ANATOMY STUDIES VoLuMeE 1 GLAUCO LONGHIOe anaemia ea Nao OL aCe Daag AND PRECISE ON EVERY ROUND, FINDING THE GAPS AND AREAS I’M LEAST COMFORTABLE WITH. BU ase ete syer UO ADE AedD Le) mM ORs ERAU sci Ma ae Yo fa ao aN Ra eet AU Re a OO ee et ee a FIGURE. ONCE YOU ACHIEVE A CERTAIN LEVEL OF UNDERSTANDING THROUGH PRACTICE, IT BECOMES. RUC NME LOL eR ARs ze UUs THE MORE YOU STUDY IT, THE MORE YOU SEE. NEW FORMS, SUBTLE BUMPS THAT YOU NOW eo aA LUN Ue Po ae ens heron aN Oke ORE ESA MIAN eke PSTN) CHARACTERS, SO BE CAREFUL TO NOT RELY ON IT TOO MUCH. USE IT AS ANOTHER TOOL. AFTER I'M DONE WITH THE YEARLY STUDIES, | TRY TO NOT THINK ABOUT IT TOO MUCH. IT CAN GET ovis ER eem CoeReen tebe OU RL CRRA oN NR (eles Saco Ge eee ae eco ise RL Re ee Wie cee eg Reel eo TI ores oN nee oe OI | BELIEVE WE SHOULD DEVELOP OURSELVES IN ALL DIFFERENT ASPECTS OF ART, AND ONCE YOU HAVE A Rot Reyes VRS A:lsson ere EVENT O Bolt D107 Every YEAR, | GO FURTHER, ADDING LAYERS OF COMPLEXITY, THAT BUILDS ON TOP OF THE PREVIOUS SESSIONS. IN ORDER TO STUDY COMPLEX FORMS, YOU NEED TO BE ABLE TO SCULPT/DRAW COMPLEX FORMS. IF YOU ARE STRUGGLING WITH MODELLING/DRAWING SIMPLE OBJECTS, YOU WILL PROBABLY HAVE eee eet ere et aera ete et cers JUMPING ON IT. YOU SHOULD STRUGLE WITH THE ANATOMY AND NOT WITH THE USE OF YOUR TOOLS. ONE COULD DEFINITELY STUDY ANATOMY WITHOUT DRAWING OR SCULPTING IT. DOCTORS KNOW ALL THE MEDICAL TERMS, INSERTIONS, FUNCTIONS, AND SO ON. BUT THEY DON'T STUDY THE FORM, SHAPE, RELATIONSHIP, STRUCTURE, SIMPLIFICATION, AS WE ARTISTS, DO. SO | BELIEVE YOU NEED TO PNA eU ae LU Deh See a COU a ome) Meat eR ANATOMICAL INFORMATION, BUT ALSO ENGRAINING THE DESIGN ASTHETIC OF THE FORMS AND ITS ComersSUSE ado Lom el SU aves a eka) 6 rel eel LO a ya icp eh meee ae Ti PN elas ee SOL ne Ae on a ala eeu REO FROM THESE STUDIES AND IT MAY CLARIFY OR HELP YOU UNDERSTAND CERTAIN QUESTION YOU HAVE, OR ECM tae Kole exe eS Un acer ao PRs ke a eet come eye NEM es ere eniew Vals Ao CAe att Led PADMORE aay ey Me aoe PUN aL PN oP ee) Ne BLE Nee Cota eae eG eo cages UPC a a nen THEIR FRIENDS, AND SO ON. | HAVE A HUGE RESPECT FOR ALL OF THEM AND THEY TRULY INSPIRE ME EVERYTIME I'M TRYING TO TAKE MY ART TO THE NEXT LEVEL. MY PROCESS FOR STUDYING THESE WERE TO FIRST PICK AN AREA OF INTEREST, AND APPROACH IT SMe UNA TAO Ao che U NEna Porm DN mse Ele aso aon Utena 4 THAN I’M GONNA SCULPT EVERYTHING FROM