Anatomy and Perspective: The Fundamentals of Figure Drawing (Dover Art Instruction) by Charles Oliver

Author:Charles Oliver [Oliver, Charles]
Language: eng
Format: mobi
ISBN: 9780486146409
Publisher: Dover Publications
Published: 2012-07-25T04:00:00+00:00

Fig. 49

The collar bone is hinged on the top of the breast bone (sternum). It moves outward and joins to a bony ridge on the shoulder blade (scapula). The shoulder blade is made to slide easily over the surface of the rib cage. Something of the range of movement available to this mechanism can be experienced, even without arm movement, by ‘shrugging’ the shoulders. Fig. 50 will show the tremendous power surrounding this area with at least nine muscles working in some way, some of them among the most powerful in the body.

At the very top of the trunk is the neck, built round the cervical vertebrae at the back and the windpipe in the front. Some details can be seen in fig. 51a and b where I have reconstructed in anatomical terms the neck of Michaelangelo’s ‘Adam’. In drawing the neck, you should be careful not to over-emphasize the anatomical forms, particularly the sterno-mastoid muscles which can be seen to make a sort of V-shape cutting across the neck (fig. 46). It is much better at all times to think of the neck geometrically as a cylinder capable of supporting the head on the shoulders, as shown in fig. 51c and d, both sketched from paintings by Ingres. Fig. 51c shows also the interesting ‘roll’ of muscle (trapezius) which builds up above the collar bone. The shape of this and its integration with the roundness of the neck is clearly revealed when a necklace is worn (see also fig. 91b). Another characteristic of the neck is that it does not normally stand straight up on the shoulders but juts forward, continuing smoothly the angle of the backbone (fig. 48c) .

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