"DRAWING ocr HUMAN | SNOT HHT ny has \ GIOVANNI CIVARDIDRAWING HUMAN ANATOMY GIOVANNI CIVARDI Accurately representing the human body on paper requires some appreciation of anatomical structure and proportion, as well as close observation of the model. This exceptional manual of figure drawing provides a thorough survey of human anatomy through the artists eye, by illustrating muscles in typical movement alongside detailed anatomical diagrams that show their position in relation to the skeleton. In this way the artist can become better equipped to draw structurally correct human forms. Hundreds of superb drawings covering the face, torso, arms, legs, hands and feet in a wide range of poses are accompanied by anatomical annotation and further information on capturing movement in drawing. A short but comprehensive introduction to the general organisation of the human body explains the structural characteristics of bones and the muscular masses, and also includes some basic observations on the correct approach to anatomical drawing, An invaluable source book and teaching aid for all artists, whether professional, student or | amateur.DRAWING HUMAN ANATOMY GIOVANNI CIVARDI MISTAStudio Vista ‘An imprint of Casell & Co. Wellington House, 125 Sand London WEIR OBB Copyright © Castelo Collane Tecniche 1990 English translation copyright © Castell Co, 1995 All rights reserved. This book is protected by copyright, No part of it may be reproduced, stored in a retrieval system, or transmitted in any Tom py any meas seston, mechan phloaping reordng ‘otherwise, without written permission from the public ‘This eition fist published in Gret Britain 1995, by arcangement with Castelo Collane Tecriche via C.Ravizza 16, 20189 Milan Tealy Reprinted 1995, 1996 twice, 1997, 1988 [tice 1999 (twice), 2000, 2001, 2002 tisislypubihed in tay 1990 as ‘Conodt gna dl Figur Una noted analonaeofiguresne British Library Cataloguing in Publication Data ‘catalogue record for this book is available from the British Library ISBN 0-259-80089-7, English translation by Andale Dejey Dibwibuted in the United States by Sterling Publishing Co. Ine 387 Park Avenue South, New York, New York 10016-8810 Printed and bound in Great Britain by ‘The Bath Press, BathCONTENTS Introduction 6 Notes on the human body 7 Notes on bone structure 9 Notes on movement 11 Notes on muscle structure 12 Practical hints on life drawing 14 Head muscles 16 Neck muscles 28 Trunk muscles 32 Upper limb muscles 44 Lower limb muscles 62 Bone structure 78 Muscle structure 79 The locomotor apparatus 81 Bibliography 86INTRODUCTION ‘Anatomy is the art of dissection; of artificially separating the various parts of an organized body to discover their position, shape, structure and func. tion.’ This is one possible definition of this purely biological discipline: to investigate, in fact the living substance of the animal and vegetable king- doms, which is the oldest, most direct way to identify their structure, It is also the basic cognitive approach to the study of the human organism, par- ticularly for medical and anthropological sciences. For artistic purposes, a more practical, straightforward way to address the problem of correct depiction is through the study of descriptive and system- atic anatomy, which examines the form and structure of parts of the body and classifies them in systems relating to the motion system. This book is an introduction to the detailed study of the human body in vivo, rather than an elementary anatomy text, and it relates purely visual impressions to the ‘canons’ of proportion. The idea is not new, and there are many books on the subject. However, this isthe first time thatthe association between anatomy and life drawing has been so minutely described, Basically, artistic anatomy must be seen as a simplified tool for the inter- pretation of anatomy, and as a guide to intelligent observation, recognizing and therefore expressing (however freely) the characteristics of the human body. Without these basic studies, the student will be at a great disadvan- tage. The idea for this book (and for the other two books in the series, Drawing ‘the Female Nude and Drawing the Male Nude) came to me both from the habit ual practice of illustration and sculpture and from my collective and individ- ual teaching experience. The main requirement for those pupils most gifted in drawing was not to base their work on anatomical diagrams (correct, but stereotypes), but to look more attentively at the live model before them, A problem I frequently encountered with beginners was that of finding the right moment to introduce strictly anatomical instruction, while attaining the appropriate balance of observation, knowledge and expression, inter preting them naturally and effectively, without becoming boring and losing freshness of expression and the sheer joy of drawing, In effect, in drawing (as in any other field of knowledge) technical data have to be absorbed to become the instrument for freedom of expression. The notes on myology (that i, the study of anatomy which deals with the ‘muscular apparatus) are put beside the marginal diagrams of muscles and muscular formations and show their action and morphological importance. They are taken from the notes and graphics that I made over several years ‘while studying for primary medical examinations and while attending prac. tical demonstrations. They show the topographic situation of muscles in the skeleton and have been a great help to me in learning and remembering, and also for use in life classes. It has encouraged me to know that at times some of my own college students have been helped by my summaries, So hope that, revised and put together for use in life drawing, these notes will help the student towards the perception of reality and be a stimulus in their efforts to understand and interpret. As with a map of a city to really experience it, nothing can take the place of seeing with one’s own eyes the actuality of streets, houses, monuments and people but, side by side with doing this, having a guide can be helpful for planning the exploration and reducing chance wanderings which, although sometimes interesting, are often incomplete and inconclusive.NOTES ON THE HUMAN BODY The complex structure of the human organism is divided into several sys- tems or groups of organs related to the same function, There are the digestive, the respiratory, the cardiocirculatory, the endocrine and the nervous systems and others, each playing its own part in the functions of the human body. Familiarity with these would be helpful and is therefore recommended if one wishes to make a thorough scholarly investigation but, when applied to life drawing, the most interesting appara- tus of the human body is the system of motion (the locomotor apparatus) Here we aim to analyse the apparatus of the skeletal, the muscular and the articular systems, as applied to the functions of supporting and protecting the internal organs and of movement. Hence, the system of motion will be the only one to be discussed here. It must be remembered, however, that outer bodily forms are determined by bony and muscular conformations and behaviour (as well as by the integumental apparatus ~ important for individual morphological character. istics in vivo), and are obviously influenced by all the other systems, with extensive reciprocal connections. The human body is subdivided into various parts (called, in life drawing, masses): the head, the neck, the trunk (divided again into the thorax or chest and abdomen or belly), the limbs (divided equally and symmetrically into the upper and lower limbs). For convenience and simplification of study, each of these bodily parts has been subdivided into superficial parts, Those relating to the motion system were the first to be closely studied by the great artists of the fifteenth and sixteenth centuries, in collaboration with Tearned men of science, 0 laying the basis of modern anatomy. From the appearance of the works of Vesalio (1543) the following order of description (especially relating to the skeletal and muscular systems) is used to this day, being demonstrably the only rationally possible way (based on topographt. cal and functional criteria) to learn the relevant terminology and get a clear vision of the human body. Panesotielerrce 1 aren 2 late it) 3 medal 4 posterior 5 tte et) 6 heirTerms for body positions < \ For the description of positions of structures the body is assumed to be that of a normal adult, standing upright, with arms (upper limbs) by the side, and the palms of the hands facing forwards, with the heels together and the great toes slightly apart, This is called the ‘anatomical position’ (itis also that ‘ofa corpse lying supine on its back, on a dissecting-room table). Imagine the body in a parallelepiped. To describe the position of the six parallelograms bounding the body, we list the imaginary planes: teson anterior (or ventral, frontal, palmar) posterior (or dorsal) Tight (right side of the body) left (left side of the body) superior (or coronal, cranial, rostral) inferior (or plantar, caudal) ‘* Consider the median plane of the paralleliped. This imaginary, ver- tical, longitudinal line runs through the middle of the body from front to back (anterior-posterior), dividing it into symmetrical left and right halves: medial: nearer the median plane lateral: further from the median plane. ¢ Referring to interior organs (cavitaries), the terms used are: external (superficial) and internal (cavitary); referring to membranes: parietal and visceral ¢ In reference to the limbs the preferred terms are: proximal and distal: indicating a part of the body or an organ which is nearer to (proximal) or further from (distal) the root of the structure or the centre of the body radial (lateral, outer) and ulnar (medial, inner) in the upper limb % fibular (lateral) and tibial (medial) in the lower limb sagittal: certain front-to-back planes parallel to the median plane trans- versal: certain horizontal planes N ventral (sometimes used instead of anterior): the part towards which some limbs (forearm, finger, leg) bend dorsal: those parts opposite the ventral. x terion abdion son Terms for movement The following terms are used to describe action, which comes from articula- tion of parts of the body: IK flexion: this is the turning movement of the sagittal (front-to-back) plane towards the anterior plane ‘extension: the opposite movement, directed towards the posterior (nearer the back) plane. Referring to the limbs, therefore, flexion describes an action that moves the limb forwards and causes it to bend; extension means the movement that stretches the limb, lengthening it and bending it lara texon ten Saciyaida abduction: drawing away from the median line (sideways from the centre) adduction: drawing towards the median line (always on the frontal plane), moving the arm or leg towards the body. When describing sideways movements of the trunk, the term lateral flexion is used. rotation: the movement of a part of the body around its axis, circumlocation: a circular movement which occurs on diferent planes, generally deriving from the summation of some or all of the other ‘movements defined thus far. reumictionNOTES ON BONE STRUCTURE ‘The skeletal system is made up of hard, strong elements which support and often protect the internal organs. As passive organs of movement activated bby muscles and tendons they cause the torso and limbs to change position in relation to their surroundings. (The importance of mineral deposits should be briefly mentioned, especially their function in maintenance of the haemopoietic level, and of calcium, in relation to bone marrow.) ‘The adult male skeleton is formed of bone and cartilage (the latter limited to costal cartilage, nasal cartilage, etc). All the bony parts ofthe skeleton are, in one way or another, interrelated (with the exception of the hyoid bone) and lead more or less directly to the spinal column which is situated on the median line of the torso. This is the most important supporting structure of the body, carrying the head, forming part ofthe ribcage (on which the upper limbs converge), and distributing the weight of the torso to the lower limbs, via the pelvis, Based on these data, a schematic distinction may be made between the axial (cranium, spine and ribcage) and the appendicular skeleton (upper and lower limbs); the two sectors find their connecting structures in the shoulder Birdle and the pelvis. The basic facts relative to bone and of interest to the artist are briefly summed up as follows: External appearance Bones used as studio models have generally been soaked to remove all trace of organic matter. This gives the bone a whitish colour typical of calcification, while in life adult bones tend to be ivory and those of the aged become yellowish. (Models are often made of plastic) Number This depends on the embryological criterion of identification and classification (supernumerary, sesamoid, etc) followed by particular scholars. On average, between 203 and 206 bones are reliably identifiable, Form While presenting wide variations in appearance, bones can be grouped into two main categories: unpaired median bones, found on the plane of symmetry, and paired bones, of which there are two (left and right), symmetrically related. Within these two broad classes (taking into account, besides appearance, structural characteristics such as the relations between hard and spongy structures), three subdivisions may be made: Jong bones: an elongated central part (diaphysis) with two thicker condyles (heads, or epiphyses). Long bones are those with free extremities - humerus, ulna, radius, phalanges, femur, tibia, fibula, etc. Blood-forming marrow is contained in the cavities of the long bones. flat bones: with length and breadth greater than thickness. Flat bones are those of the cranium, the sternum, the scapula, the ribs, short bones: with length, breadth and thickness much the same. Short bones are the vertebrae, patella, the bones ofthe carpus, tarsus, ete. The by now conventional nomenclatures used in anatomical description are those derived from geometric or functional analogies imposed by ancient definitions. The terms epiphysis, apophysis, tuberosity, spine, furrows and foramen recur in reference to the peculiar morphological characteristics of rominences, depressions or cavities; for the shades of meaning between the different terms itis enough to refer to the introductory section of any good ‘treatise on anatomy. Microscopic structure Although of little practical use to art students, itis worthwhile briefly to summarize the constituent elements of bone tissue, Each bone, regardless of its shape, is made up of hard tissue consisting of cells held in a matrix of protein fibres and inorganic salts (mostly inorganic tone pact spongy tee) roxinal eps lopryss ial physPhosphate), with a central mass of spongy substance, dilating into the inter- twined trabeculae which contribute both to the bone's lightness and last. | Glide icity and to its considerable resistance to external stress. Between the abe, culae lies the bone marrow. The outer surfaces are entirely covered by a fine connective membrane (periosteum), whose function is to supply nutrients to the bone it covers, being rich in osteo-formative (osteoblast) elernents for the regeneration of bone tissue, The more minute structures (called second and T= third orders, ic. the osseous lacunae, the cireular holes of the Haversian canals, etc.) are within the specific field of histology, and are here mentioned only in passing. What should be borne in mind, however, are the changes in bone characteristics and consistency which occur between adulthood and Grice senility, ie. the process of osteoporosis, There are also considerable physio logical and morphological influences induced by habitual body positions, motor and athletic activities which, besides causing muscular changes, may hums ut stress on certain tendinous insertions. The continous process of oseeor Testoration may also be affected and the balance between destructive and regenerative processes disturbed. Following these bref technical notes, we may conclude by defining osteo!- ogy as the branch of anatomy that studies the morphological characteristics and behaviour of human bones. As stated earlier, the form of the bones is tates generally described and studied in the appearance they present after they have been soaked to remove all soft matter. There is a danger that because, in Life, bones are largely enveloped in muscles or other organs, anyone whose interest in anatomy is purely artistic may undervalue the importance of the bony structure. But knowledge of the characteristics of the principal bones and, especially, their general arrangement, is essential both to the under. standing of bodily statics and dynamics and to the ability to depict them in various poses while still convincingly retaining the natural and biologically correct character of the human body. ‘The characteristics of surfaces and of articular pairing are also important for the artist, because knowledge of them ~ derived from attentive observa, tion from life of the range of movements the various bodily parts ean per. form, and from understanding the mechanisms of the joints ~ assists in the correct placing of muscles and their tendinous insertions, thereby conferring naturalness and expressiveness to the portrayal of dynamic bodily positions, ‘To give a formative sense to anatomical study (without which it would be arid and pointless), the artist must understand its structural, ‘constructive’ significance, and be able to determine with precision the bodily position of each bone, recognizing those parts most readily visible under the skin, or easily located by palpation. cso saa shor bonis 9 CD ta tasaoe NOTES ON MOVEMENT The articulations that establish the inter-relationships of various bones are either simple contiguous connections (immobile), or ones that govern, in varying degrees, movements between the different bones (mobile and semi- mobile) Broadly speaking, the joints permit two kinds of movement: axial liding and rotating) and angular (flexion, extension, abduction, adduction, circum. location). Often the complete movement is achieved through the summa- ) tion, sometimes very complex, of different articular movements, Ss Knowledge of articular structure and dynamics (at least of the principal og ‘mechanisms) is important in the formation of an artist who draws from life. smite) As stated earlier, while the working of joints is seldom apparent externally, an understanding of the limits of their dynamic range is essential toa cohel~ sitalcaiun) ent artistic rendering of bodily movement The number of joints which together integrate the bones into a single artis structure is very large, but they can be broadly grouped into two categories, according to their functional characteristics: Symarthrosis In character, very restrictive of movement. The joining of two ? articular