SCRATCH AND NOT USE ANY EXTERNAL RESOURCES. I STR Ae ore Roa en ain a ee SOR ee Re ead WAS BUILT BY ME. CROSSING MULTIPLE ANATOMY BOOKS, VIDEOS AND LOTS OF LIVE MODELS PHOTOS (INCLUDING Pree in eet cre a eR ence ete Uneaten en acetal eC e a a [ABLE TO PRODUCE THESE STUDIES. | WAS ALSO TAKING NOTES WHILE DOING THESE AS I RECOMMEND YOU Pees DEPENDING ON THE SECTION | PICKED, I CHOSE TO STUDY THE BONE STRUCTURE, AND FOR OTHERS, THE COMBINATION OF BONE, MUSCLE AND FAT, AS YOU WILL SEE HERE. Sia Wem na ee eee a eee hon tem cai ake) he a enol neg REQUESTS IN COMPILING THESE TOGETHER. SO WHY NOT ALSO ADD MY NOTES ? TN PNR ocho RL TSI Se OE Nha Tes en eee HeLa e Ne Pleo cam ORE aoa Ree SI SEPM Reels Ree ecm ace) STN cn ae EEN Des Giauco LONGHITHE Neck Te NeckTHE MAIN MUSCLE WE WANT TO USE IN ORDER TO TRACK DOWN THE SHAPE AND SILHOUETTE OF THE NECK IS THE STERNOCLEIDOMASTOID, WHICH ORIGINATES FROM THE STERNUM, MEDIAL PORTIOM OF THE CLAVICLES, AND INSERTS ON THE MasTOID PROCESS OF THE SKULL. Mastoip Process ieee rac \ STERNAL HEAD / iN (OPN ene lz.05) » a TRAPEZIUS Lo Sanu [erat _ WHAT WE SEE HERE IS A SIMPLIFIED VERSION OF THE NECK STRUCTURE. THERE ARE MORE MUSCLES AND VOLUMES, BUT | THINK YOU CAN TRACK THE OTHER VOLUMES ONCE YOU HAVE THE TRIANGLE SHAPE BLOCKED OUT, COMPOSED BY TRAPEZIUS, STERNOCLEIDOMASTOID AND CLAVICLE.THe Apam’s AppLe (THYROID CARTILAGE) HAS A STRONGER V SHAPE ON MALES, WITH THE CORNERS APPROXIMATELY OF 90°, AND IN FEMALES, MUCH WIDER, MAKING IT SOFT ENOUGH THAT IS NO PERCEPTIBLE. THE THYROID GLANDS ARE ALSO LARGER AND SOFTER ON FEMALE NECKS, SMOOTHING ALL THE BUMPS AND EDGES VISIBILE ON MOST MALES. - a Aton eee a [ei Teoh ON TeNcia = , . y —— = aie RETENN Oy ~ THERE IS A BONE ABOVE THE THYROID CARTILAGE, CALLED HYOID (TONGUE-BONE). It’s FLOATING IN THERE, BUT HAS MANY DIFFERENT MUSCLES AND LIGAMENTS CONNECTED TO IT. IT CREATES THE BOTTOM PLANE OF THE FLOOR OF THE JAW, VERY VISIBLE IN THE SIDE VIEW.aN a Mastoib PRgGess ‘STERNUM HEAD Leno ia z.10) oo’ = WHEN THE NECK IS FLEXING, YOU CAN SEE MANY DIFFERENT BUMPS AND LINES FLOWING FROM THE HEAD TO THE BODY. THE SHAPE OF THE IS THE MAIN ONE, SPECIFICALLY, ITS STERNUM HEAD, POINTING TO ITS INSERTION, BEHIND THE EAR - THE MasToiD Process.Anatomy Stupies V.1 (ele Teo) pe ola sx9 THE SHOULDER GIRDLE Te SHOULDER GiROLESCAPULA (onal h 7 U (eco) 7\eco))) THE IS THE SET OF BONES THAT CONNECTS THE BODY TO THE