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 1.  
     FOR PERSONAL USE ONLY OF GOMESH KARNCHANAPAYAP, 10/56 TOWNPLUS RAMA 9
     KRUNGTHEP KREETHA, BANGKOK 10240ALL RIGHTS RESERVED BY EXONICUS LLC
     
 2.  
     2014ULDIS ZARINSWITHSANDIS KONDRATSUNDERSTANDING THE HUMAN FIGUREFOR
     PERSONAL USE ONLY OF GOMESH KARNCHANAPAYAP, 10/56 TOWNPLUS RAMA 9 KRUNGTHEP
     KREETHA, BANGKOK 10240ALL RIGHTS RESERVED BY EXONICUS LLC
     
 3.  
     Author and Designer: Uldis ZarinsProject Director: Sandis KondratsLayout
     and Graphic Designer: Edgars VegnersPhotography: Sabina GramsEditor:
     Johannah LarsenProofreading and Editing: Monika Hanley3D scanning: Chris
     Rawlinson (3dscanstore.com)3D sculpting: Sergio Alessandro Servillo (page
     99)Copyright 2014 EXONICUS, LLCAll rights reserved. This book is protected
     by copyright. No part of this book may be reproduced in any form or by any
     means, including photocopying, or utilized by any information storage and
     retrieval system without written permission from the copyright owner.
     Printed in USAFirst Edition, 2014The publishers have made every effort to
     trace the copyright holders for borrowed material. If they have
     inadvertently overlooked any, they will be pleased to make the necessary
     arrangements at the first opportunity. To purchase additional copies of
     this book, call our customer service department at (310) 869-9952Visit
     anatomy4sculptors.comFOR PERSONAL USE ONLY OF GOMESH KARNCHANAPAYAP, 10/56
     TOWNPLUS RAMA 9 KRUNGTHEP KREETHA, BANGKOK 10240ALL RIGHTS RESERVED BY
     EXONICUS LLC
     
 4.  
     High HopesAt the beginning of the 1990s, on the ruins of the USSR, in the
     newly formed Latvian nation, a young person, named Uldis Zarins, full of
     ideals and hopes, dreamed of becoming a sculptor. In 1994, he was accepted
     to the Art College of Riga. Studies were difficult and competition was
     fierce, but they resulted in satisfaction. Every day he replicated famous
     classical Greek portraits, busts, and figures in clay. The outlook
     prevailed, that frequent replication of antique sculptures would facilitate
     the understanding of form creation. After only half a year, Uldis
     understood that eyes, of course, adapt, and hands become more agile;
     however, understanding of the form did not materialize.The Cheek of the
     AmazonOne day, when replicating the head of the Amazon portrait of famous
     sculptor Polykleitos, he ran into a problem: How to construct a cheek? It
     was clear that the form was not just a sphere, but several complicated
     forms combined. He thought: “It would be great to understand what these
     forms are and how they go together!” Teachers only discouraged, saying:
     “Study, research, measure!” – But what to measure, when there aren’t even
     any corners, nor facets!? A teacher answered: “Study anatomy, maybe you’ll
     get by somehow.” First Anatomy StudiesA modeling teacher told Uldis: “If
     you want to understand everything, here is a human skull and anatomy book.
     Study and create an écorché for us!” Uldis decided to create a bust with
     shoulders. All of its muscles were in place, however, the sculpture looked
     bad. The main thing was that his understanding of the form had not
     increased one bit! In the place of the form, he had studied muscles.In
     digging through a mountain of anatomy books, Uldis realized that they were
     all meant for painters and drawers. He found that all of these books were
     equally boring, with scant, chaotic drawings. “No one, it turns out, has
     thought about sculptors!” Uldis found only one anatomy book, which only
     slightly touched on the form -- Gottfied Bammes’ Der nackte Mensch. Then he
     asked himself the question: “Why are there so few pictures in the books and
     so much text!”Academy StudiesAfter college, Uldis enrolled in the Art
     Academy of Latvia (Latvijas Makslas Akademija). There, same as in college,
     emphasis was placed on exercises, not on the understanding of how to create
     the form. Each time Uldis created a new sculpture, he made preparations,
     not only to arrange the frame and the edge, but also drew a small paper
     sketch where he could analyze the form in an understandable way. Over the
     course of several years, drawings, sketches, anatomy books and successful
     photographs were accrued. Uldis began to notice, that the sketches he had
     created, as well as images, were in high demand among colleagues. He often
     heard the suggestion that he should collect them all and publish a book,
     which would be a composite of form analysis, as well as fundamental
     information about anatomy that sculptors would need to know. This was how
     Uldis came up with the idea for the creation of the book.KickstarterYears
     went by and Uldis created the website anatomy4sculptors.com, a proportion
     calculator, and Facebook page, where he publishes anatomy reference images
     and his drawings. On the Facebook page, Uldis engaged in conversations and
     tested the ways of explaining the human anatomy. In the spring of 2013,
     with the help of friend Sandis Kondrats, a Kickstarter campaign was
     organized, creating an international team, with whose help Uldis realized
     his dream of publishing the book, Anatomy for Sculptors. During the project
     development phase, Sandis and Uldis were joined by friends from Latvia,
     Sabina Grams and Edgars Vegners, who contributed with their expertise in
     Graphic Design and Photography. With much help from Sandis’ brother Janis
     Kondrats, we were able to create a unique subscription system on the
     website to engage and test the book's content with the project supporters.
     As English is a second language for Uldis and Sandis, the assistance of
     editors and proofreaders, Monika Hanley and Johannah Larsen, was
     indispensable. Friendships, created through the project with Chris
     Rawlinson and Sergio Alessandro Servillo, filled in the blanks with 3D
     scans and sculpt reference materials. The Shutterstock service, which
     supplied Uldis with a lot of great artwork to build on the book’s content,
     was also a great help. Thanks to the friends of the international sand
     sculpting community, with whom Uldis and Sandis had conversations about the
     book during their travels over the course of the year, which was a great
     help in the book’s development process. The support of the Seattle Latvian
     community was very special while working on the project. Also, without the
     support and understanding of the families and friends of Uldis and Sandis,
     this project would not have been possible. Finally, the book has come into
     physical form after hard and passionate work over the course of 20 years,
     since Uldis came up with the dream of creating such a book. It took him 11
     years of classical art studies, over 200 international sculpting festivals,
     symposiums and exhibitions in 9 years and the past 4 years spent on reading
     books, researching human anatomy, and creating illustrations for this book
     to come to life.ABOUT, HISTORY, BACKGROUND FOR PERSONAL USE ONLY OF GOMESH
     KARNCHANAPAYAP, 10/56 TOWNPLUS RAMA 9 KRUNGTHEP KREETHA, BANGKOK 10240ALL
     RIGHTS RESERVED BY EXONICUS LLC
     
