people do However the classical - photo 3
1 PROPORTION Proportion varies as much as people do However the classical - photo 4
1. PROPORTION

Proportion varies as much as people do. However, the classical figure, Greek and Renaissance, was an eight-heads-length figure, the head being used as the unit of measure. Mannerist artists created an elongated figure, using nine, ten, or more head lengths. In nature, the average figure height is between seven and eight heads.

The eight-heads-length figure seems by far the best; it gives dignity to the figure and also seems to be the most convenient.

Landmarks

Certain bones project on the surface of the body, becoming important landmarks for the artist. These bones are always next to the skin. On a thin person they protrude and on a heavy person they show as dimples.

Key

  • A. Sternal notch
  • B. End of clavicle and scapula
  • C. Bottom end of sternum
  • D. Inside of elbow (humerus)
  • E. Ridge of pelvis
  • F. Pubis bone
  • G. Thumb side of wrist (radius)
  • H. Little finger side of wrist (ulna)
  • I. Inside of upper part of knee (femur)
  • J. Inside of lower part of knee (tibia)
  • K. Kneecap (patella)
  • L. Head of fibula
  • M. Outside of ankle (fibula)
  • N. Inside of ankle (tibia)
  • O. Shinbone (tibia)
  • P. Nipples
  • Q. Navel
  • R. Hipbone (femur)
  • S. Seventh cervical vertebra
  • T. Bottom of scapula
  • U. Dimples caused by end of iliac spine
  • V. Back of elbow (ulna head)
  • W. Head of radius
Front view male figure eight heads high Front view female figure - photo 5

Front view, male figure, eight heads high.

Front view female figure eight heads high For key to figures see page 12 - photo 6

Front view, female figure, eight heads high.

For key to figures see page 12.

Proportions at various ages - photo 7
Proportions at various ages Convenient measurements - photo 8
Proportions at various ages Convenient measurements - photo 9

Proportions at various ages.

Convenient measurements 2 THE ARM - photo 10

Convenient measurements.

2 THE ARM SCHEMATIC DRAWINGS Front View of Arm Palm Out Supination - photo 11
2 THE ARM SCHEMATIC DRAWINGS Front View of Arm Palm Out Supination - photo 12
2. THE ARM
SCHEMATIC DRAWINGS
Front View of Arm, Palm Out (Supination)
The shoulder socket is made up of two bones the clavicle collarbone in front - photo 13

The shoulder socket is made up of two bones: the clavicle (collarbone) in front and the scapula (shoulder bone) in back. The upper arm has one bone: the humerus. Half its dual head is shaped like a rectangle and half like a ball, fitting into the shoulder socket. At the elbow, the humerus is divided into three equal sections: the first section is shaped like a ball; the second section is shaped like a spool and forms an angle downward toward the torso; the third section protrudes and can be seen and felt on the inside of the elbow. The forearm has two bones: the radius and the ulna. The radius is on the outside of the elbow and on the thumb side of the wrist. It is smaller at the elbow and larger at the wrist. The head of the radius is round and flat and rotates on the small ball of the humerus. The head of the ulna rises up behind the humerus and rides on the spool of the humerus.

There is a slight drop or stepdown where the clavicle meets the scapula The - photo 14

There is a slight drop, or stepdown, where the clavicle meets the scapula. The muscle that attaches from the scapula to the inside of the humerus is called the coracobrachialis. It raises the arm. The small muscle attached to the inside of the humerus at the elbow is a pronator and turns the radius so that the palm of the hand faces in. The other three muscles are flexors of the wrist and fingers.

The muscle attached to the lower front of the humerus and the ulna is called - photo 15

The muscle attached to the lower front of the humerus and the ulna is called the brachialis. It flexes the forearm. The long supinator attaches to the outside of the humerus and along the edge of the radius near the thumb. It pulls the radius to the supinated position (palm out). The long supinator and the pronator of the radius turn the forearm in opposite directions (see next drawing).

The largest muscle on the front of the arm is the biceps It has two heads that - photo 16

The largest muscle on the front of the arm is the biceps. It has two heads that attach to the scapula. At its base, the biceps also splits in two. The primary function of the biceps is to flex the forearm. It also helps rotate the radius outward.

Attached to the external third of the clavicle and to the scapula is the - photo 17

Attached to the external third of the clavicle and to the scapula is the deltoid. It overlaps the biceps and coracobrachialis and inserts into the outside of the humerus. The deltoid elevates the arm and helps draw it forward and backward.

Back View of the Arm, Palm Out (Supination)
The ball of the humerus fits into the shoulder socket of the scapula Note that - photo 18

The ball of the humerus fits into the shoulder socket of the scapula. Note that the angle of the forearm away from torso is in a supinated position. This angle is caused by the angle of the spool on the end of the humerus (see detail at right). The hook of the ulna fits up into the back of the humerus. Note the angle at wrist.

On the back of the scapula are two overlapping muscles that attach to the head - photo 19
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