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 BARRINGTON BARBER

Anatomy for Artists

A Complete Guide to Drawing
the Human Body
This edition published in 2015 by Arcturus Publishing Limited
26/27 Bickels Yard, 151–153 Bermondsey Street,
London SE1 3HA

Copyright © Arcturus Holdings Limited/Barrington Barber

All rights reserved. No part of this publication may be reproduced, stored in a

retrieval system, or transmitted, in any form or by any means, electronic,
mechanical, photocopying, recording or otherwise, without prior written
permission in accordance with the provisions of the Copyright Act 1956 (as
amended). Any person or persons who do any unauthorised act in relation to this
publication may be liable to criminal prosecution and civil claims for damages.

ISBN: 978-1-78428-166-3
 Contents

Introduction
Technical Introduction
The Full Figure
The Head
The Torso
The Arms & Hands
The Legs & Feet
Introduction

A natomy books are essential for figure artists, but many are
published for medical purposes and tend to give too much
information. For example, the inner organs of the body are
interesting to know about, but not relevant for drawing. What is
important for the artist or art student to learn is the structure of the
human form, based on the skeleton and the musculature. There
have been a number of good and useful books on this subject. Some
are a little out of date, not so much in the information they give, but
in the way it is presented. Other well-produced contemporary books
are mainly photographic.
My task here has been to produce a comprehensive anatomy
book which has all the information necessary for an artist, using
drawings and diagrams presented in an easy-to-follow format; and I
also wanted to put into it everything I have found useful in my own
drawing practices.
Firstly in this book I deal with the full figure, followed by chapters
on the anatomy of the major parts of the body. Each section shows
the skeleton from different viewpoints, then the muscles on top of
the bone structure, and finally the surface form of the human body.
Of course, not all human bodies are perfectly formed and
proportions differ from person to person. Throughout the book I
have used well-proportioned, fairly athletic figures. This means that
you will become acquainted with the shapes of the muscles at their
best, although you will probably draw many people who do not have
such well-toned bodies as these.
Throughout the book I examine each part of the body in detail,
concentrating in particular on musculature and how the body moves.
Each area of detailed analysis may sometimes repeat what has been
shown in previous chapters: this is necessary because some muscles
overlie others and this, to a certain extent, changes their shape on
the surface. So don’t be surprised to see the same names cropping
up from time to time, and it does make them easier to remember.
In the technical introduction at the start of the book you will find
an explanation of descriptive terms used in medical circles, followed
by a detailed list of Latin terminology. This is worth reading, because
understanding anatomical terms will help you follow the annotations
in the book. It may take a little time to remember all the names you
need, but after regular use of these terms you will usually remember
enough to describe what you are looking at.
I have omitted any description of the brain, heart, lungs and other
viscera because these items are housed within the cranium, the
ribcage and the pelvis, and it is the bony parts of the body which
dictate the surface shape for figure-drawing purposes. I have also
left out details of the male genitalia, because the differences in size
and shape are too variable.
Throughout history, artists have looked at our bodies and shown
their beauty, force and distortions. I have used the best possible
references to draw these pictures, including my own life studies, but
have not drawn from dissected corpses as Michelangelo or Leonardo
da Vinci did. Artists have contributed a lot to the study of anatomy,
both for artistic and medical purposes. In drawing, the practising
artist wants to capture the form of this complex bodily machinery,
but before doing so he or she needs to know how it works.
Technical Introduction

This section is intended to give you some initial detail

about the human anatomy before starting to draw. I
have described the properties of bones, muscles,
tendons, cartilage, skin, fat and joints, and shown
diagrams of the different types of joints and muscles.
There is also an introduction to anatomical
terminology: you will find this useful as certain terms
are used throughout the book.

