![]() ![]() The height of the head is the same as the height of the pelvis. Because this paper is manually colored, I can use a rubber eraser to take off paint and achieve soft white highlights. Never mind-for illustration purposes, this will do well. ![]() This is not a watercolor paper, and therefore it is a bit more challenging to make soft washes of paint. This skeleton artwork will be used to explain the origins and insertions of the main muscles that shape the model's body. I just want you to see in more detail the skeletal anatomy. Coloring this drawing with watercolor is completely optional. I will use a soft natural-hair Escoda brush for this job. Actually, just black would be fine, as the paper is already colored. I will now choose a color for tinting this anatomical drawing. And the last two ribs are "floating ribs" because they are connected only to the spine. The next three pairs of ribs are "false ribs" because at the front they connect to the previous ribs. The first seven ribs are "true ribs." They connect to the breastbone at the front. And finally, there are seven vertebrae in the cervical spine. There are twelve vertebrae in the thoracic section of the spine, which is curved outwards such curvature is called kyphosis. If you have some gaps in human anatomy knowledge, this is a great course to get all the necessary information fast. The anatomy and structure of different vertebrae is fully explained in the Anatomy Master Class. This section of the spine is curved inwards, which is called lordosis. I will outline five vertebrae of the lumbar region. The elbow bone is wider at the elbow, and the radius is wider at the wrist. Both forearms are in the supination position the elbow bone and the radius are parallel to each other. The length of the elbow bone can be compared to the height of the head. Nevertheless, the proportions of the model's figure play an important role in this sketch. Of course, we don't see much of the skeletal structure in life, so it is not strictly life drawing as most of it is done from my imagination. The two shoulder blades are seen at slightly different angles because of the curvature of the ribcage, and the right one is slightly foreshortened. ![]() I plan to tone this drawing in watercolor, so going bold in pencil is not what I want at this step. I'm using very light pressure on the pencil, and therefore the lines are pale. The first pair of ribs is simplified as an oval for now. After the twelfth rib vertebra, the spine changes its curvature direction once again. This curvature changes for the ribcage section of the spine. The neck segment of the spine is curved forward. I also mark as an oval the cross-section at the seventh vertebra level. The place where the skull connects to the spine is an important point, especially in this point of view. The width of the head can be compared to its height. The angle of the other hip is also measured in life. The height from the top of the head is the same as the width of the waist from this point of view. So, all lines are very faint, almost invisible. I would like to avoid using an eraser because it will take paint off the paper and leave white spots. Do not worry if you do not see much on paper yet. The tilt of the hip is also measured in life. We mark this vertical alignment in drawing. The left shoulder edge projects vertically to the hip. We can also double-check the measurement by using the height of the head. We can now establish the width of the shoulders, measuring it as a relative proportion to the figure's height. One of the important landmarks in the back-side view is the seventh vertebra of the spine. It fits about three and a half times from the top of the head to the podium. The height of the head can be measured in life as a relative proportion to the distance between two edges marked in the previous step. I mark the top edge of the figure as well as its lower edge. Let's begin with the skeletal structure of a body. ![]()
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