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TWe-BfcTP-IUS k l* * The finger wires are about the same length as the palm ofthe hand UNDERSTANDING HOW MUSCLES WORK BENEATH THE SKIN y(0 ^ 1 S M\í.uarv, D E L r o ib ?e cjro fc A a í» - Hücroe. T h e m ost p rom in en t o f these ten don s is th e large rope-like cord that exten ds b e lo w th e k n eecap to th e fo rw ard and the smaller bones around the kneecap, hips and ankles exemplify this.įlo atin g bo n e that hovers o v er th e head o f th e fem ur an d is attached to the le g b y ten don s co m in g from ab ove an d b e lo w the cap. The bones through the knee into the shln bone. but also in the bones and their connections. S-curves are found alloverthe body, and the legs are no exception Here, the S-curve is found not only In large muscle rhythms. Human anatomy T h e k neecap itse lf is a sm a ll free. as well as keeping the legs relating to each other dynamically and proportionately. This abstraction helps to strengthen the relationship between the limbs. the shape - that both legs create together. I like to start the gesture ofthe pose by finding the big shapes - or, in this case. The trapeziusįINDING THE BIG RELATIONAL SHAPES IN POSES WHERE THE FIGURE ISNT STANDING For compressed or seated poses. The ramp varies in height depending uponathletic build. taking up about half the space of the top plane of the torso. From threequarter view to profile, the trapezius muscle is a ramp.
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along the clavicles and across the stemal notch. which goes from the acromium processes at the shoulders to above the seventh cervical vertebrae. The visible pçrfion orr either side of the neck creates %coathanger-l!fce rhythm. THE COATHANGER METHOD i is $ back ?the shoulders and baçkTof the neck. Learn practical drawing skills and technicjues from professional artistsīecom e a part o f th e side p lanes o f theįigure.
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How to draw and connect the simple shapes that make up the human body Master the proportions, poses, bones and muscles of animais