THE ARTIST'S GUIDE TO HUMAN ANATOMY Gottfried Bammes
The Artist's Guide to HUMAN ANATOMY Gottfried Bammes Dover Publications,Inc. Mineola,New York
019biuD21211A9 YMOTAMA MAMUH 29mm68 b9itoD dition copyrightbyrrOt All rights reserved Bibliographical Note s Oxford.E gland,in 1994 99 Library of Congress Cataloging-in-Publication Data chptatomeghac:TanodioaBok.19 7 2004052764
List of contents Introduction/7 2Siesfndnd Studics ofocmoedmovemes/3 Studies of the skull and head3 Studies of,function nd plastic behavior of the leg/44 /theil5gtnucioainaioandamoremem 6.Studies of thec Stdies of the whole fre/107 List of cone
Introduction anatomy can be an invaluable tool for the artist.The drawings were producedovera period of four semesters of ethre hour lessons.The standard achieved after one year of study was tested by three-partmasting four hour For the tests at the end of the second semester (first year), studentswere ime with a hiso or of the at the of the ond vear)followed the same etended to the whole figure-with a special bias (see fig 162)relevant to the student's area of study.This book also o contains examples of work produ .do thedrawings reproduced in this book demonstrate? When taced with a nude model,beginners as well as feeling embarrassed-are usually confuse poptheobcgnTm in which the art relate to the whole (11).The formso the human body have varying characteristics and interactions eignt are discovered,to and th of forms not only in studies of proportion-and the connections that exist within it Anatomy for artists aims to highlight what unites rather than ent ct at leamned when studying proportion can easily be extended and aquestion must al ell.The and its release.This book provides introductory examples and methods of procedure that are practicable even for beginners. Introduction 7
Of course these first life drawings and what they can achieve in nature.The spirit behind the concept of something constructed also favors this approach (figs 182-184,78) 10w So,once more,effort is neede teaitstobefrceoftoal parts able to ation withou students to convey form and function as they interact If for the presence they have to be such masters of example,you want to understand the essence of what happens their raft that they can draw the figure in its natural,human to the Only once ).pelvis oel-the hand ever 5860),rib cage and the mechanics of the spinal column.The experienced and elaborated. behavior of the soft,fleshy forms can then be inferred.Thus,we The capacity for personal and subjective interpretation can if we want more than a ms of the hum rk must he ut greater emphasis on the musculature(figs,86,102-109). hem of course no amount of teaching can succeed in of course,once individual parts of the body are known to the transforming the'mortal coilinto a work of art.Everyone mus ent nea ave to to the cross-over point of dra mystery asart all of parts of the body or the body as a whole must first be supported by the ability todraw the constructional Isee drawing human forms primarily as an organizational task. forms.They are a distillation ofform,conveying information regarding what is or is not po blein functional and plastic vividness from our wo of the eatingorder g If you consider depicting forms of the body to be a kind of Seeing with understanding and drawing with understanding structural drawing.then it is even more important to have an may at present be regarded with suspicion as having a science architectural und based,therefore indiscreet. the body.The vei ctural interplay b forms that provide stability and the changeable,pendulous forms of the soft parts of the body This applies not only tothe oust evoke in th it the the same time it must be possible to see through these so that each individual item is assigned to its proper place exercise but there are other n spects and purposes In architectonic form-which Adolf which owy muscu ved in this way has promoted an illustrative outer appearance of form,not essential form.Perceiving may be seen as a special way of understanding nature,as a statement about 8 Introducton
are joined,a simple proportioned figure consisting of 1. forms emerges.Ths simple guide to not a rigid dogma,and can be applied toevery model of the ips,the the shane of the head.etc Studies of proportion Simple forms are easy to remember and eve-catching e The fact that simple forms are easy to visualize helns you to understand functional processes (figs.1822).Only once they have been understood will you be able to convey the esthetic canon.Instead we usea method that starts with the oftheforms of fleshy parts of the body individual proporions of each model.The tota learly and convincingly,eg.compression an etching Afer drawing up the geomerized proportioned figure,w urther stages are necessa ydrawing foot to thecrown of the head,draw the middle axis of the body ent the basis for the formal structure of each ihe body and for understandingand engths measured from the model that are ali functional processes (figs 17-24). s bod of the Filling incharacteristic subsidiary forms(e.g.breasts,layerso fat on the hips,flanks and knees,figs 3,5)on the outline the lower part. igure After the first basic proporioning,other reference points in 9 reating inde f.h are invesaie Only now is it oriate to undertake three-dimensional edge of the kneecap (coincidingwith the)is in the studesof the bodynboth frontand backvs(68) bottom quarter,which means that the length of the upper leg is Study the spatial gradations and draw in the forms of the of leg plus the foot.Height body nearest to the observer and those around them using denseror lihter shading. mediary by producing acomposite who form between the upperandower leg and the height of the inner ankle are also noted. New problems relating to we come to e head height (H)isan the profile.As well as the procedures that have already been Once it has been established,th the covered we have to consider the rhythmic pattern of the body (g10-15): models used conformed to the canon in proportion. Measurements that are less than one head height can be oft:neck-lengthc. ⅓H,height The el as being ted bythe (so there must be no vertical stratification!) Once the heightp tions ha The buttocks.front of the thighs and the calves along with process is the dths of the the upper body form shapes that project altemately to back xes of the body.Typically the widest measurement ina female and front. mn(across the hips)doesnot exce Ha rectangle 2H wide by 8H high can be blocked inas a checkn the figure;subsequentfreer Chapter 19 Studies of proportion
Sudies ofproportion
1 GEOMETRICALLY SIMPLIFIED PROPORTIONED FIGURE This study is executed in red chalk cravon using ong unbroken lines so as not to get lost in anatomical details.The procedure for marking off height proporioningcan be peproduce he Student of stage design,first semester stronger The geometrized shapes should not be adopted by the student as schematic forms without any further thought. d organic justification.Studento Sdiesfpn
COMETEDEARANCE O WO proporion templates.Straight and rounded join up. t eived three-dimensionally in very below that level The line of the shoulder weights of shading The pronortional construction of the body is now primarily bones runs down from the tip of the than anatomical factors.Light, Sudies ofproportion