ARM. IT CONSISTS OF THE ie AND . HERE ARE ALSO STUDYING THE HUMERUS AND HOW IT CONNECTS ONTO THE GLENOID Cavity (SCAPULA SOCKET) TO HAVE A BETTER UNDERSTANDING OF HOW IT WORKS.THE CONNECTS TO THE VIA THE , THE UPPER PART OF THE STERNUM. THE SHOULDER GIRDLE AND THE ARMS ARE “FLOATING” ON TO THE BODY, BESIDES THE ATTACHMENT TO THE STERNUM. - feria aes Se WEN TUEISTUUS = STERNUM OBVIOUSLY WE HAVE MUSCLES, TENDONS, AND MANY OTHER TISSUES HOLDING EVERYTHING IN PLACE, BUT UNDERSTANDING THAT THIS IS STRUCTURE IS RIGID AND. CONNECTED TO THE STERNUM ONLY IS IMPORTANT WHEN THE ARMS.DEPENDING ON HOW LEAN THE PERSON IS, YOU MAY SEE ALL OR JUST A FEW OF THESE LANDMARKS, BUT THEY ARE VERY IMPORTANT TO NOTE AND DIFFERENTIATE WHEN ANALYZING THE SHOULDERS, AS THEY ARE THE CONSTRUCTION BLOCKS FOR THE ARMS, Dettoips, CHest, Neck AND Back. ken Tas SPINE OF SCAPULA ' ‘ - ; : “oe ‘ The in — ' 5 _ _—: a ih mm Nooo meres Coracoip Process IT WILL ALSO VARY FROM POSE, HOW MUSCULAR, BONE GENETICS AND SO ON. THe Coracolp Process CAN BE SEEN POKING THROUGH THE DELTOID SOMETIMES. THERE IS ALSO THE AC JOINT BUMP (ACROMIOCLAVICULAR JOINT), THE ACROMION Process, THE CLAVICLE, THE SPINE OF SCAPULA.THE CHEST Te ChestTHE Pectoratis MAJOR ORIGINATES FROM THE CLAVICLE, STERNUM, EXTERNAL Os ique APONEUROSIS (TENDON MEMBRANE) , THE CARTILAGE OF Rigs 1-6, AND RIBS 4 AND 5. IT ALL INSERTS ONTO THE HUMERUS, AT THE BICIPITAL GROOVE. IMPORTANT TO NOTE THAT IT FANS, SO THE ABDOMINAL HEAD INSERTS AT THE TOP, THE STERNAL HEAD IN THE MIDDLE, FOLLOWED BY THE CLAVICULAR HEAD. aero NST Ieh Pectoratis Minor Lor TeU ea aL) SterNAL Heap Aspominat Heap THE PECTORALIS MINOR IS COVERED BY THE PECTORALIS MAJOR, AND IS MAINLY RESPONSIBLE FOR PULLING THE SCAPULA FORWARD/ DOWNWARD, SO YOU MAY SEE ITS VOLUME PUSHING OUT WHEN ACTIVATED, BREAKING THE ROUNDNESS OF THE CHEST.THE IS RESPONSIBLE FOR ADDUCTING THE ARMS, BRING THEM TOGETHER WHILE ROTATING IT. THE UPPER PORTION IS RESPONSIBLE FOR RAISING THE ARM, AND THE LOWER, FOR LOWERING THE ARM. WHEN ACTIVATED, YOU CAN SEE THE DIVISION BETWEEN THE 3 DIFFERENT HEADS, MAINTAINING THEIR RELATIONSHIP.y THE PECTORALIS IS USUALLY FULLER AT THE BOTTOM, WHICH ALSO STORES SOME FAT IN THE REGION. THE CLAVICULAR PORTION IS USUALLY THINNER, CREATING A SQUARE LOOKING SHAPE TO THE CHEST.WHEN ACTIVATED AND FLEXED, YOU MAY SEE A DIMPLE IN THE STERNAL SECTION OF THE PECTORALIS Major, CREATED BY