surfaces of contiguous bones is achieved by the interposition of 2 connective or cartilaginous tissue capable of differing degrees of deformabil- rfid ate ity which, while permitting minimal changes of position, establishes a struc. fre of continuity between the bony segments, Particular types of synar- throsis are: dentate or squamous sutures, and symphysis. Diarthrosis This is the typical mobile articulation admitting free movement y J between two or more adjacent bones. The touching surfaces are covered by cartilages and, between these, there is a very small space (joint‘cavity) con- taining synovium, a liquid that reduces friction. The osseous segments are maintained in contact by a fibrous sleeve (articular capsule), reinforced by | fibrous bands of varying size (articular ligaments). These mechanisms pre. ‘vent separation of the articular extremities and limit the maximum extent of concurs ‘moverent in the joint. (wis) The category of diarthrosis contains a classification of the various types of joint based on the morphological characteristics of the articulating bone ends, and on the extent of the movement allowed: arthrosis: this occurs in short bones in which the flat surfaces are in contact with the cartilaginous covering and retained within a sleeve inserted into the edge of the cartilage. It allows only axial movement (sliding, rotating): artic. ulation of the carpus and tarsus; condyloarthrosis: the smooth, articulating, ovoidal ends of a bone, one con- cave, the other convex (condyle). Movement is allowed on two angular planes, but not rotation; vars i) enarthrosis: a ball-and-socket joint. This type of articulation allows all angu- lar and rotating movements; their range is restricted only by the joint capsule \ and ligaments: articulation of the shoulder, hip; ginglymus: hinge joints; movement is limited to one plane; the bony art- i iculating condyles in contact have superficial cylindroids, one of which is \ Convex, the other concave. Movement may be either rotating (sideways \ ginglymus) or flexion and extension (angular ginglymus). Finally, there are the articulating groups, in which various bony heads are involved in a single action and are united by the same capsule: examples are the articulation of the elbow and of the knee. sings etn) un y — &-EES See12 9 tendon of iin vel ‘ean onsrion teson NOTES ON MUSCLE STRUCTURE a ‘The muscles relating to the locomotor or motion system belong to the cate- gory of voluntary muscles, that is, subordinate to the dominion of the will and, therefore, ofthe central nervous system. (The other group, the involun- tary muscles, consist of those mainly visceral muscles whose movements of contraction or relaxation do not depend on any voluntary action and are included in the study of the autonomous system.) Therefore, the muscles which we discuss here are the active organs of movement of the human body, subject to the will. They are inserted into the bony segments through the tendons and, when contracting (therefore, shortening), determine the displacement within the limits allowed by the relative movement. The branch of normal human anatomical study that covers the muscular apparatus and its auxiliary formation (myology) is important for the artist ‘who wants to understand and, therefore, be capable of representing exactly (even with complete freedom of expression) the human body in its infinite static and dynamic poses. The muscles form, below the teguments ~ fatty layers, skin and related structures ~ the fleshy part of the body which is directly visible to the eve. Mere superficial observation of the nude is not enough for the education of a serious artist as the interpretation of every ‘movement requires both a knowledge of the surface features and function of the affected muscular organs and the examination of their modifications and antagonistic or synergistic inter-elations. The following paragraphs give a brief summary of some of the structural characteristics of muscles, showing how they function, : Muscle structure and form The contractile part is fleshy and reddish in colour. This is very prominent ‘when in contraction, but even when the muscle is relaxed there is a pre-con- tractile state (muscle tone), which confers a certain tension to the muscle mass. The surface of the muscle bulge is smooth but, beneath the connective fascia which overlies it, is a light longitudinal muscle bundle. The micro- scopic structure of the contractile partis, in fact, composed of rough bundles of smaller muscles, which in their tum are formed by muscular cells. Moreover, the presence of other transverse striations in the filaments (made up of groups of muscle cells) brings the skeletal muscles into the category of striated muscles, being the smooth structure typical of the involuntary muscles. There are tendinous (aponeurotic) parts at each end of the bulge. The ten- dons characteristically have whitish fibrous tissue (aponeurosis). There is a gradual transition of the inner connective septa from the contractile parts in the tendinouis sheaths. Because the tendon is almost inextensible, the trac- tion exerted by the contractile muscle mass is easily transmitted to the point of insertion. Usually, the tendons are like cords but, when they come from flat muscles, they look level, even laminated (aponeurosis). Close to these principal structures are other, complementary ones: connective fascia, tendi nous sheaths, mucous bursa, The points of éntry of the muscles into the bone (by means of the tendons) are distinguishable conventionally as the point of origin (fixed point, fixed part of skeleton) and the point of insertion (moving point, more mobile part of skeleton). For the skeletal muscles this is deter- mined according to the action of the muscle but, in some cases, the points can be swapped (a few cutaneous muscles have their insertion in the deep layers of the skin), BEHEtYK'™. LThe form of muscles varies greatly in relation to their separate functions: long muscles: these are extended, cylindrical, narrowing at the ends. There are different types: biceps, triceps, quadriceps (muscles formed from differ- ent muscular bundles united in one tendon of insertion), digastric (double- bellied muscle, joined by a ribbon-like tendon). Long muscles are found mainly in the limbs. broad muiscles: these are usually flattened, sometimes covered by a white fibrous sheet of tissue, mostly located in the trunk. The points of insertion are very broad and establish aponeurosis of insertion. orbicular or sphincter muscles: these are circular in structure and not found in the skeletal muscular system. Finally it must not be forgotten that the muscular system is arranged in layers. These include a more or less superficial covering layer (superficial musculature) and beneath this other, deeper layers (deep musculature). Obviously, the relations between the two systems (superficial and deep) are extremely close and it is important in life drawing to observe the effect each has on the other Muscle action ‘The means of movement of parts of the body are linked to the mode of mechanical function relating to the levers of the limbs of the three basic types. There are various modifications because of the different muscle arrangements and relative lines of force. A single muscle or a group of mus- cles rarely carries out actions on their own; more often what takes place are complex actions and particular positions, indicated by the following terms: agonist muscles: those that are opposed in action by another muscle, given different points of origin and insertion. antagonist muscles: these partially or totally produce opposing actions (typ- ical examples are the extensor and the flexor muscles). synergistic muscles: the co-operation of two or more muscles which increas- ¢s the action of another, from the most limited to the most complicated, is called synergism. Synergism occurs frequently and requires a delicate bal- ance between antagonistic strength and opposing synergistic groups. long msc fierce caps cops gstie ona male biovermesle S a14 PRACTICAL HINTSON © - LIFE DRAWING * By ‘anatomical drawing’ I do not mean the scientific depiction of Prgans and structures but simply drawing applied to the study of human anatomy, as the body appears in vivo, with some understonde NB ofits morphology For artists, the best path to understanding is by crayring, For this reason Ihave used sketches rather than photographe to illustrate my point. The main purpose of this book is not te tech how to draw well (that comes later with practice), but to stimulate the ability to observe from life. Even presupposing a certain technical com: Betence in drawing, this must be subordinated to visual education, diligent observation and, above all, to paying heed to the ‘canons’ of Proportion, the sense of volume, the bones and muscles and the dynamics of the bodily areas we study. * T prefer to use a hard pencil, H, which makes fine lines but is difficult to erase. For the student, a soft pencil such as a 2B would produce bet. ter results and be easier to handle. I use cartridge paper (4o x 60 crn), Which allows for immediacy, simplicity and speed of execution, together with the possibilty of elaboration when required. t even per. nuts a certain degree of abstraction. Once you have learned how tovase a pencil and how to teach the eye and hand to draw, other techniques will present few obstacles, and none of them insuperable, * To make it easier to pick out details of anatomical structure I have chosen to