BONES
The skeleton is the solid framework of the body, partly supporting
and partly protective. The shape of the skeleton can vary widely. It
affects the build of a person and determines whether they have
masses of muscle and fat or not.
Bones are living tissue supplied by blood and nerves. They can
become weaker and thinner with malnutrition and lack of use or
heavier and stronger when having to support more weight. They are
soft and pliable in the embryo, and only become what we would
consider hard and bone-like by the twenty-fifth year of life.
Humans have 206 bones, but it is possible to be born with some
bones missing or even extra ones, and a few bones fuse together
with age. We each have a skull, ribcage, pelvis and vertebral
column, as well as arm, hand, leg and foot bones. Most bones are
symmetrical. The bones of the limbs are cylindrical, thickening
towards the ends. The projecting part of a bone is referred to as a
process or an eminence.
Highly mobile areas of the body, such as the wrists, consist of
numerous small bones. Other bones, like the scapula (shoulder
blade) can move in all directions, controlled by the muscles around
them.
The bones of the cranium (skull) differ from all others. They grow
from separate plates into one fused vault to house the brain. The
mandible (jawbone) is the only movable bone in the head.
The long bones of the arms and legs act like levers, while the flat
bones of the skull, the cage-like bones of the ribs and the basin
shape of the pelvis protect the more vulnerable organs such as the
brain, heart, lungs, liver and the abdominal viscera.

MUSCLES
The combination of bones, muscles and tendons allows both strong,
broad movements and delicate, precise ones. Muscles perform our
actions by contracting or relaxing. There are long muscles on the
limbs and broader muscles on the trunk. The more fixed end of the
muscle is called the head or origin, and the other end – usually
farthest from the spine – is the insertion. There are powerful, thick
muscles, like the biceps and the ring-shaped muscles (sphincters)
surrounding the openings of the body, such as the eye, mouth and
anus. Certain muscles grow together and have two, three or four
heads and insertions. Combined muscles also have parts originating
in different places. The fleshy part of a muscle is called the meat
and the fibrous part the tendon or aponeurosis (see following
illustrations).
Striated (voluntary) muscles operate under our conscious control.
The 640 voluntary muscles account for up to 50 per cent of the
body’s weight and form the red flesh. Organized in groups and
arranged in several layers, these muscles give the body its familiar
form. The drawings below show the various types of striated
muscles, with the tendons at each end. Note the distinctive shape of
the sphincter muscle on the far right. Smooth (involuntary) muscles
are confined to the walls of hollow organs, such as intestines and
blood vessels. They function beyond our conscious control.

Cardiac (heart) muscles are both striated and involuntary, with a cell
structure that ensures synchronic contraction.

TENDONS
The tendons are fibrous structures that attach the ends of the
muscles to the bones at protruding points called tubercles and
tuberosities. Some muscles are divided by intervening tendons
(see illustration above, second from right). Tendons may be round
and cord-like or flat and band-like, consisting of strong tensile fibres
arranged lengthwise. They are inextensible, allowing the muscles to
pull hard against them. Many are longer than the muscles they
serve, such as in the forearm.

APONEUROSES
These are broad, flat, sheet-like tendons, a continuation of broad,
flat muscles that either attach to the bone or continue into the
fascia.

TENDINOUS ARCHES
Fibrous bands connected with the fasciae of muscles.
FASCIAE
Fibrous laminae of various thicknesses, occurring in all parts of the
body, enveloping all muscles, blood vessels, nerves, joints, organs
and glands. They prevent friction between moving muscles.

LIGAMENTS
Fibrous, elastic bands situated at joints where articulated bones
connect, or stretched between two immobile bones.

CARTILAGE
Cartilage is connective tissue composed of collagen (a protein).
Fibrous cartilage forms the symphysis pubis (the joint between the
pubic bones) and invertebral discs. Elastic cartilage gives shape to
the outer flap of the ear. Hyaline cartilage – the most common form
– covers the articular surface of bones (the ends near the joints);
forms the rings of the trachea (windpipe) and the bronchi (airways)
of the lungs; and gives shape to the lower ribcage and nose.

SKIN
A tough, self-replenishing membrane about 2 mm thick, which
defines the boundary between the internal and external
environments. Human skin is thickest on the upper back, soles of the
feet and palms of the hand; it is thinnest on the eyelids. Not only the
body’s largest sense organ, the skin also protects the body from
abrasions, fluid loss and the penetration of harmful substances. And
it regulates body temperature, through perspiration and the cooling
effect of surface veins.

EPIDERMIS
The skin’s top layer with the dermis beneath, a thicker layer of loose
connective tissue. Beneath this is the hyperdermis, a fine layer of
white connective fatty tissue also called the superficial fascia.