THE TENDON BEING A BIT LONGER IN THAT AREA, ABRUPTLY STOPPING THE ROUND SHAPE OF THE MUSCLES FIBERS. TENDONS STAY FLAT AND DON'T CHANGE THEIR VOLUME AS MUSCLES DO.THE MAIN STRUCTURE OF THE FEMALE CHEST IS THE SAME AS THE MALE, WITH THE ADDITION OF THE BREAST TISSUE, THE MAIN REASON WHY WE LOOKED AT THE MALE CHEST FIRST. THE BREAST TISSUE IS SOFT AND WILL VARY IN SHAPE QUITE A LOT, SO BLOCKING OUT THE STRUCTURE UNDERNEATH FIRST IS KEY.THE BREAST TISSUE SITS ON TOP OF THE LOWER AREA OF THE CHEST, STARTING AT THE STERNUM AND WRAPPING AROUND THE PEecToraLis Major, TO THE ARMPIT. IT Is COMPOSED OF AND ALSO. ' CREATING A SOFT VOLUME THAT CHANGES SHAPE DEPENDING ON THE POSITION OF THE TORSO, BEING HEAVILY AFFECTED BY GRAVITY.Anatomy Stupies V.1 Tue Chest 23THE Biceps Anaromy Stupies V.1 Tue Bicers 25yan ZI ~\ an Lone Heap > ee (oor Tee) i -—- Process —— a ‘ i? s " : \ Sela ae Ns z ‘ i GLeNoID Cavity iN / (SCAPULA SOCKET) Ivy 10) / eT Nea) THe Biceps HAS 2 HEADS - AND , BUT THEY MERGE TOGETHER AND INSERTS AT THE INNER PORTION OF THE. . (RADIAL TUBEROSITY) THE LonG HEAD ORIGINATES AT THE SUPRAGLENOID TUBERCLE (UPPER SOCKET OF SCAPULA) AND THE SHORT HEAD FROM THE Process. THE BRACHIALIS CONNECTS THE HUMERUS TO THE ULNA, AT THE CORONOID Process.yi wagN - CORACOBRACHIALIS » IN ONZE NCE lOO a CONTINUING WITH THE EXERCISING OF TRACKING DOWN OUR MUSCLES AND VOLUMES BY THEIR INSERTIONS AND ORIGINS, CHECK THE ANGLE OF THE (FROM CORACOID TO HUMERUS) AND THE DIFFERENCE BETWEEN THE , WHICH GOES FROM “RIB CAGE TO ARM”.eT Nery ON THE LATERAL SIDE, THE BRACHIALIS CONTRIBUTES TO THE OVERALL SHAPE OF THE ARM, SO IT’S IMPORTANT TO UNDERSTAND ITS ORIGIN AND INSERTION, TO BETTER NAVIGATE THROUGHOUT YOUR FORMS AND REFERENCEEY Laos Ui 12) TENDON THE TRICEPS Anatomy Stupies V.1 Tue Tricers 29THe Lonc Heap BELOW THE SHOULDER JOINT, THE LATERAL HEAD BELOW THE HEAD OF THE HUMERUS AND THE MEDIAL HEAD , IN THE LOWER 2/3 OF THE HUMERUS, SITTING UNDERNEATH THE OTHER 2 HEADS AND THE BIG TENDON. THEY ALL INSERST ONTO THE SAME TENDON, WHICH THEN ATTACHES TO THE TIP OF THE UNLA (OLECRANON).