use a male model for these illustrations. Nevertheless, it ould have been interesting to have been able to recognize and depict the same structures in men and women of different ages and bodily types. * Opportunities to practise life drawing are unlimited and not restricted to life classes: human beings are everywhere - swimming pools, gym nasiums, beaches, buses, trains ~ with opportunities to study them unawares, observing details of faces, hands, legs, with their individual variations, It all makes up the mnemonic and visual language which will later be useful for advanced studies. * Get used to drawing yourself before hiring a professional model. Note the positions that follow from the action of certain muscles, This is the only way’to catch the essence of movement and to understand the Gfeentials of expressing it through the medium of drawing, omitting the superfluous and accidental. Try it ina direct pose (by looking at Your hand, for example) or one reflected in one or more mirrors. {tis laborious, but an excellent way to learn. * Modern methods of visual research (fast photographs, television takes and slow-motion cameras, video-tecording, computer graphics and others, even more complicated) allow for a total and sceurate analysis of human and animal movement. These are specialist investi. ations but they can be useful to the artist for documenting materiaThe student must not feel restricted by exact scientific expression. A generally accepted way of study (barring, that is, movements too fast and complex to be perceived and analysed by the eye) is to observe pisietal and muscular dynamics from life. However, when drawing from photographs remember to watch for changes in perspective and volume: sometimes they are imperceptible but, in spite of the technical Perfection of the apparatus, they are always there. Lighting, too, can after the values of the uneven surface of the muscle mass. Blow up a photograph or negative, project it on toa large sheet of paper and trace the outlines of the figure; this will give an idea of what Imean, Finding a skeleton could be difficult. Anatomical material is becoming Scarce even for medical schools, but art students have a wider scope and substitutes are available everywhere. If there is no skeleton at your School or itis incomplete, it may be possible to acquire one in synthet. ic material, which is just as useful and, being articulated, can be arranged in any desired position. Or, visits to the local natural history museum can be organized. For the muscular structure and othe, details, a scientific atlas or library anatomy book can be consulted They are purposely made to meet the needs of students who have increasingly raze opportunities to study in sala anatomice. Remember, however, that the anatomical philosophy of the artist differs from that of the medical student or practitioner and should not be overwhelmed or inhibited by solely biological and anthropometric analyses. These would be counter-productive and of limited usefulness. Above all, when drawing bones, try to understand their general form and dimensions in relation to the entire skeleton, considering all its aspects, such as those parts just below the skin, close to the large artic. ulations. When drawing muscles look at the general conformation, the vol- ‘ume, in states of contraction, in the required pose. What counts for our Purposes is the exact position of the muscle mass as it appears in vivo, and how the masses are related to the bones. Always think in pictorial and sculptural forms: mass, volume, light, relations. Mentally see the body parts you are going to draw as inter-related ‘blocks’. Sometimes, drawing the whole or part figure, life size or larger, on chormous sheets of paper or cardboard, using various media (pastel, charcoal, etc.) does not encourage the observation of small details Instead, study the structural lines. See the body as a series of blocks o wedges and note their relations to each other on the three possible planes of movement, Imagine the interior structure of the body (the large bones) and observe the outside conformation (what is visible) and be alert to sensing the intermediary layers. It's always helpful to draw the figure on a small scale very simply, from the basic skeleton, Consider the proportions, the character of the Pose, where the articulations occur, the orientation of the limbs, Look at the living model, trace out the obvious anatomical sections and interpret them in your own way. 15— HEAD MUSCLES Theeadsimally compas of bony aman that canbe ive i two pas he rari val cari ors a) forma fal bones at enclose he rin, and he panes of eae (wit the mandible the ony movable one inte aa) wich ake up th facial seleton The ruscles ‘acd tote all shlton are dived into two ros: tne truss of masticaten, between he rani and randible ‘the temporal, te masseter and re bccn), ad te ruses of ail expression which inde thos ofthe mouth (gree and lessereygoratiu) eels rose and scalp The rnipal nscale locomotor apparatus ar ist blow. The abbreviations, 3 stand fr ogi, sen ion Epicranius Frortaland opt one by a tendnaus membrane (gaa capi). ea >) FRONTAL a superticialasia of te forehead i gala aponecatca 2 raises eons and sin of forehead (expressions: ative, ured, tet) (OCCIPITAL cial (superior mucha ie) i: gales apenewtca 2 taws sal sigh bacwares Procerus ‘Theexersion behind ha nse of some all muscle ies of Ine rota musa «: rootofrose skin label (aml ara bebeen tneeyenrovs) 2 ras down the media ange of tyebrow and produces transverse inles ve brigeo the nose (exression:trentring, st, aggressive) Cartilage of the Ear Inhurans, the nusls of he ear are haraly more han Carlaginaus ase banc, ding tit ls. ANTERIOR 0: glea poneurota and fscaot SUPERIOR ——_aurlatamporal muscle roots he auricle POSTERIOR tendons insertion ot stemclidomastoid muscle root at he aule sightmavenentatineauile or cerca ‘MUSOLES OF THE HEAD Frontal —__ nasa, is wyeowmcus ——— axa anoleTEMPORAL ARIAL occaF Orbicularis Oculi (Muscles of the Eyelid) ‘CORRUGATOR ~ iuscieor Corio hepa: oral pepe and arin Brew 0: ronal proces of maxis, medi palpebral Inaent FE surounds orbit cng, extends to iow closes eels, ras eyebrows towards centre (eigresson: laughing, thinking, medtating) Depressor Muscles of the Eyebrows krone (rasa part) i skin suoandng eons 1 draws ejeteows towards cate a towrwercs Depaesso Corrugator Muscles of the Eyebrows cr masa puto ron bane ir sinsurouncingeyovons 2 les fortead, ews tpaer and raises eyebons (expressions: ange, sei) Nasalis anlar proes ofthe mala (oat nine muse) i ast, wing of ose 2 pinches nosis, pals nose down, casing pckarig ol bride of ose (expression: sarow, cisqust) Nasalis (Dilator Naris) uaton NaS © avola fossa of canine rus aera edge of nos wings of nostls lian ats ross (expressions: ange sling actin, reahing gee)Quadratus Muscle of the Upper Lip ‘Three facial muscies meet atthe upper lp: ne overall action is topo uparésandsdeay, citing he rats (expressions: contempt, pty. gel. weeping) Levator Labii Superioris Alaeque Nasi «oma proces mais orb ruse i wings otro an perp Levator Labii Superioris 0° obi argn a mai ie wings of ese snd upper tp BG Zygomaticus Minor : 2ygomaibor and carne fossa |: upped ange mouth Zygomaticus Major eR 0: ayomaibore F angle ot muh 1 raises upe pend mut igh and sideways (expressions: sing, laughing) Risorius oH ©: sos muscle pases tom parc faciato the sinatanglect mau i comers of mouth pulls comers ol mavh sideways (expression: facet aug) 20Triangularis Muscle Covers te quaraus muscle a he owe lip (he orcs cris, depressor abies) strengthening its acon, om or taseot manana i: angle ol maz and lover ip 2 bends downwards angle of mouth and loner ip expressions: contempt, indignation) Levator Labii Superioris © & ©: mala (canine fossa) i upper tip and angle of mouth Mentalis ep 6 mandible (ner incisors) k sinotchin 2 pulls out overp, wines chin Orbicularis Oris we muscle ibs ofthe bueinalor (asicaton and ater muscles around {he mouth are joined one small fascia of mala an mandible, surouning the edge of mouth E shinollios 4: choses lips and pushes them | ‘outwards expressions: act ising, whisting sucking)Pf pare — Lian LY | SurekoasBuccinator €: aw (lena process), mandible angle o mouth, upper an loner ip a pulls back arte of mouth, stretching tne ciel muscle rund thecal ot mouth and compressing ips and cheek gaint ten (exressions puting ou cheeks, bowing) Canine Eminence aw carina fesa) i oxiculans os 2 its angle of mouth nd sees of ‘open (expression: gnashing teh) Incisor of the Upper Lip Incisor of the Lower Lip oe maxilla and mandible (aver fossa ofinclsars) Fr ebeuar'ois supe lds owe ip Masseter « 2yomaticarch chekaone) lr lateral fascia ofthe ramus of mandible 2 closes mouth sng lover ew against mail (resteation), pushing cut andl expressions: aggesie, ‘ewioral sion, ange) 24, ‘uanparis MUSCLE OF Lowen LPTemporal ¥. v5 we) ©: tengaral, part, sphenois (tonporaltos) coronas proces of mandible {cases mouth (astiatn), moves Jaw baclvards an sidenays Pterygoid Tse ae the ater and mada perygcids, te muscles nat come rom Be external tsi othe cana base fo the media fescl of te mene and ar tae isigaican in ternal marpoogy Thay morktegethe with ther astclry muscles to close tha mouth and move te aw Platysma © a sheathing trom ches and shoulder tomasseerand angle of mouth mandible (ower jaw, ith banches toanoleot mouth pulls own mandible and comer of out expressions: is brag, tea sin scl unde physical tain, Shows ange pai, riing skin feck)NECK MUSCLES