FAT
Fat is the body’s energy reserve. Its layers soften the contours of the
skeletal-muscular frame. Fat is primarily stored around the buttocks,
navel, hips, inner and outer thighs, front and back of knees, beneath
the nipples, on the back of the arms, in the cheeks and below the
jaw.

JOINTS
Joints form the connections between bones. In fibrous joints, such
as sutures in the skull, there is no appreciable movement. There is
limited movement in the cartilaginous joints. The most mobile are
the synovial joints such as the knees, where the bones are not fixed.
The principal movements of the joints are flexion, which means
bending to a more acute angle; extension, or straightening;
adduction, which means moving towards the body’s midline;
abduction, moving away from the midline; and medial and lateral
rotation (turning towards and away from the midline).

1. PLANE JOINT
Formed by flat or slightly curved surfaces, with little movement, such as the
instep.
2. BALL AND SOCKET JOINT
The spherical edge of one bone moves in a spherical excavation of another, like
 the hip joint.
3. SADDLE OR BIAXIAL JOINT
Allows limited movement in two directions at right angles to each other, like the
thumb.
4. HINGE JOINT
Bending and straightening movement is possible on one plane only, such as in
the knee, the elbow and the finger.
5. PIVOT JOINT
One bone moves around another on its own axis, such as the radius and the
ulna.

UNDERSTANDING ANATOMICAL
TERMINOLOGY
To those who have no knowledge of Latin, the Latin names of the
muscles and bones may be rather off-putting and hard to grasp.
However, once you understand that, for example, an extensor is a
muscle involved in the process of extension, that brevis is Latin for
‘short’ and that pollicis means ‘of the thumb’, the position,
attachment and function of the extensor pollicis brevis muscle
become much easier to remember.
Even English anatomical vocabulary may not be familiar to
everyone who sets out to draw the human body. For this reason, the
main technical terms used in this book, both English and Latin, are
explained here.

Some technical terms in English

DEEP far from the body surface
SUPERFICIAL near to the body surface
INFERIOR lower
SUPERIOR upper
ANTERIOR relating to the front surface or part
POSTERIOR relating to the back surface or part
LATERAL farther from the inner line of the body
MEDIAL of or closer to the median line down the
centre of the body
DISTAL farther from the point of attachment to
the trunk
PROXIMAL nearer to the point of attachment to the
trunk
PRONE (of the arm or hand) with the palm facing
down
SUPINE (of the arm or hand) with the palm facing
up
RADIAL on the thumb side of the arm or hand
ULNAR on the little finger side of the arm or hand
FIBULAR on the little toe side of leg or foot
TIBIAL on the big toe side of leg or foot
ALVEOLAR of the gums or tooth ridge
COSTAL of the ribs
DORSAL of the back; of the back of the hand or top
of the foot
FRONTAL of the forehead
HYPOTHENAR of the mound of muscle on the little-finger
side of the palm
LUMBAR of the loins
MENTAL of the chin
NUCHAL of the nape of the neck
OCCIPITAL of the back of the head
ORBITAL of the area around the eye
PALATINE of the roof of the mouth
PALMAR of the palm of the hand
PLANTAR of the sole of the foot
SUPRAORBITAL of the area above the eye
TEMPORAL of the temple
THENAR of the ball of the thumb
THORACIC of the chest
BONES
CALCANEUS the heel bone
CARPUS the wrist
CLAVICLE the collarbone
COCCYX the four fused vertebrae below the sacrum
CONDYLE a knob at the end of a bone
COSTAE the ribs
EPICONDYLE a knob on or above a condyle
FEMUR the thigh bone
FIBULA one of the lower leg bones
HUMERUS the upper arm bone
ILIUM one of the hip bones
ISCHIUM one of the hip bones
MALLEOLUS a hammer-shaped prominence of a bone
(e.g. in the ankle)
MANDIBLE the lower jawbone
MAXILLA the upper jawbone
METACARPUS the bones of the palm of the hand
METATARSUS the bones of the front part of the foot,
except the toes
OLECRANON the elbow bone
PATELLA the kneecap
PHALANGES the finger and toe bones
PROCESS a projecting part (also EMINENCE)
PUBIS the pubic bone, part of the hip bone
RADIUS one of the arm bones
SACRUM five fused vertebrae near the end of the
spine
SCAPULA the shoulder blade
STERNUM the breastbone
TARSUS the ankle, instep and heel bones
Other documents randomly have
different content
 THE FALSE HEART

I said to Heart, “How goes it?” Heart replied:

“Right as a Ribstone Pippin!” But it lied.