\| THE TRICEPS HAVE A VERY INTRICATE SHAPE, AND YOU CAN DESIGN THE LINES AND ANGLES IN MANY DIFFERENT WAYS. IT’s EASY TO START WITH ROUNDER VOLUMES AND CUTTING DEEP THROUGH THE ARM TO FIND HIM. Use THE POINTS TO HELP YOU FIND THE ANGLES AND RELATIONSHIPS WITH SURROUND VOLUMESTHE TENDON OF THE LONG HEAD SPLITS IN TWO, CREATING AN U SHAPE, SOMETIMES SEEN AS A DIMPLE. THE LONG HEAD SOMETIMES SPLITS IN TWO AS WELL. THE MepiAL Heap Is THE VOLUME BELOW IT. IT HAS A VERY SHAPE, ESPECIALLY ON THE INSIDE PART OF THE ARM, EASY TO SEE WHEN ARM IS UP. Anatomy Stupies V.1 Tue Tracers 32THE TENDON OF THE LONG HEAD SPLITS IN TWO, CREATING AN U SHAPE, SOMETIMES SEEN AS A DIMPLE. THE LONG HEAD SOMETIMES SPLITS IN TWO AS WELL. THe Mepiat Heap Is THE VOLUME BELOW IT. IT HAS A VERY DISTINCTIVE SHAPE, ESPECIALLY ON THE INSIDE PART OF THE ARM, EASY TO SEE WHEN ARM IS UP. Anatomy Stupies V.1 Tue Tricers 33THE ELBow Tue Etsow\ LaTerat EPICONDYLE ism a t@e) y(n , - Teel THE CORNERS OF THE HUMERUS ( ) ARE ALIGNED WITH THE TIP OF THE ULNA ( |) WHEN THE ARM IS STRAIGHT. WHEN THE ARM IS FLEXED, YOU CAN SEE A TRIANGLE SHAPE SINCE THE ULNA ROTATES AROUND THE BALL SOCKET OF THE HUMERUS.THE CORNERS OF THE HUMERUS ( ) ARE ALIGNED WITH THE TIP OF THE ULNA ( |) WHEN THE ARM IS STRAIGHT. WHEN THE ARM IS FLEXED, YOU CAN SEE A TRIANGLE SHAPE SINCE THE ULNA ROTATES AROUND THE BALL SOCKET OF THE HUMERUS.THE FOREARMRIDGE UIT oltesy THE FOREARM HAS MANY DIFFERENT MUSCLES FLOWING INTO DIFERENT DIRECTIONS, WITH DIFFERENT TENDON LENGTHS, CREATING VERY COMPLEX SHAPES AND FORMS. WE WILL APPROACH IT SLOWLY, STARTING OUT WITH THE SITTING ON THE OUTSIDE OF THE FOREARM, RESPONSIBLE FOR EXTENDING THE HAND AND FINGERS, AS SEEN IN THIS STUDY.IN THIS EXAMPLE, WE HAVE THE FOREARM IN A 90% SUPINATED POSITION, MEANING THAT WE ARE NOT COMPLETELY PRONATED OR SUPINATED, BUT CLOSER TO HAVING THE Rapius AND ULNA PARALLELS. WHEN PRONATED, PALMS ARE FACING DOWNWARDS. THE RADIUS ROLLS OVER THE ULNA (WHICH NEVER ROTATES), TWISTING THE WRIST AND ULTIMATELY MAKING THE HANDS TO FACE DOWN. v4 4 Lael Ua Furrow ~~ i> OtecRANON —~~ ) Leb WITHOUT UNDERSTANDING THE ORIGIN AND INSERTION OF THE MUSCLES OF THE FOREARM, IS TOO HARD TO TRACK ACCURATELY ITS SHAPE AND STRUCTURE. THE MUSCLES WON'T CHANGE DIRECTION, BUT RATHER TWIST AND SQUASH AND STRETCH, DEPENDING ON THE HAND AND FINGER MOVEMENT.aren’ ” (eX) ANCONEUS Rapiaus | stay (a ) EXTENSOR ¥ Dicitorum | EXTENSOR Dicm aaron 7, a TN TINA ABDUCTOR — Pouucis arson RolNetts9 oe EXTENSOR Brevis (ene ‘Ny Loncus ei WE ARE LOOKING INTO THE MAIN VISIBLE MUSCLES OF THE EXTENSOR GROUP. . THERE ARE OTHER MUSCLES BUT THEY ARE EITHER HIDDEN OR NOT VERY EASY TO TRACK DOWN.EXTENSOR Potticis Loneus ~ aarwel’ s Le) ANCONEUS Rapiaus ~~ Tay EXTENSOR Dicitorum y ea eae se _ Diam TINA - Fr) Mm EXTENSOR a ete a b PND arel Brevis Lert iTer) Loneus Nt WE ARE LOOKING INTO THE MAIN VISIBLE MUSCLES OF THE EXTENSOR GROUP. . THERE ARE OTHER MUSCLES BUT THEY ARE EITHER HIDDEN OR NOT VERY EASY TO TRACK DOWN.ere) (ont TNA VERY IMPORTANT TO STUDY ALSO THE AND OF THE 1» SINCE THEY ALSO PLAY A HUGE ROLE ON HOW OUR FINAL MODEL WILL LOOK LIKE. THIS IS VALID NOT ONLY FOR THE FOREARM BUT ALSO FOR THE ENTIRE BODY.§ \ ene _ = eso ce Rapiaus Loncus IS COMPOSED OF ONLY TWO MUSCLES. AND THEY ARE USUALLY DESCRIBED AS ONE SINGLE VOLUME, STARTING BETWEEN THE TRICEPS AND BRACHIALIS, POINTING DIRECTLY TO THE WRIST/THUMB.THE Upper BAcK Tue Ureer BackTHE BACK IS A VERY COMPLEX REGION WITH MANY DIFFERENT LAYERS OF MUSCLES, AND OFTEN TIMES SEEN AS VARIOUS “RANDOM” BUMPS. UNDERSTANDING THE ORIGIN AND INSERTION OF EACH OF THE MAIN MUSCLES IS IMPORTANT WHEN ANALYZING YOUR REFERENCES. ler ua (71H Cervicat VERTERA) STO oD eS IN THIS STUDY, WE ARE IGNORING A FEW MAJOR MUSCLES LIKE THE DELTOIDS, Latissimus Dorsi, SUPRASPINATUS, ERECTOR SPINAE, AMONGST OTHERS, SO KEEP THAT IN MIND. THE C7 IS A GREAT LANDMARK TO USE IN ORDER TO CONSTRUCT THE BACK STRUCTURE.THE TRAPEZIUS HAS 3 DIFFERENT PORTIONS. Upper, MIDDLE AND Lower Portion. EACH PORTION HAVE FIBERS RUNNING IN DIFFERENT DIRECTIONS. IT ORIGINATES FROM BASE OF THE SKULL, NUCHAL LIGAMENT, C7, GOING ALL THE WAY DOWN FROM T1 To T12, INSERTING ONTO THE SPINE OF THE SCAPULA, CiavicLes AND ACROMION PRocess. Upper Portion Or ™ Mipb1e Portion Lower Portion THE VOLUME OF THE (MIDDLE PORTION ENDS DIRECTLY ON TOP OF ITS INSERTION, THE SPINE OF THE SCAPULA, CREATING A VERY GOOD LANDMARK FOR TRACKING DOWN, THE POSITION AND ORIENTATION OF THE SCAPULA, WHICH IS OUR MAIN BONE IN REGARDS OF THE SHOULDER AND ARMS MOBILITY.Ure sre) > THE SITS UNDERNEATH THE AND CAN BE SEEN ON SPECIFIC POSES SO PAY ATTENTION TO ITS LOCATION AND FIBER ORIENTATION FOR TRACKING IT. It FROM THE SPINE (C7 To T4/5) AND ONTO THE Mepiat EpGe OF THE SCAPULA. It’s RESPONSIBLE FOR MOST OF THE VOLUME BETWEEN SCAPULAS.He Ureer BackTHE Lower Back THe Lower BackUNDERSTANDING THE MAIN MUSCLES IS KEY, AS THE BACK IS CONSTANTLY CHANGING SHAPE DUE DIFFERENT ACTIVATION OF DIFFERENT LAYERS OF MUSCLES, PUSHING THE LAYERS ON TOP. A GOOD EXAMPLE IS THE VOLUME CREATED BY THE ACTIVATION OF THE SERRATUS ANTERIOR, PUSHING