The nek cannet the heado te tunk Tha sci te roves around ie ceva vetabae ad tes! etons othe cgestve and respiratory act, ater iving te neck roughly clinical anpeaane,sreading ut athe base int the ches Te fliowing orups can be distinguihat: the salnus ‘scl the areola muses diet ino sugranyoid and inranyoid musces bythe presence othe hyoidbone (en covers he larynx wtare he yr cailae lary visible and par ofthe wees); andar muscle (stamoceidomasoig), The musce lhe posterior goup (aperus, rhomboid, penis et) ae relate oe cosa ‘tof the unk. The etrolatral muscu seated bya membranous amin over wich he platy extends and where te supe vein fhe ecu, Scalenus Muscles These ae vied into: reir, meus, gosteioe 0: transverse roess fhe, hand Sih cervical verte it_upper bode of tiesto fren andar) litt wo is intaation, bands Cervical vrata act sceways Sternocleidomastoid Muscle SS 6: tinal bat: marubium of tram (love boréenclaviuar eat aie (opper border of stmum) [masta proces of timpoal and cecil bones 2 bands nek fomarts an sidenays, ists eas i cepa. eee counmcve — \\Ssramncie00- ASTEOD STERNAL ENDoasTac — Hyo Bone V Purswa — arvgea, \ CARTILAGE cuamcteSUPERIOR HYOIDAL MUSCLES _ DIGHSTAIC 0: adouble-tlied muscle: poser Daly, om meso process; ation, telly om mal, beind chin (eq. se stations pp. 12-13) Fr hyoid bone to wich he cole ‘balsa tse bya tencncus oop) 2 opens the meu rises hols and tongue STYLOHYOIO tempos bone (slid process) I: oid bone (ata borden) © ralseshyolabone [MYLOHYOIO 6: foxms lor of mouth and canopy of GENIOHYOID —chinat tent FE hyoid bone 2: asso of mouth 30 SPINOUS PROCESS 800 OF VERTEBRA TRANSVERSE PROCESS cravica VERTEBRAE cucua se oe INFERIOR HYOIDAL MUSCLES = Pe OMOHYOI 0: romyold bones upper ore at scapula shoulder) it old bone (lower aeal boc) ‘ninemett tren divides muscles inbetotelies 2 cra yo don ard toon ice ebpsciculaion) STERNOHYOID 0: fom posterior of stun, 2 depresses hyid 2s Adam (opens and closes its; wal oicasTac was Hyon sone = owoeyor0 S STERNOHYDID ‘THYROHYOID 0; out: tae fhe yi catace lower borer of yea bane STERNOTHYROID_ 0: manubviumof trum (p 31——— ss TRUNK MUSCLES Tre tun, wih he head ac ec, forse gest ato theuan boy ands svbivided int an upper pa (be "oa and ave section (he abdomen, a wnicn wo visceral ates coespong, separated byte caphagn. Thebory ameworkol the thorax tached oh spinal alu, nr subdivided nto ceria, esa and intr ‘erebrae, ening inh sacrum ve irs) and coeaye (tor pees). The yretral complex. consisting ofthe aicuatins and vera ligaments and relat muses, ‘scale ines, Thecenical racic cae, ight Ratan in ron i wider atthe base, aarhe abdomen itis forma by twelve pits of bs (ander associated crags), ariculting at he back spine, ect rte ast wo very shots (called is) The cartage ote upar seve airs af hs hora (sito) muses arcansicuos, and the group o dorsal an rraie meses connected io the shoulder girl aerate othe upper limo, waose ‘movement they deter, Te abdominal scans ovoid in shape andi encased, ‘he base bythe peli athe back by te lumbar tact of the 5 sine ate sides andi ony tbe bro muscular laminae and connective fascia win toate mak pte abdominal valle tate of esion of which determines he india canformation ote regan. Hiocostalis «lac rst and dorsal asia o sacrum costal angle of 1205s, Sometimes transverse process of cervical taba 2 etends and sgt tats spinal alum Longissimus dorsal asciaosacrum and successive regions, pious apophysis of umbar vetebee,ransverse ‘agopysis of thoracic and ceria verbs transverse vertebral process to rmastid process of trmporal steehes te spine Spinalis «rhe sets: th back, the ec the head): spinous process lhe cerca an horace vertebrae i aan soinaus poss 2: extents spine, bends sighly sides rue is articulates alte ot wine steam, The | BONES OFTHE TRUNK SAA PINAL CORO.ces ‘ERTS Horace ene TRANSVERSE PROCESS SPINAL PROCESS Splenius Muscles of = __. eck transverse proms trom ots cervical veebrae 4 rans neck and head backwards end Pelgs totum hezd aoe side Splenius Muscles of Head 0° spinous proces tom S06 ‘evel vertebrae and ton sttoa@_| thoracic vetebrae i cccinal superar nuchal), temporal (rastld process) rans head backwards and tums it eloside Semispinalis or transverse proses of hotcicand lateral venetae (evcra in) Rotatores Muscles 0: nansverse poess of the lub, horace, avi vrctrae spinous process of eonesing verbs Te senispinals, mutidus and | rttores muscles ae grouped under the TRANSVERSOSPINALIS muscles, he lecacton of which ends spina mand hed, with ight talon ad sicevays tending Multifidus 2 sacrum (dorsal asa, ransverse process fhe umbe ‘horace an ast ceria verebrae ie] spinous process of lumbat thoracic and aiacent fentbae Sacrococcygeus rudimentary muscle burdlts on evel si and obey, dae inelvant bth to ation 33Interspinales Muscles Dandi: baweenaspnous proces andthe length te sina E sictes back Suboccipital Muscles ‘Tresear low sar muses ne niche ion: RECTUS CaPmis PosTEnion MinoR| 0 posterior uterc of ats (Asteria eter) Foetal tri: muha ine) RECTUS CAPITIS POSTERIOR MALO®| 0: spines proces of axis (enterica vereba) i cep inion nuchal ine) — ‘OaLiQUUS cAPmis mFERIOR 0 spina process fas FE tarserse process o atlas oUus cars suPeniOn 0: transverse proceso tas icc (eft mura ine) The suboepta muscles share the sare nein of ete: bndngsceways and rotting te had. 34 Intertransverse Muscles andi: between me transverse proceso te rest vetebae 2 bends ihe pint ne sie | | ; | | "oer dt ‘eRe Ut © semgaorocs PB pas anuBAUM STERNUM xPHOID Process iss osrat Cage fLoarns Res tween Vente luac ores ‘uuu ug sewLongus Cervicis (Long Muscle of the Neck) ©: anterior vets muscle of he st tee rei st aval vba, bansterse proces ole cea! vesetae i: aaron bert oats, body of superior cere vertebrae 1 bends androates me neas Longus Capitis (Long Muscle of the Head) 6 tscla:atirtuterl ofthe transits proces ton 3rd toca vansbra othe pharynx cal rac, sideways enn, Rectus Capitis Anterior Muscle Rectus Capitis Lateralis Muscle 0 transverse process of atas 1: body of ccital © bending and sicenays inclining of eas ‘The muscles ised hari to mene around te vertal clu in ap a Set notieale in exter morphologic cbsera They te, however, very important kping hem othe trunk ess parciating in walking ena tying upriht) and, ert, ral te acon rt ere roms nemPectoralis Major neha of ail, sternum, viv and ater asea of he ru costal cartilages tom 2nd to rts, esi of abdominal muscles ohare a adGucton (rans am Gonrnarts ane forwards, ass itp) hss trunk (climbing movamen’), moves the upper Tims towards cate Subclavian Muscle 0 crags ot tt 0 I: clair fascia) 2: fastening of clave a stenacteicular arulton Pectoralis Minor Sr, Atv and St bs (eternal sc ‘coacaldprocass scapula apex ot eoracaid process) 2 depresses pon of shoul, sri (breaning) Serratus Anterior 6 eral fascia oe upper nie rds scapula (inal doe poe angle, mean asi; medal margin infor tes: over ange) pulls shoulder bac foreards (with sideways and foward ation ases fs (ating) 36 Wii rus HI W fsa 2 ‘A a | 1 jou HY ruven A PECTORALIS NOR PECTORIS MADR uassmus DoS SERRITUS Fp) aire ‘eng OF SCAPUA i MEDIAL Une OF SCAPUA TeRES NOR TeRES MOR ussmus ons”? sejrarus anion | cxrewal osu #Lamssisus ~ BOS JY ssmans i DITERNAL O84IQUE RECTUS ABDONANISTrapezius 1 occipital bane rape gare. Spinous roesses rm 1st ceva 12m tora vero &:seapuaatromio, spine andi ot shoulder bias), clviie 4 eens andes tea, elecles ‘shouaean oats shoud bee, ots unk (climbing) Pectoralis Major ©: sino processes rom ht 12h thoi vetba; lumbar vba, ‘serum and posto ila erst eugh the lumbar-dorsl ase) FE humens (medial, icp sts) 2 eaesam dom and foward tom the shoulder ois trunk cniog ‘ovement ith bonding ofthe tar coum and movement in tance pals 0: transverse processes of etfour cerveal etetcee scapula upper anol, vertebral espe) 2 rales ange of shoulder lad, its shoulder, sight exeasion of he rece Rhomboid (Major and Minor) © sings processes of he st eur ‘horace vertbae ad the last wo vical i meta margin ote scapula mesial actin and high upon ‘scapula, sein it uring movements often 38 Gila “g NFUASPIATUS} TRapezus == aro. aicers Trees BRACHALS‘AcROMON amore aro TRIES SuPRASPOUTUS. TERES MAID IneRASPIaTUS SUBSCAPLLARIS wows Lamssivus DORs! \L vir cexncan —f 1 VERTEBAA TeaPEZUS WeRAsPoaTus TEES. Maca MEDIAL EDGE OF SCAPULA uamissavus ors)Intercostal Muscles (Internal and External) These close enters batean this and seth ‘eten te nteral and enteral margins aceen rs, ending before reaching he vretae. Levatores Costarum ct eae castrum muss pases tom ne pote arses procs of oe thre veritas blow the uber veer act and ean 2s inet. Subcostal Muscles Transversus Thoracis Found on imal face fits: furtion cones respon) rmoveren, Serratus Posterior Superior © spinous processes st ho ancl an st hae horace verte cua dos faceof is om te 2nd totes 2 beething (ting of os) Serratus Posterior Inferior 6; spinaus processes rom he 11 ‘orc veebra tome 2d lumbar i lowe posterior margins fat four ros 1 exalt (lowering of) Diaphragm Muscle ‘ome-shaped muse amin, th sia gating nine mba costal and stat agons meeting atthe phrenic centre: separates tara cv rom abdomen; mainly iseral atin, 40 Se | ie = venus gone u INFRASPINATUS TRAPEZUS \ elton LUmISsINUS DORS! EXTERNAL OBLOUEQuadratus Lumborum 6: laces cose inner magi) ati, costlnm process othe bar veto 2 lara alaing ore sinal alr and ne thraicage Rectus Abdominis Tiss tomes by to separate paral muses on the redial ‘blare rombesymphyss pubis tarp cares. Other hcoinal muscles are inserts int srs cover. © cost cailages