Bring the Gray/Neutral Paper to next class!

Remember to bring the gray/neutral paper to class, plus black and white conte crayons.  We will be drawing on this paper on Wednesday and next Monday.

Assignment #6: Hand and Foot Bones

Hand and foot drawings with superimposed skeletons

Due next week

Choose your most interesting hand drawing and your most interesting foot drawing from the previous sketchbook assignment.  You are to re-draw them, superimposing the skeletal structure of each into the drawings (do not merely make a skeleton hand and foot without the flesh surrounding it).   Each drawing should fill a sketchbook page.

Research the skeletal anatomy of hands and feet enough to be able to accurately place each bone into its respective spot.  You are to be anatomically accurate, allowing the various processes and recesses of each individual bone to be expressed.  Do not merely make cartoony versions of bones.  The shape of each distal phalanx should be separate and distinct from the shape of each median phalanx, for example.  Also, be sure that your skeleton matches up with any visible landmarks caused by boney protrusions, so that the medial malleolus of the tibia actually causes the protrusion known as the inside ankle bone.

Both of these drawings should be as made to be as believable and as beautifully crafted as possible.  Take into consideration the perspectival shape of foreshortened bones, plus the necessary overlapping of bones that such drawings require.  Use any reference sources available to finish the project as long as you yourself are the one making the drawings.

Good luck!

Assignment #5: Hands and Feet

You are to make 3 drawings of single hands, and 3 drawings of single feet.  All must be in a unique position.  Each drawing should be close to life size, filling a sketchbook page. 

The Rules

·       All of your drawings must describe light and shadow

·       Be as detailed and descriptive as possible, but do not lose the overall space and structure

·       Every drawing must be done from life

·       Every drawing must be done in a different position than all the others

·       Make each drawing interesting by picking an unusual position

·       Seek out other artists to see how they did it

·       Strong, dramatic light WILL make your life easier!

Helpful Hints

·       Body parts are architectural.  They have mass and are made up of planes!

·       Keep it simple.  Only find detail in the light, not the shadow.

·       Don’t draw just your own. Instead, get others to pose for you!

Remember the Museum Trip!

This is a reminder that our bus trip to NYC is on Friday, November 18, from 10 am to 10 pm!  The cost is $25 to get a seat on the bus.  Most importantly, the bus is over half full at this point, and the seats are first come, first serve.  Once the bus fills up, you are S.O.L., and you'll have to find your own way there!

Assignment #4: Torso Muscles

Muscles of the Torso

This project is due next week.

The torso, anchored by the spinal column, is the glue that ties all the extremities together. From the ribcage on top to the pelvic girdle below, it is where the gesture is born.  It can twist and turn in almost an infinite number of directions, and to do that its muscular structure is downright miraculous in its ingenuity.  We’re all familiar with its (idealized) major forms: abs, pects, hips and back, but relatively few people know much beyond those major masses.  This project will help.

In your sketchbook, you are to draw three views of a torso as accurately, proportionate, and as detailed as possible, with the major muscles and landmarks from the list provided below neatly labeled in each view.  You must label all muscles in view in each drawing!  You must draw an anterior (front) view, and posterior (back) view, and a lateral (side) view.. All three drawings should be on separate pages and--once again—should be independently labeled.  You may use any detailed image in Goldstein (see illustrations in Chap. 4) or research your own accurate images.  Use a finely sharpened pencil to accurately render as many muscles as would be visible in the view that you’ve chosen.  You must include everything from the neck down to the top of the femur, including the shoulders.  Include muscular striations that help to identify the direction of the pressure that the muscle applies. Do not crop your torsos at all and be sure to fill your sketchbook page as much as possible without compromising proportion or accuracy.  You are to label your drawings neatly and without compromising the details of the drawing with the list of muscles and landmarks `below.

• Sternocleidomastoid
• Trapezius
• Clavicle
• Deltoid
• Pectoralis major
• Serratus
• Latissimus dorsi
• External oblique
• Rectus abdominus
• Flank pad of the external oblique
• Anterior superior iliac spine
• Posterior superior iliac spine
• sartorius
• tensor fascia latae
• gluteus medius
• gluteus maximus
• great trochanter
• 7^th cervical vertebra
• infraspinatus
• teres minor
• teres major
• rhomboid
• sacral triangle

Assignment #3: Leg Muscles

Muscles of the Leg

Due next week

Like the arm, recognizable landmarks on the leg are informed by how the muscles of the leg wrap around the skeletal structure.

In your sketchbook, you are to draw three views of a leg as accurately, proportionate, and as detailed as possible, with the major muscles from the list provided below neatly labeled.  You may choose three of the four basic views of a leg: the anterior view, the lateral view, the posterior view, and the medial view. All three drawings should be on separate pages and independently labeled.  You may use any detailed image in Goldstein (see illustrations in Chap. 4) or research your own accurate image.  Use a finely sharpened pencil to accurately render as many muscles as would be visible in the view that you’ve chosen.  Do not crop your legs at all and be sure to fill your sketchbook page as much as possible without compromising proportion or accuracy.  You may not omit feet.   You are to label your drawings neatly and without compromising the details of the drawing with the list of muscles below. Label every list item that you can see once in each drawing.

• Gluteus medius
• Gluteus maximus
• Illio-tibial band
• Sartorius
• Gracilis
• Adductor magnus
• Vastus lateralis
• tensor fascia latae
• Rectus femoris
• vastus medialis
• Biceps femoris long head
• Biceps femoris short head
• Band of richer
• Semimembranosis
• Semitendinosis
• Popliteal fossa
• Soleus
• Gastrocnemius, medial head
• Gastrocnemius, lateral head
• Tibialis anterior
• Peroneus longus
• Extensor digitorum longus
• Flexor digitrum longus
• Achilles tendon
• Peroneus brevis
• Medial malleolus
• Lateral malleolus

Assignment #2: Arm Muscles

This project is due Monday, September 12

 Muscles of the Arm

To prepare for this project as well as the next couple of projects, read Chapter 4 in Goldstein. Our skeletons alone are nothing more than a rack on which to hang our flesh.  In order for us to move, we have a complex system of mechanical moving parts we call muscles.  Many of the familiar landmarks we see on the figure are caused by the muscular structure designed to move rigid bones.

In your sketchbook, you are to draw three views of an arm as accurately, proportionate, and as detailed as possible, with the major muscles from the list provided below neatly labeled.  If possible, address light and shadow. Of these three views, one must be an anterior view, one must be a lateral view, and one must be a posterior view, all of which should be on separate pages and independently labeled.  You may use any detailed arm image in Goldstein (see illustrations in Chap. 4) or research your own accurate image.  Use a finely sharpened pencil to accurately render as many muscles as would be visible in the view that you’ve chosen.  Do not crop your arms at all and be sure to fill your sketchbook page as much as possible without compromising proportion or accuracy.  You may not omit hands.   You are to label your drawings neatly and without compromising the details of the drawing with the list of muscles below.

• Deltoid
• Biceps
• Triceps
• Lateral head of the triceps
• Long head of the  triceps
• Medial head of the triceps
• Brachialis
• Tendonous plateau of the triceps
• Medial epicondyle of the humerus
• Olecranon process of the ulna
• Supinator longus
• anconeus
• Extensor carpi radialis longus
• Extensor carpi radialis brevis
• Extensor digitorum
• Extensor carpi ulnaris
• Flexor carpi ulnari
• Head of the ulna
• Ulnar crest
• Abductor pollicus longus
• Extensor pollicus brevis
• Hypothenar  muscles
• Thenar muscles

Below are some example images from Goldstein.  Your drawings should be just as carefully crafted.