 5.  
     SUMMARYFIGURE & TORSO 7SKELETON 8-12MALE VS FEMALE SHAPES 13-14SILHOUETTE
     15CONTRAPPOSTO 16LAZY “S” 17MOVABLE MASSES 18-19REALISTIC TO SIMPLIFIED
     20-21ANGULAR RELATIONSHIP 22HORIZONTAL CROSS SECTIONS 23ÉCORCHÉ AND REAL
     24-25MUSCLES AND LANDMARK POINTS 26-27ABDOMINAL MUSCLES 28-29MOST IMPORTANT
     MUSCLES 30-32CLAVICLE 33CHEST MUSCLES 34-36FEMALE BREAST 37-40SHOULDER
     MUSCLE 41-45TRAPEZIUS MUSCLE 46-47SERRATUS ANTERIOR 48-49BROADEST MUSCLE OF
     THE BACK 50-51GREAT ROUND MUSCLE, LITTLE ROUND MUSCLE AND INFRASPINATUS
     MUSCLE 52ABDOMINAL EXTERNAL OBLIQUE MUSCLE 53HIPS 54BUTT 55SUBCUTANEOUS FAT
     PADS 56-59OBESE PROPORTIONAL CHANGES 60-61FAT ACCUMULATION 623D SCAN
     63-71ARMS REFERENCE 72-88SHOULDER BLADES 89PROPORTIONS 90-92HEAD & NECK
     93SKULL BONES 94MUSCLES 95-97SKULL 98-99HEAD SHAPE AND MASSES 100BABY HEAD
     101HEAD SHAPE 102EYES 103-109JAW 110MOUTH 111-116PLATYSMA MUSCLE
     117STERNOCLEIDOMASTOID MUSCLE 118NECK MUSCLES 119-120EAR 121NOSE
     122-123FACIAL MUSCLES 124WRINKLES 125PROPORTIONS 126-130GENDER DIFFERENCES
     131EMOTIONS 132-142UPPER LIMB 143HAND AND WRIST MUSCLES 144-145HAND AND
     WRIST BONES 146MUSCLES OF UPPER LIMB 147SUPINATION AND PRONATION
     148-153PARTIALLY FLEXED ARM 154BICEPS AND TRICEPS 155-159BRACHIALIS AND
     CORACOBRACHIALIS 160-161BRACHIORADIALIS AND EXTENSOR CARPI RADIALIS LONGUS
     162-163ANCONEUS, EXTENSOR CARPI ULNARIS, EXTENSOR DIGITI MINIMI AND
     EXTENSOR DIGITORUM 164SUPINATION AND PRONATION 165FLEXOR MUSCLES
     166-168ABDUCTOR POLLICIS LONGUS AND EXTENSOR POLLICIS BREVIS 169ULNA
     170ARMS CONNECTION 171BLOCKING OUT ARM 172-173HANDY TIPS 174-175FINGERS
     176PROPORTIONS 177HAND 178SHAPING HAND AND FINGERS 179HAND MOVEMENTS
     180WRIST POSITIONS 181FINGERS 182AGING HANDS 184LOWER LIMB 185BONES
     186-187MUSCLES 188-1893D SCAN 190-191BONY LANDMARKS 192-194MALE LEG SHAPES
     195QUADS 196SARTORIUS MUSCLE 197ADDUCTOR MUSCLES OF THE HIP 198FLEXORS OF
     THE THIGH 199CALVES 200-201EXTENSOR DIGITORUM LONGUS AND TIBIALIS ANTERIOR
     MUSCLES 202PERONEUS BREVIS AND PERONEUS LONGUS MUSCLES 203TIPS 204CROSS
     SECTION 205KNEE MECHANICS 206THE KNEE 2073D SCAN208-210FEMALE LEGS 211LEG
     SHAPES 2123D SCAN 213TRAVERSING 214ADDITIONAL SHAPES 215FOOT MUSCLES
     216FOOT SHAPES 217-2193D SCAN 220-221BABY FEET 222FOR PERSONAL USE ONLY OF
     GOMESH KARNCHANAPAYAP, 10/56 TOWNPLUS RAMA 9 KRUNGTHEP KREETHA, BANGKOK
     10240ALL RIGHTS RESERVED BY EXONICUS LLC
     