ram the Sy, 6h and i is, tr (aneian symphysis puts a exes thorx, rales he pais and lowers nbs, ‘oainment of he banal visara insetion one ects) Pyramidalis Way 6: symphysis pis (in tont oh be A linea alba Z 2 tesian ome ine aba 41External Oblique 0: from ho 12 taal ace, with tight tation) I ac rest outer magn), pubis and sheath of acts abdomii (vitbroaa tender) fleresthoay, ass pes Internal Oblique j 0: laser (inner magn unt lash, puts fn (erst cage ton 7, tn 4nd, lover ag 0, ith and ‘th seaatreews bcornis tes sie of eae I Transversus Abdominis © bs (ne tsi, ante ract of tst sin. lumtar asi, aces (nar agin), pubis Fr sheath of ractus abominis 2 tesion fhe stein! al, Compression othe abearen Muscles of the Perineum These 2oleton of muses sound and below te pelvis. incucing ne ana sel, the urogenital muscles, ‘ae, Theyare oto imprtance ina 42[Hi HL HU Me ee HN £ Rectus + fils Teuson FASCAE LAE . aearen TROCHANTER aro PECTORALIS MAKOR SERRATUS ANTERIOR Py res won seein Linssms 18 Exel osue 4 Pat Z aie A Tesoe sce Ui | R Te cian Ly “cueusueins / ‘/ 43r UPPER LIMB MUSCLES | The user in is made up oa te pat (peice team, foes and hand) adit articulates wt he shoulder ile (ceapula, lave) athe evel al he shoul ‘Teams alatened oyliner on te ate lane wih he sols aranget round the hurr ia wo groups anterior (sor and posterior (extrso) The shape athe ream score tne nthe on-tack rude una (meal placed) and crs (air cv with the les mass besie ne aricultn ofthe elbow andthe thin ‘endows partrear the wis (onaning the igamens othe caps) ‘Thehand is ataned, complex inform due oth presence of many bones (aos, metacapis, phalanges). Ol te palm shows muses, evere bythe palmar sca enh back, nly the sheathed tendons othe edtesor muscies re visible The upper tin, apart rom characterise movements of pronation and spiato of he fren, presets numerous atiultions win great testo of movement (nd cansequenty einai of eae ofthe segments) which muse ten no consideration in making artistic representations, Deltoid Muscle © clavicle calla bone), scapula acamion and ping loner rragia) numer (outside edge) {abduction othe am contacto ofthe iner mus), ans humersbacards and foward (anaton of anterie escin dose and medal mover (contain of the posterior sci) Subscapularis 6: sexpua cota side) humerus (op, front, sll utero) 2 roa tha arm medially 44 TenoN oF FLEXOR CARA RADULIS TaDON OF PALMARIS Loni smo. PROCESS i Conon aeNsoRS OF TEFNGERSNOR CARY ‘ ISLONGUS, ff Jee a (conor e oF (THE HubesUs atl tracers / | pracuausSupraspinatus RTA supaspinos tse) i: humerus (ope conc, ari fae lagetuberesiy) a tones arm outs, abduction Infraspinatus 0: sapula (inant, back) ie humers(ype ene, osteie face ge ubersiy) 2 oes arm outwards and bacwarss Teres Minor 6: scapula (drs ste, tolaner ere at umes) |: hums (oper ond, posaior fae, lage uber) 1 draws hur ovtnaris and rotes am basoards, 2d6ucion Teres Major 5 scapula (rom ower core of scapula tofromtothumens) FE humers(pperconye, anti tace) 1 crans umes outwards and ros, bacards oLeceation aceowson ano SPNE OF THE SCAPULAwuwesus —\_ ans _ ERCONDLE AS) \ OLecANON \4 j iE Des ‘ EEE: " or a a7, Biceps j 4 it 0: shat head: scapula coraoid prooas win shor tendon) Tang ned: scapula (leo cay (unde acorion win ong tendons) i radius (uberle) fers ree, rtaesedus cutars, presses stove bade Coracobrachialis 0 saps (corecid process) 4: humerus (arr sige, hal-y down) 2 draws am ornaras an sideways, ‘oats awards | | | } 7 |) | Brachialis umes rt, oneal 1 tra (eal process atiovar czpsulect toon 2 flere eam i i) 48Tenbow oF FLEXOR CARP ULNaRIS sr.oH¥a0 processor | _ uN NEDAL Hexo GF TRICEPS HEA {AND TENOON OF TIERS TENDON, OFBICES -— petow CORACOBRACHIALIS i yaa BEREREEERREEEERREREE w i i LONG Henn Gerace” OPTROeS 1 ‘1 Texoon oF FLEXORULNARIS iTriceps ©: longed: szzpula (blow socket to ‘eran process aur) i later ead umeras bak of humerus, above musulspnl group; medial (or ep hes ures (shoulder blade elo socket a ‘lecranon process fw) ina (lecraon), wit broed tendon 2 edends foram , | Anconeus humerus (back of atral eponye) i wa ot sie a) UV eins foam Pronator Teres 0 hues (rer eon fascia ot fovea), ul (coro oes) i radu (outer sid, alt-way down) 2 exes and porate ream, ronats a Flexor Carpi Radialis J | % tuners (eral ont meatal) it tnd metacarpal (tase ot aim) 1 fetes wis an bands up medial ff elaton) 50 Tareas cue |! TERES MADR Lanssinus RS 4 BRACHORADILS XS aren | CAReIRADALIS oLeoranon fle Sal BxreNsoRs OF FINGERS FoR we stv.cHva0. . PROCESSEERESE + ” E- E * atfourtnges, rom sto en Palmaris Longus ofan) i palmar sporeuoss 2 few hand ony humerus internal conya: na (olecranon, vpe ptt bak) E piste (Doe ot arpus) 2 flexes mist and hand, tus wis, coubarts Flexor Digitorum Sublimis 0 humerus (tral condyle); una (coro racess: rau oprer ray tron it ecial phalanges (palmar suace) 2 lees fingers (out ot thumb)a —— Brachioradialis Pures ont, owe halt in} Tr radus (ld process) 2: flees fren, ight pronation and susinaon humerus (tural eicondyte) 2nd metacarpal (corsa site of nd) 2 eension and abduction ol and Extensor Carpi Radialis Brevis 0 humerus (eral elec) I: Sed metacarpal (cos surtace fe) 4 eensionand abduction ol and Faoaus 7 toncus’ sracnio-_ RADIALIS raowus BRACHIALIS, 4 watt Ay aaa ed A jp mracreus ‘\ __ PonaTOR TERES SUPERFCIL Vans x08 CARP MOIS ey TENDON TaN OF PALMAR LONGUS erreNson CARAT ULNARTeMoon oF exon CARPLULNARIS J oeure FINGER sgoucTon Pouugs: aren Tenoons oF FLexoR DigoRUN SUsuMIS agoucToA oF. UITLEFGER 53mmm BG ae caFlexor Digitorum Profundus Flexor Pollicis Longus Pronator Teres 56 6: ulna (on atasseus membrane lata (palmar sure ofthe four finges 2 fleas ogers butt amd) ’ 0 ads (rid tet, tom), inosseousmentare it humo (2nd paar, pln sutace) & feces hun } wn 6: una (inenal condo out sie ot ras, aly own) 1 rai (et side) © prone hand an exes eam ~__ tenoov oF extensor OFLTREFNGER GRIN Bees Teyoow or i fs bexrensoR POLLS OF THE FOES toNGus ; rawowor /f extensor’ | a TORS ENS TENDOW OF ExENSOR CARPTULES *Tewwon oF EXTENSOR WDIOS im) TENOONS OF couon, EXTENSORS OF FINGERS Fst o0ssat InTeRoSse Paes TENDON OF EXTENSOR POURS AITENOON OF FoR Carer RRDBLIS agoucror PouLias ea ange e TENDON oF PALMARIS Lonus SN FOLDS PALMAR BREVIS pee zy _ tite ye whe) Extensor Muscle of Little Finger o: humers (awa epcongy) @ = ie palages fe tinge (dorsal surac)| 2 exude ager Extensor Muscle of the Fingers 0: humerus (tein postrarae) plage otheaur oars dsl su, seat) 2: neds gars at ot bund) \ Extensor Carpi Ulnaris : huers (tral peony, Distro ulna (postr suse) Sth metcarpal ors sutace at end) 2 extension and actin of and 37Supinator } ‘0: humerus (trom external condyloid gy ‘tidge to end of radius, igaments of a foo (tral sue) \\ ce y i Abductor Pollicis Longus ¢: ina (nice par, posterior suas inerasseous mendran; radius (posterior sutae) 1 Sstmelacarpl (terse et tess) 2 etension and abdvton of hud Extensor Pollicis Brevis \ 0: aus (peste utc, mide ar) ineroseus menbrane Fe 1s phalanx oft (oral surtace) 2 eension os pala of hn \ shducton ot tand Extensor Pollicis Longus \ 0: vlna (idle par, posterior sure ineresseus merbrane nd pala of thu (srsl sure) 4 extension ofthe 2d piano! thant; abduction of md Extensor Indicis «: ulna (nid par, posterior surace): | introsseus memecare rel suiace of stinger (endinous seat) 4 exension of ndax ogee TenDon oF Prreusoa POLUGIS BRevis Frew puts PALMA nevis asucToR. FLEXOR BREIS| PeoveNs Diem NiAbductor Pollicis Brevis © soph (wist bone: tansvese ligament of mst ie staan of hm lateral sure tase) — 2 abGuoton of thump; fcuction a Tt metscatel towards aesotnans soouctoR POLIS TOON OF Fst oRSAL EROS | Flexor Pollicis Brevis Fast pons « dobie-beadd rom plnar sua of wis BuTEROSSE games, wapeiun epltate bone) FE tstphalne of ume (lateral surtace fas sro eas thumb; ation and opeston o! Vans Opponens Pollicis 6: tpmium (ala sutae)ransarse gamet ot wi i sine (atra suc) 2 oppastin’o ha om ges Oppohens POuns SOR Brevis AND POLLOIS LONGUS H ( Tevoons oF Adductor Pollicis ¢: dodleteadetcaitatbone, Ramat (pina suze) 2nd an rd meatal (nei ‘stptlas of tur (medial suaceo base) adducionandoppstionoftund ‘SUPERFICIAL VENS TENDON OF TENSOR INDICIS TENDON OF ExrENSOR DitTORUNAa Abductor Digiti Minimi © piston anterior sus) Et phalaneot a (it) Ay As re ingerrom ad tthe and) Flexor Ditigi Minimi Brevis 0; hana tone enter sue) tenors ligament i Aspalane of 4 ite ge (resists) 2 Maxon and abduction ite finger Opponens Digiti Minimi £3) 0: nant ore anise LR tennant AN sinners esc) INN easton ct ite feo tun ry Lumbrical Four muscles found betwee ha tedons ofthe dgpHexor usc of henge (palma uae one mts) covered by palmar poneurss 2 exon of ne 13 pala ote four Tian, ines extersion ofthe 2nd and ea ¥, phalanges wy vy Interossei palmar: palma sutace rom tt 2nd, tn, Sh ‘metacarpal; drs: dorsal urlaze of all metacarpls i first phalanges of eoesponing finger, endons of enor and extensors 4 flexors of stptlame actin speeding et inges 60LOWER LIMB MUSCLES ‘The lower ib is vided int tes re prs: tih, theleg andthe fot articulate eve ne ip wt te pelvis armed by he sic feu, thesia the pubs). The fncional plans sina tt o Re upper lin, “The thigh conical, wit te larger end ath eunch and ne smaller ce atthe ka, he muses sounding te emt 21ecvded ino ree groups: ater (esteason, posterior (txon, mil (adcuctr. tte level of ariculstion of the nei found, anterioy,th nee cp (stl). Teleg is rounded, th ne narrower par nearer he fal. The muscles ‘ound te tibia (medial positioned) and the peroneis (ately are ved intone anterolateral group (rail the sr