Ghtyo nd) i Joseph Sheppard ANATOMY A Complete Guide for ArtistsCopyright © 197S by Watson. Gupailt Publications ‘All ights reserved under Pan Aracrican and International Copy right Convetions, ‘This Dover editon, fst published in 1692, is at untae igh coected epabieaton ofthe week oiielly pblished by ‘Wasce-Gupill blicstons, New York, = 1975. Manutactored inthe United States of America Dover Publications nc, 31 East nd Street, Mineola N 0 Library of Congress Cosaloging in Publication Daa ‘Sheppard, Joseph, 1990. “Anatomy a complete guide for artists / Joseph Sheppard. ar “This Dover ed. first published in 1992, is an unabridged, Slightly corrected, republication of the wark engisally pub- liabed: New York : Watson-Gupil Publications, 1975. ISBN 0-486-27279-6 1. Anatomy, Artati NC76O-S53 1992 743.4920 92-20645, cP L Tike,CONTENTS Introduction 9 |. PROPORTION II ndmarks 12 2. THEARM 19 Schematic Drawings 20 Front View, Palm Out (Supination) 20 Back View, Paina Out (Supinatioa) 22 Front View, Palm In (Pronation) 24 Back View, Palm In {Pronation) 25 Inside of Arm, Supinated 26 Inside of Arn, Pronated 27 Oubide of Arm, Supinated 28 Outside of Arm, Pronated 29 Front View, Arm Raised Away from Body 30. Back View, Arm Raised Away from Body 31 Outside View, Biceps Fiexed | 32 Front View, Arm Flexed 33 Bones iH Shoukler Socket 34 Upper Arm (Humerus) 36 Shoukler Joint 40 Forearm (Radius and Ulna) 42 Elbow Joint 46 Bones of the Hand and Wrist 48 Wrist Join 50 Muscles 52 Back of Arm $2 Front of Arm $4 Outside of Arm 56 ‘Table of Muscle Origins and Insertions 58 Surface Anatomy 59 3. THEHAND 65 Schematic Drawings 66 Palm Side 66 Buck of the Hand 68 Little Finger Side ‘Thumb Side 71 Muscles 72 ‘Table of Muscle Origins and Insertions 76 Surface Anatomy 77 4. THE LEG Ra ‘Schematic Draw Front View 84 Back View 86 Outside of Leg 88 Inside of Lez 90 Front View, Extended with Toes Pointing Out 92 Hack View, Extended with Toes Pointing Out 93 Outside View, Leg in Flexed Position 94 Inside View, Leg in Fiexed Position 9S Front ofthe Inside of Flexed Leg. with Knee Pointed Ovt 96 Bones 97 Pelvis 97 Upper Leg (Femur) 100 Lower Leg (Tibia and Fibula) 107 Koce Joint 11) Bones of the Foot 113 Ankle Joint 115 ‘Mascles_1I7 ‘Table of Muscle Origins and Insertions 120 Surface Anatomy 1215. THE FOOT Schematic Drawings 128 Ovtside of Foot 128 Inside of Foot 130 Front View 131 Back View 132 Top of Foot 133 127 iat Table of Muscle Origins and Insertions 140 Surface Anatomy 141 6. THE TORSO 145 ie Drawings 146 ew 146, Back View 148 Side View 150 Back View with Torso Bent and Arm Raised 152 Side View of Torso with Arm Raised Forward 153 Side View of Torso with Arm Pulied Back 154 Froat View of Tono with Arms Raised 155 Bones 156 Spinal Column 156 Vertebrac 157 Ridcage 158 Muscles 162 Tors 162 Armpit 166 ‘Table of Muscle Origins and Insertions 165 Surface Anatomy 169 Z HEADAND NECK 175 Schernatic Drawings 176 Front View 176 Side View 177 Front View with Head and Neck Turned 178 Side View with Head Down 179) Side View with Head Back 180 Bones 181 Skull 181 Neck Joint 184 Muscles 186 Table of Muscle Ori sand Insertions 155 Neck 189 Surface Anatomy of t The Features 192 Ear 192 Nose 195 Lips 198 Eye 201 Teeth 204 Pacial Expressions 205 8. COMPLETE FIGURE 211 Veins 221INTRODUCTION 1 first started drawing bad copi Vargas and Pety sits from men's magazines whea T was twelve years old. I started art school at eighteen sand happily discovered that the great periods of painting and seuptare, from ‘the Grecks to the Baroque, aved the figure as the main means of expression. T stulied at the Maryland Enstitate tender Jacques Maroger, who not enly taught printing but anatomy. Maroger stressed drawing through iearning basic snatortical forms, He belicved thet the master draftsmen of the Renaissance had simple formulas for cresting the pure, which explains the cpormocs mount of information many sequired while a5 young. Maroger used the then-cutof-priat Paul Richer anatomy ‘charts in his lectures, I found mpseif spending nights at the Enoch Pratt Libeary tracing all 110 plates fror that rare book. (This book has recently been reissued by Watson-Guptill in an English translation by Robert Bever'y Hale under the tite Artistic Anatomy.) Reginald Marsh, Maroger’s close fiend, woutd visit our class in Bal- more from time to time and was s1eat inspiration to the students. He ‘would sit down in class and work be- side us. Marsh was the great figure draftsman of cur time and would de- light in showing us simple litle scheeves of numbers and shapes that when put together would represent smoscles and hones Marsh made me realize how much 1 idn’t know about the figure. I 2s ‘embarrassed to put figures in ray fst paintings because I drew so pooriy. 