 6.  
     Aiman AkhtarAlexander Jack WareAmazin' WalterAmy Medford and Leonid
     SiveriverAndrew PlumbBarbara C BrownBassanimationBert AdamsBrent
     BaxterCarlos NCTDamon LangloisDigital DoubleDominic QwekDouglas HeitzDr.
     Patricia Beckmann Wells and PeteyElectric Geisha LLCElisabethFrost
     HollimanGerhard SchellertHasan BajramovicJ. QuincyJason HillJeanne
     YoungJeff StrongJerome RanftJessica DruJino van BruinessenJosh RuizKaren
     Jean FralichKasper AppelKirk RademakerKristopher VitaKurt PapsteinLee Hutt
     FNSSMartijn Rijerse and Hanneke SupplyMartin de ZoeteMiguel GuerreroNick
     Sho Ito and zbrushhangout communityPeet LeePeter RedmondPucheu-planté
     cédricRachel M. BrownRaffaele PisoniRob MackoRoger GeraedtsRusty
     CroftSaitou TakeshiSandi "Castle" StirlingScottSolomon TemowoSteven R.
     BerkshireThomas StantonToban MageeWarren Marshallwww.Stijgerart.nlWyeth
     JohnsonTHANKS TO AND 384 SUPPORTERS FROM ALL OVER THE WORLD! SPECIAL THANK
     YOU: FOR PERSONAL USE ONLY OF GOMESH KARNCHANAPAYAP, 10/56 TOWNPLUS RAMA 9
     KRUNGTHEP KREETHA, BANGKOK 10240ALL RIGHTS RESERVED BY EXONICUS LLC
     
 7.  
     UPPER LIMBLOWER LIMBFIGURE & TORSOHEAD & NECK185143937FOR PERSONAL USE ONLY
     OF GOMESH KARNCHANAPAYAP, 10/56 TOWNPLUS RAMA 9 KRUNGTHEP KREETHA, BANGKOK
     10240ALL RIGHTS RESERVED BY EXONICUS LLC
     
 8.  
     FOR PERSONAL USE ONLY OF GOMESH KARNCHANAPAYAP, 10/56 TOWNPLUS RAMA 9
     KRUNGTHEP KREETHA, BANGKOK 10240ALL RIGHTS RESERVED BY EXONICUS LLC
     