fhe ot and posterior group (esos). ‘The oot arched wih atransvers atnig) et the bone structure (rss, metaarsus, phalanges) The muscles (pita and os) ar ary visible: on th dorsal pane ot the foot he tendon ofthe extensor muscles un dow Some ofthe coverng bands of sheathing ol the musts and the mechanics othe age ariulations of he i te important exten mrphoogy, bo inthe ugh positon andi gramic poses, Psoas Minor Uc: tamnrai and tt amar vertebrae tral suc ote vertebral body) i ium apes rs, pubis {00350 a tendons ofthe tsi ta weak flexion of he pelvis one mbar vertebrae Psoas Major and Iliacus overage ram the Yan racic to the Transrerse castor proces) am (ner surtze) i femur essertochatn) 2 Hexion le thigh on eps (and vice wes cute rotation of te emu / (with adduction and tight feo) ltr exon o te spine Gluteus Minimus 0: im (outer tsi) femur (ape ofthe rater trochanter) 4 abduction, trl and medial rotation of teh sideways bending and fiion ofthe pets y reson y FASCHE LANE i f cues MEDS sturaus MAUS eaten TROCHANTER LUMBAR Sh atte BE wwcerst sou —/ wm AS SanTEROR IAC SPH i) )- SUPERIOR 08 ie Fawr She ey 4 Ete ne ee Sak TNFEROR Se) rears TaOCHADTER FEN TERA tonite PATELLA arena. cononte Heo ‘usenostty cat 18a (eroNeuS) arena MALEOUS cCALCANEUMsacnoseLs ibocosrals uae seme PosTeno: SUPERIOR suureus MINUS sAcRUM Gluteus Maximus ©: itu eat prt of wing ar postr ia crest) it femur (greater wocharter acute! ibs), sia a (loti tac) 2 extension of high adduction ana tara tion of i extension of evs. This muscle iimgor instandingvaght Gluteus Medius or um eternal sia) i femur (teal asc fhe reser och) & abduction; trl and medial ation oe award igh Tensor Fasciae Latae um artersupair il spe, exteal maging o the ie est) i fascia a, total wat a tendon ofthe asia ata sanding upright lexion and auction ofthe igh etersion a he 6Piriformis rah © (bone of sacrum antrir suace, rom 2nd ae th foramina) femur (apex greater rocker) 2 abduction ané outward rtton igh Obturator Internus ee I \ NY = puis (ramus, obturator) i femur (trochanteric ss) 2 Sight outard rotation of hgh Gemellus Superior and Inferior «: ischial spine ard easy \\ i Quadratus Femoris y 1 schiu tral margin oe ‘uberosity) \ |& weak atduction and outward rotation M u of thigh Sartorius ta (real margin fhe tuberosity) 2 flexon ole and thigh; medal ‘otto of eed eg Teysoa noucror ASCE LAE onus: SATORU aooucron / macs” f seuraonos TaosTENSOR FASCIRE ume PeRONEUS Gracilis 0 pubis ino rus) i ia (metal node of tersiy) rotation fag \\ \ & y Vf | | | 1 | a Pectineus &3 ¥ = pubis (superioe aus) i fur poser sue, ie bow lesser cha 2 aiuto fein, oad ation orign Adductor Longus ©: pubis ftir ramus, nat ‘oftig, bending of pais over tign Adductor Brevis ©: pubis ner cars) I: femur (soperic hall peste Surface: rough medial ip ol ina aspera) 2 adduction aeration of hgh 65Quadriceps Femoris Tiss ome your heads mtg noe tendon insetion ~ RECTUS rum artar se) FEMORIS YSTUS fut (pstrir suc: neal ps UTERALS tinea ese) 6: tarur(gsteror sua: mal ips offines aspera) VASTUS or fue (oti sutae) INTERMEDUS Going oor head atl an tia (utero) 2 toe extersan og ant thigh and ice es: exon of igh (ets , tenors) mecraism of upg: stance Adductor Magnus Qs 6: sciureus an berg) as i fem ost sue: el ipo lines spr) (mata epicanaya) 2 adduction, exon, extension na lara oaton of high Biceps Femoris ©: fong heat: isohum (deo) shat hea: emo paste sua id-tactol teralipsline aspera) i fla (hag & fledon tg extension igh: uta ation tne exe ind TENSOR FASCIAE ATAE SR i ) saaToRUs ; aA cus Sy Feudiis vastus Uaies vastus MEDALS. ~ ———~ pare. — PeROnEUS: — Tuserosmy 7 Tait — cers FEMORISRECTUS Fevon vastus _/, LaTeRAL FASCALATA PaTELLA Tenpow oF PATELLAObturator Externus VASTUSLATERALS «© pubis (superior an ines rmus) it femur ocarrc s} 2 outward aon of emt «:ischium utero) iia (resi geo tubarosiy) 2 Nexon fg (with ner oer, cetension of tigh of) eum toecsy) i: ta poster sie of metal condyle) 2 Mlexon of; extension of hgh I { 4 | a i somes Tibialis Anterior TENDON Ta IITORUM \ Jo (tra condyn and super saoante LATERAL MALLEOLUS \ Df tact si is tates atari fase, { tsteanalo 2 dorsal sion of fot with iar {ean sight attucion oct sworsnig = Paine trae Extensor Digitorum Longus 4 ] fatten aati \ agin), ieseous membre i: iu tags the dorsal sie of thefts (excep he att) & eteson fxs; asl exon of \ | tet casTrocnennus SOLEUS 68_ , . Me CONDYLE PATELLA Tews ANTERIOR TENDON oF meas Are } SUPERFICIAL Z vans TENDONS OF Extensor DIGTORUN Lonus / (- f / IY EY woe ' /N aves P Wortinas ALL ~~ S srsis VA d \ Yo FuexonoGronuM toneus TENDON oF TBALS ANTERIOR \ ezagon on ‘LONGUS \ Tao oF ews Kean "reoneus 11) ue 1 | rts TONS CFOS e001 _— Meda vacus . ee ka Rg = a znai : spl: po RarPeroneus Anterior ba ¢ ii} \ i \| \ J Wis is named ater peronus tis bua atari rat of medial sid) it Stn metatarsal (dorsal sue ote base) 2: drs xin; busin ad lateral otto ott Flexor Hallucis Longus ua (midletat ofthe medial \ sie, iterossenus memb \\, ic tstand 2nd phalanges of great tn, {2) sora sutace | A\{& extension dorsal texonotgeatoe | | Peroneus Subdvied ino peranaus longus nd paoneus bres | L «fb read an i py BREVIS y spate \ J] arrose ve \ J wees) f Pace ! fl (planta sie of pase ana / Iuberosy th tendons run down ening to inferior eno ula and | lagoraly nose sole of o0t) side) ie tstmestarsl 1} (tera sie of ase) [f= gnwcisee Texion at ost (wih aso of ater a ces) Plantaris J. femur (iter eiconyi) medi margins of Achilestendon } parla leson oft xin ot \ PERONEUS y ‘ N\ A. castrocnemus. | / seth Teas ANTERIOR aoe # NAVICULAR if ¢ cero ae Mice \ uso Xe scassracon “SSSNR. x LATERAL Se rus TenoonsoF EXTENSOR. tongus LAill I it il TeNooNS OF Brecon LONGUS an Taaus ANTERIOR tex00N F Tas i avretion a LI? 73 -EEREELE Te | |A Gastrocnemius Thesopal pa ot eng ot eat o: rg ha Se te rel as ‘Sony stones \ ‘era LI hel bee, Soleus chiles endo) a: plantar xin ot too: exon fe; abduction afoot te comple actions very import in walking nd standing pig) Thisis ne oeepest part of te viceps muse af hcl he supeticil paris te gastocnis, «fii supra act of postr si), ula (head and supe tact ol posterior sie) it heel (uberosiy posterior si, fre passage of he amon endos ote ices: Ahils he) 2 tension (lta leon toot J & Popliteus ‘0: femur (lateral condyle) j fc tia superior tract of poster site) Hexion ofp (ith media ttn) itorum Longus 0: tibia (iat ot \ | postr sid) i lastplanc ofthe tows exclcig the peace) feion foes and sol of fot asuctlon stfeat Flexor Hallucis Longus 6: fibula (mide rat ot posterior ie) flat palate (ea, lant sie 2 leon of get ioe and sale of foot atdution of oat PATELLA Tus ANTERIOR TeNOON FLEXOR DGTTORUM LONGUS MEDIAL MALLEDLUS ‘TevooNs OF LER iGO LONGUS TALS POSTERIOR GastrocNeMUs Penoneus tongus TBALS ANTEROR soueus TENDONS OF PERONEUS eNsoR DIGTORUM tonaus PERONEUS BREWSSEMMMENBRANOLS seurennnosus fH SARTORNS “TT casrroces } TERA HED wen. 0 PeRoNes sores urea, aLLEOLUs Tewons oF FEROS PUN APONEUROSIS TERR: ectusrovens vastus MeDausTibialis ff 2: taney race act postin Sie) reseaus mamteane 1 naviclar tne, unite bones, Diatar sure of os ettara's 6 2 fees solo fo, wih adduction and 4 Extensor Digitorum Brevis Tiss he short extensor muscle ne ges oe 0 el (dorsal and itera ices) i 1stphalao te rete ad te tee mil toes (ors sie o bse) nsion (drs son cos, wit sth sideways movement Flexor Hallucis Brevis «cases (asus) i tsotalancof grate (planar sie tba) terion Adductor Hallucis (0: ebigue ead, 3 Ah metatarsal ideo bse), cuboid boe,cuneliorm bones transverse tet arial capsule (Gana sue) ott arctan of Sit, 5h metatasoptalanges I: sl phame of rte tral ce) 1 adduction towards mada axis of yeatoe Abductor Hallucis heel (ret ace o uberosiy) te tstphalnc of rat toe (mil face oi ase) 2 fon and abduction of reat toe (hats ising of reat oe ovr the edi lave cl set ard ths, lenghning othe engi avi of oat) 76 TENSOR LONGUS a0 ALLUGIS LONGUS Peoneus BREVIS PenoNeuS ACHES exon UATERAL MALLEOUUS TENOON PEON TENOONS OF ‘OF Toes N OF exe TeNoON oF TIALS ANTERIOR asbucror éTaIOON OF SOF US Hea f£ EENSOR FALLICIS LONGUS *, “TaIOONS oF EXTENSOR LONGUS OF THE TOES ‘ABQUCTOR OF | THESnT0etexoousoF PesaNUS actus TENDON | arera, MaILEOUUS re F.ptor \ BREVSOF THE SATOE Ali ae “ALE Flexor Digitii Minimi Brevis 6 heel (edi fate of wba) ie 2nd phalanx o iti te (late sate tine 2 fleconattitae Abductor, Flexor Digitorum | Longus Opponens of 5th Toe «heel lantar sure of bers Sun etatysal (lant surtace) i 1st phaanc oft oe 2 abduction; leon oppositen tote tae (oe) ‘Theclher muscles fe fot (utr, eres, ‘ar rom having lite cna use, are covered by ascia an igaens (especialy he plantar aponeuosis) ana Inereoe are of no itestin super meeting, coven or ‘ im, BONE STRUCTURE -MUSCLE STRUCTUREjw BE oooh ee ee ee eBSe - THE LOCOMOTOR APPARATUS Trunk 70380 Osteotogy Spine: 7 cervical vertebrae 12 thoracic vertebrae 5 lumbar vertebra 5 sacral vertebrae 3 cocoygeal vriebrae Acthrotogy Articulations between the vertebral bodies Articulations between the aticulatory processes LLongituainal ligaments (ant. and post) of the spine Ugaments between the vertebral aches intetaminay ligaments intetansverse ligaments interspinous ligaments Craniovertebal articulations Myology ‘Mescleso the vereoal suc} 1 Supeticil (sacrospinaly (@ilocostalis (6) longissimus 2 Intermedia (2) spinais (6) vansverse-spinal (i semispinalis (i) uttiidus| (i) rotatores (6) splenius| (0 splenius cervicis Gi splenius capitis 3 Deep (2) interspinous (b) intrtransverse (6) suboccpital (i) small pectus post. (i) lage pectus pos (i) interior