1 fold him that as soon o¢ I learned how to draw the figure properly I was sing to fill my camvases with ther, Me said, “Put thera ia anyway. You ‘nave to paint hod ones and make mis- takes in ordet to improve. If you wait unt you're good enough you'll never paint the figure.” Since that time, there is hardly a canvas that I paint that doesn’t have the heman form repre- seated on it, In 1957, went to Europe on a ‘Guggenheim Fellowship. planning to pint and copy every Rubens paint 1 could find. Instead 1 found myself drawing from Greek and Renaissance statues. Here, all the anatomy was ‘worked out, explained, and in the round. All one had to do was add life wit Eventually 1 found myself back at the Maryland Insttote, this time asa teacher, teaching painting and life frawing. 10 the life class, I discovered that I coukda't teach studeats bow draw from the live model sf they didn't have any anatomical knowledge, [ fooked around for an anatomy book 10 istic,” loosely drawn and vague. So I made up my own charts, xeroxed them, and would inject aq anatomy lesson int my life clas each day. My charts, after several years of try Ing, testing. and changing. Bally ée- veloped into this book. It is not a medical book, but a book for artists. Becawse of the many variations in bone anal muscle, have chosen what 1 think is the simplest form for the artist to understand, I have taken erties fo the sake of clarity, omitting mary ‘of the undertying muscles and substi turing the English equivalent for mach of the Latin terminology. As there are two leps, 080 arms, 160 feet, ete, I have chosen to show only the right side. That i, the tight leg, the Fight foo, and s0 on. The torso and bread are shown in their entirety ‘The information in this book is ae- ‘cumulative knowledge from years of studying drawing, printing and sculp- ture of the great periods of at thank Jacques Maroger, Reginald Marsh, Michelange’o, Peter Paul Roubens, and all those other "Old Masters” for whatever knowledge f Past on to you. Note for the Reader ‘The arbitrary division of the body into separate parts may make for the most ‘ficient way of studying it, but it ean ‘also be somewhat misleading. For ex- ‘ample, many of the arm miwseles €x- tend into the aad muscles, many of the leg truscles extend into the foot mascles, and the muscles of the neck and head are similarly interconnected. ‘Therefore, because itis necessary to know where the muscies originate and insert in order to urderstand them, nd the only way mascte origin and insertion can be explained isin terms ‘of the bones, Ihave included the bones of the hand in the chapter on the arm, the bones of the foot in the chapter on the leg, and have combined the neck tod the head in a single chapter. After the bones are studied as @ unit, the muscles can be studied separately, in their nateral sequence.12 ANATOMY Proportion varies as much as people do, However, the classical figure, Greek and Renaissance, was an eight= hheadselength figure, the head being ‘used as the unit of rocasure. Manneris artists created an elongated figure, sing nine, ten, or more head lengths, In nature, the average figure height is between seven and cight heads. ‘The cight-heads-length figure seems by far the best; it gives dignity to the figure and also scems to be the most convenient. Landmarks ‘Certain bones project on the surface of the bedy, becoming important land- marks for the artist. These bones are always next to the skin. On a thin per- soa they protrude and on. a heavy perton they show as dimples, Key A. Sternal ante’ B. End of clavicle and scapula CC. Bottom end of sternum D. Inside of elbow (humerus) Ridge of pelvis F. Pubis bone G. Thumb side of wrist (radius) H. Little finger side of wrist (ulna) J. Inside of upper part of knee (femur) J. Tnside of lower part of knee (tibia) K. Kneecap ¢patelia) L. Head of fibula M. Outside of ankle (fibula) N. Thside of ankle (1bia) ©. Shinbone (tibia) P. Nipples © Navel R. Hipbene (femmur) S. Seventh cervical vertebra T, Bottom of seapula U, Dimples caused by end of itine spine V. Back of elbow (ulna head) W. Head of radius Front view, male figure, eight heads high.