OUT THE LATISSIMUS DorsI. Latissimus Dorsi Sara IN THIS STUDY, WE ARE IGNORING THE UPPER BACK MUSCLES LIKE THE TRAPEZIUS, SuprasPiNATus, DELTOIDS, AND ALSO LOWER BACK MUSCLES LIKE THE EXTERNAL OBLIQUE, SERRATUS POSTERIOR INFERIOR, INTERNAL OBLIQUE, AMONGST OTHERS, SO KEEP THAT IN MIND.THe Latissimus Dorsi Is A CONSIDERABLE THIN AND WIDE MUSCLE THAT SITS ON TOP OF MANY DIFFERENT MUSCLES ALONG THE BACK. BECAUSE IT’S THIN ON MOST PART, IT ‘S EASILY PUSHED OUT BY THE MUSCLES UNDERNEATH. IT WRAPS AROUND THE SCAPULA INSERTING INTO THE BICIPITAL GROOVE OF THE HUMERUS, BETWEEN THE TERES Major AND Pectoratis Major. DSi IPN MICN Blo) cy] IT ORIGINATES FROM THE SACRUM, ILIAC CRESTM LUMBAR VERTEBRAE, LOWER SIX THORACIC VERTEBRAE AND THE LOWEST 3 RIBS, ON WHICH IT INTERDIGITATE WITH THE EXTERNAL OBLIQUE. THE TRAPEZIUS COVERS THE THORACIC SECTION OF THE Latissimus Dorsl.ANOTHER VERY CLEAY OVERLAP OF MUSCLES HAPPENS AT THE VER LOWER BACK REGION, THE LUMBAR. YOU CAN FEEL THE 2 BIG CILINDRICAL VOLUMES OF THE PUSHING OUT THE (TENDON SHEET) OF THE Srupies V1 The Lower Back 56a s410} Sn} ; ieee DCN eSy ISTO rN y fa o \ y ) /! \ | aaa Nel.4 | \ Dorsi Erector Spinae WE CAN SEE HERE THE AMOUNT OF MUSCLES VISIBLE WHEN ANALYZING THE BACK, AND LIKE DISCUSSED BEFORE, THESE ARE NOT ALL OF THEM. DEPENDING ON THE POSE AND ORIENTATION OF THE ARMS/SCAPULA, THE BACK CAN LOOK VERY “DIFFERENT”. THE LOWER BACK ALSO CONCENTRATES A LOT OF FAT IN THE THORACIC AND LUMBAR REGIONS.THE Asszee e NIN 1 ard Nr NmO)-Iaelt1a THe Rectus ABDoMINISs FROM THE PUBIC CREST AND INSERTS ONTO THE ANTERIOR COSTAL CARTILAGE OF THE 5TH, 6TH AND 7TH RIBS, AND ALSO AT THE XIPHOID Process. THe ExTERNAL OBLIQUE FROM THE BOTTOM 8 RIBS AND INSERTS ONTO THE ANTERIOR PART OF THE ILIAC Crest, XIPHOID, LINEA ALBA AND PusisTHE SEPARATION BETWEEN THE PACKS CAN BE SEEN IN MANY DIFFERENT COMBINATIONS, SO IT'S IMPORTANT TO UNDERSTAND THE RIBCAGE STRUCTURE UNDERNEATH, AVOIDING MISTAKES AND MISPLACEMENT OF FEATURES. | MADE THIS STUDY WITH ARMS UP IN ORDER TO FULLY COMPREHEND IT. 4TH TENDINOUS IN sicellon THERE ARE 10 PACKS TOTAL, WITH 8 BEING VISIBLE IN MOST LEAN PEOPLE, THE LAST TWO PACKS CREATED BY THE ATH TENDINOUS INTERSECTION BELOW THE NAVEL, ARE RARELY SEEN, BUT MAKE SURE TO TAKE IT INTO CONSIDERATION. THE PLACEMENTE OF THE NAVEL CAN ALSO CHANGE A BIT, SO HAVE THAT IN MIND WHEN COUNTING THE PACKS AND DESIGNING YOUR MUSCLES.