 9.  
     HUMAN SKELETON9FOR PERSONAL USE ONLY OF GOMESH KARNCHANAPAYAP, 10/56
     TOWNPLUS RAMA 9 KRUNGTHEP KREETHA, BANGKOK 10240ALL RIGHTS RESERVED BY
     EXONICUS LLC
     
 10. 
     PROMINENT SUBCUTANEOUS PROTRUSIONS – GENERALLY POINTS OF BONE, THOUGH
     SOMETIMES FORMED BY ENTIRE BONES, ARE CALLED BONY LANDMARKS OR SIMPLY
     LANDMARKS. THEY MAY SERVE AS IMPORTANT PROPORTIONAL MEASURING POINTS OF THE
     BODY. LANDMARKS ARE THE KEY TO UNDERSTANDING THE EXACT POSITION OF THE
     ENTIRE SKELETON, WHICH FOR THE MOST PART IS EMBEDDED IN THE SOFT TISSUES OF
     THE BODY.SHOULDER BLADE (SCAPULA) PELVIS FRONT BACK RIGHT SIDE CHEST BONE
     (STERNUM) CLAVICLEIMPORTANT LANDMARKS OF TORSO10FOR PERSONAL USE ONLY OF
     GOMESH KARNCHANAPAYAP, 10/56 TOWNPLUS RAMA 9 KRUNGTHEP KREETHA, BANGKOK
     10240ALL RIGHTS RESERVED BY EXONICUS LLC
     
 11. 
     COLLARBONE(CLAVICLE)ACROMION PROCESSSHOULDER BLADE(SCAPULA)SPINEILIAC
     CRESTPSISASISTHIS LINE IS THE BOTTOM EDGE OF RIB CAGE.MAIN LANDMARKS OF
     BACK OF THE TORSOPAY ATTENTION TO POSITION OF SHOULDER BLADE DURING ARM
     MOVEMENTS! AC JOINT IS WHERE CLAVICLEMEETS ACROMION.SOME SLENDER PEOPLE
     HAVE TWO DIMPLES – THESE ARE BACK CORNERS OF ILIAC CREST (PSIS).THE MALE’S
     SHOULDER BLADEIS COVERED BY A THICK LAYER OF MUSCLES AND IS HARDER TO
     LOCATE THAN A FEMALE’S.SPINE IS NEVER STRAIGHT.11FOR PERSONAL USE ONLY OF
     GOMESH KARNCHANAPAYAP, 10/56 TOWNPLUS RAMA 9 KRUNGTHEP KREETHA, BANGKOK
     10240ALL RIGHTS RESERVED BY EXONICUS LLC
     
 12. 
     COLLARBONE(CLAVICLE)ACROMIONSHOULDER BLADE(SCAPULA)COSTAL
     MARGINBREASTBONE(STERNUM)ILIAC CRESTPSISASISMAIN LANDMARKS OF FRONTAL
     TORSOMALE FLANK MUSCLE OVERLAPS ILIAC CREST.FEMALE HAS A SMALLER RIB
     CAGE.RIB CAGE AND PELVIS ARE MAIN MASSES OF TORSO.CLAVICLE IS ALWAYS
     VISIBLE EXCEPT WHEN ARM IS LIFTED.12FOR PERSONAL USE ONLY OF GOMESH
     KARNCHANAPAYAP, 10/56 TOWNPLUS RAMA 9 KRUNGTHEP KREETHA, BANGKOK 10240ALL
     RIGHTS RESERVED BY EXONICUS LLC
     
 13. 
     FOREHEAD: MALE SKULLS HAVE MORE PROMINENT GLABELLA AND SUPRAORBITAL
     RIDGESTEMPLE: MALE SKULLS HAVE MORE PROMINENT TEMPORAL LINESEYE ORBITS:
     FEMALE SKULLS HAVE ROUNDER ORBITSJAWS: FEMALEJAWS ARE NARROWER AND
     ROUNDERFRONTAL: FEMALE SKULLS HAVE LARGER FRONTAL EMINENCES MAIN
     DIFFERENCES BETWEEN MALE AND FEMALE SKELETONSSKULLPELVISRIB
     CAGELARGERSMALLER13FOR PERSONAL USE ONLY OF GOMESH KARNCHANAPAYAP, 10/56
     TOWNPLUS RAMA 9 KRUNGTHEP KREETHA, BANGKOK 10240ALL RIGHTS RESERVED BY
     EXONICUS LLC
     

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