oigue (iv superior oblique Ventral musculature o the vet 1 Prevertabral muscles (@) longus cenicis (©) longus capitis (6) anterior and lateral rectus 2 Sacrocoocygeal musculature Muscular fasciae nuchal fascia lumbar-dorsal fase Neo Osteclogy hyoid bone cartilage of he larynx Myology Scales muscles 1 scaenus anterior 2 scalenus modus 3 scalens posterior ‘Stemectsdorastod muscles ‘Supratyid muscies 1 digastic 4 eniohyoid Intyoid muscles 1 steronyoig 2 mylotyoig 3 stemotyroid 4 thyohyoid Muscular fasciae medial cervical fascia jee cervical THORAX Osteotogy 12 ibs 10 cos sternum | cartilages Myology Intersil musculture 4 external intercostal muscles 2 levalorescostaum 3 nema intercostal muscles 4 suboosta 5 transversus thoracis, Spinocosl muscles 1 seratus posterior superior 2 saratus posterior inferior Diaphragm Adhrology Costovetaral artcuations 1 tom heed of i to vertebral bogy 2 between the costal tubercle andthe transverse process ‘Stemocostl atevttions 8182 00Men Osteology Pelvis (ip-bone) ischiun ium pubis Arthrology sacroiliac aticulation symptysis pubis ligaments of pelvis Myology Lumbar vertebral masculature 1 quadrats lumborum actus anterior musculae 4 rectus abdominis 2 pyramidais Broad lateral abdominal muscles 1 external oblique 2 internal oblique 3 transversus abdominis Muscle fasciae Fascia of external oblique lransverselascla sheath of rectus muscle inguinal igament, te. PERINEUM Myology Pelvic dlaphagm 1 ischium 2 external anal sohincler 3 supporting fasciae ‘Muscles and fscze oth prinum 1 sphincter uretrae 2 muscles of the genital region Head Ostealogy Crain Cranial vault 1 occipital bone 2 sphenoid vone 3 ronal tone 4 temporal bone 5 parietal bone Facial book 1 nasal egion (aletimoid (b) nasal bone (lacrimal bone (d)vomer 2 maxillary region (a)maxila (0) palatine bone (© zygomatic bone (o) mandivie Arthrology Sita atcuttions 1 coronal sture 2 sagil suture Tamporomanclbular articulation Myology Masicatory nuscles 1 temporal 2 masseter 3 lateral tergoia 4 medial pterygoid ‘Accessory muscular fasciae 1 temporal facia 2 paroidean fascia 3 Bichat’s ft-pad‘Mimesis musculature 1 platysma 2 muscles of the region ofthe mouth (@) pertaining tothe fower tip (i trianguaris (i) quadrtus lait infrors (i) incisor ofthe lower ip (©) pertaining to the upper tip (0 zygomaticus (i) quacrtus lai superiors (i) caninus (to) incisor (©) buccinator (vi) orbiularis ors (Wi) muscles of the chin 3 Muscles of he nose 4 Muscles of the region ofthe eyes (2) otbicultis ocul (b) corrugztor muscle ofthe eyebrows Epicrania! muscle (ronal and occipital) Muscles ofthe auricle Upper Limb Osteology Shoulte gia clavicle scapula Am humerus Forearm radius ulna Yond carpals (eight bones) metacarpal (ve bones) phalanges Arthrology ‘Aricultons ofthe shouler ire 4 acromioclevcuar 2 stemoclavieular Anicultons of he tee part 1 scapulohumeral 2 elbow 3 radiocrpal 4 raciutnar sta Articutions ofthe hand 1 mid-cap 2 carpomelacarpal 3 phalanges of metacapals 4 interphalangeal joins, Myotogy Axiorappendiulr 1 Thor (a) ts ay (0 pectoralis major (0) 2nd ayer (i) subclavian (i) pectorals mina (0 316 layer (i serratus anterior 2 Spinous appendicular muscles (2) suparicial eve! (trapecus (i fatissimus dors (0) deep lve (i elevator of scapula (i) shomboid soles tar muscles‘Muscles o the upper tnt 1 Muscles ofthe shoulder (2) detoid (b) subscapular {c) supraspinatus (a) subspinaus (6) teres minor (teres major 2 Muscles ofthe arm (2) anterior upper arm muscles (Nexors) (biceps (i) coracobrachiats (i) bratitis (0) posterior upper arm muses (extensors) (i caps (i anconeus 3 Muscles of the forearm (2) anterior forearm muscles (Nexors) (i) pronator teres (i Meso capi racials i) palmaris longus (i) flexor cap unas (9) flexor giotorum protundus (othe epicondyle) (i beachioradias (i) extensor cari racials longus (deep muscles) (i texoraigitorum prfundus (i flexor polis longus ii) pronator quacratus (b) posterior forearm muscles (extensors) (superficial musces) (i extensors o he fingers (i extensor digit minim (i) extensor carpi ulnaris (deep muscles) (@ supinator (Gi) abdyctorpolicis longus (i) extensor polis brevis (iv) extensor polis longus (W) extensor incicis 4 Muscles of the hand (a) thenar group (i) abductor pollicis brevis (i tet potcs brevis (i) opponens plicis brevis (tv) adductor pollicis brevis (0) hypothenar (0 abductor gig minim lexor digit minim brevis Gi) opponens digit minim (C) central muscies ot the hand (0) umbreas (tour) (i) palmar inerossei (fur) (ti) dorsal interssei (tour) Muscular tasciae ‘ingle fascia divides topographically: shoulder, am, te, ligaments and sheaths of tendons, Lower Limb Osteology 1 Pelvic gic: pelvis 2 Bones ofthe thigh (a) femur (©) patella 3 Bones ofthe eg (antibia (b) owe 4 Bones ofthe foot (2) tarsal bones (talus (i calcaneum (ii) naveutar (i) cuneitrm (0) eaboia (b) metatarsals (ive bones) (o) phalanges Arthrology 1 Articulation a the pelvic gird oes) 2 Articulations of te ee part (a) coxa (hip joint) (0) knee ( txsotbial (€) biotbuiar 3 Ailton othe foot (with various ligaments) (@)talcalcaneen (b) mettarsphalengeal Myology 1 Spinoepoendiculr muscles (2) psoas minor (b) psoas major 2 Muscles othe gfe! region (2) gluteus maximus (0) tensor facie ate (©) gluteus medius (@)aluteus minimus (©) pirtornis (0 obturator nternus (@) gemelius superir/nferor (6) quadrats femoris ti iadee TE Oe — 3 Musceso te tigh (@) anterior muscles (i)sartortus| (i) quadriceps teats femoris vastus medialis vastus lateralis vastus intermedius (i) atictation of the ke () media eroral group (0 pectineus (i) adductor tongus (i) adductor brevis (W) gracilis (W) adductor magnus and minimus (vi) obturator externus (c) posterior femaral group (i biceps femoris (i semitendinasus (i) semimembranosus 4 Muscles ote feg (2) anterior muscles (0 tibialis anterior (i) etensorcigtorum longus Gi) peroneus tts (iv) extensor hallcis longus (0) lateral muscles (@ peroneus longus Gi peroneus brevis (c) posterior muscles (itrceps sure gestrocnenivs soleus (i) plantar muscle (it) popiteus (iv) flexor digitorum longus (0) bats posterior (Wi) flexor halucis longus EEEREEEERREEREREEEERERE 5 Muscles ofthe foot (2) dorsal muscles (W extensor ciitorum brevis, (b) plantar muscles (i) medial abductor hallucis flexor hallucis brevis adductor brevis (i laterat abducior V ciitorum flexor brevis V digitorum ‘oppanens V digitorum (i cata flexor digitorum brevis quadrats digitorum lumbricls and interossei Muscular tasciae Single fascia topographically divided ligaments and sheaths of tendons ‘i_ EE Ee es se. eS ee me eee eee ene 'BEER W BIBLIOGRAPHY Bairati, Angelo, rattato di anatomnia uma, VoL. V: Aparato locomotore, Minerva Medica: Tarn, and ed, 197 Barcsay Jeno, Anatomia pr Vartista, Corvina: Budapest, 1956 Vallardi, A. ed, 1955) Bianchi, Lorenzo, Manuale i morflogia. Aviamenta allo studio dell anatomia wmana, Casa Editrice Ambrosiana: Milan, 3978 Bridgman, George, B., Constructive anatomy, Dover: New York, 1973 ‘Cunningham, DJ, Cunningham's manual of practice snatomy, 3 vol, Oxford University Press: London, 13th ed, 1965 Everard, John, Model in movement, The Bodley Head: London, 3959 Farris, Edmond J, Art students anatomy, Dover: New York, 1962 Hale, RB. and Coyle, Albinus on anatomy, Dover New York, 1988 Hogarth, Burne, Dynamic anatomy, Watson Guptill: New York, 2985 Leonardo da Vinci, Leonardo on the human body (Disegni anatomic), Dover: New York Lockhart, R.D. etal, Living anatomy, Eaber and Feber: London, 1963 Lombardini, Achille, Anatomia pttorica, Hoepli: Milan, 6thed, 2923 Maimone, Giuseppe, Anatomia artistes, Edizioni Scientfiche Italiane: Naples, 3rd ed, 1970 Morelli, A. and G,, Anatomia per gltartsi, Fratelli Lega Editori Faenza, oth ed, 3977 Moss, Albert A. etal, Computed tomography ofthe bo, WB. Saunders: Philadelphia, 1983 Muybridge, Eadweard, The human figure in motion, Dover: New York, 1955 Raynes John, Human anatomy forthe artist, Crescent: New York, 1979 Richer, Paul M, Anatomie artistique, Pon: Paris, 1890 Richer, Paul M, Nowoell anatomie artistique, Plon: Pari, 1906-1920 ‘Rimmer, William, Art anatomy, Dover: New York, 1962 Rohen, J. W.and Yokochi, C,, Anatomia umana. Atlante {fotografco di anatomia sistmatcae topografica, EMI: Rome, 1985 Schider, Fritz, An atlas of anatomy for artist, Dover: New York, 1957 ‘Sheppard, Joseph, Anatomy, Watson Guptili New York, 3975 Sobotia, Johannes, Atlante di anatoniadesrttoa del uo, Vol. 1, USES: Florence, 2th ed, 1972 Thomson, Arthur, handbook of anatomy for art students, ‘Oxford University Press: London, 1866 87GIOVANNI CIVARDI is an Italian artist and teacher who for some years has combined studies at the Faculty of Medicine, Milan, with the practice and teaching of sculpture, drawing and illustration. He is the author of a number of practical art instruction books. Other Studio Vista titles by Giovanni Civardi Drawing the Male Nude Drawing the Female Nude DRAWING THE GIOVANNI CIVARDIUnderstanding human anatomy is essential for accomplished figure drawing. This outstanding book presents a series of detailed drawings . and diagrams of the human body to explain the relationship between bone and muscle structure and their importance in producing anatomically correct drawings. ® Highly visual with unique line drawings all anatomically explained = Bone and muscle structure demonstrated alongside principal drawings ™ Covers a wide range of body positions, both in rest and motion, from front, back and side views @ A practical guide for artists of all abilities $14.95 Can. $22.95 9 "7eozes!a0089!> JO STERLING