A critic said large margins did not please him,

I therefore printed just two lines, to tease him.
And if he still complains of what I’ve done,
In my next book I’ll fill a page with ONE.
SONNET UPON GOD, THE WINE
GIVER
(For Easter Sunday)

Thought Man made wine, I think God made it, too;

God making all things, made Man made good wine.
He taught him how the little tendrils twine
About the stakes of labor close and true.
Then next, with intimate prophetic laughter,
He taught the Man, in His own image blest,
To pluck and wagon and to—all the rest!
To tread the grape and work his vintage after.

So did God make us, making good wine makers;

So did He order us to rule the field
And now by God are we not only bakers;
But winners also sacraments to yield;
Yet most of all strong lovers, Praised be God!
Who taught us how the wine-press should be trod!
 THE POLITICIAN
OR THE IRISH EARLDOM
A strongand striking Personality,
Worth several hundred thousand pounds—
Of strict political Morality—
Was walking in his park-like Grounds;
When, just as these began to pall on him
(I mean the Trees, and Things like that),
A Person who had come to call on him
Approached him, taking off his Hat.

He said, with singular veracity:

“I serve our Sea-girt Mother-Land
In no conspicuous capacity.
I am but an Attorney; and
I do a little elementary
Negotiation, now and then,
As Agent for a Parliamentary
Division of the Town of N....

“Merely as one of the Electorate—

A member of the Commonweal—
Before completing my Directorate,
I want to know the way you feel
On matters more or less debatable;
As—whether our Imperial Pride
Can treat as taxable or rateable
The Gardens of ...” His host replied:

“The Ravages of Inebriety

(Alas! increasing day by day!)
Are undermining all Society.
I do not hesitate to say
My country squanders her abilities,
Observe how Montenegro treats
Her Educational Facilities....
... As to the African defeats,
“I bitterly deplored their frequency;
On Canada we are agreed,
The Laws protecting Public Decency
Are very, very lax indeed!
The Views of most of the Nobility
Are very much the same as mine,
On Thingumbob’s eligibility ...
I trust that you remain to dine?”

His Lordship pressed with importunity,

As rarely he had pressed before.

It gave them both an opportunity

To know each other’s value more.
 SHORT BALLAD AND
POSTSCRIPT ON CONSOLS
 I
Gigantic daughter of the West
(The phrase is Tennysonian), who
From this unconquerable breast
The vigorous milk of Freedom drew
—We gave it freely—shall the crest
Of Empire in your keeping true,
Shall England—I forget the rest,
But Consols are at 82.

II
Now why should any one invest,
As even City people do
(His Lordship did among the rest),
When stocks—but what is that to you?
And then, who ever could have guessed
About the guns—and horses too!—
Besides, they knew their business best,
And Consols are at 82.

III
It serves no purpose to protest,
It isn’t manners to halloo
About the way the thing was messed—
Or vaguely call a man a Jew.
A gentleman who cannot jest
Remarked that we should muddle through
(The continent was much impressed),
And Consols are at 82.

Envoi
 o

And, Botha lay at Pilgrim’s Rest

And Myberg in the Great Karroo
(A desert to the south and west),
And Consols are at 82.

Postscript

Permit me—if you do not mind—

To add it would be screaming fun
If, after printing this, I find
Them after all at 81.

Or 70 or 63,
Or 55 or 44,
Or 39 and going free,
Or 28—or even more.

No matter—take no more advice

From doubtful and intriguing men.
Refuse the stuff at any price,
And slowly watch them fall to 10.

Meanwhile I feel a certain zest

In writing once again the new
Refrain that all is for the best,
And Consols are at 82.

TRANSCRIBER’S NOTES:
Obvious typographical errors have been corrected.
The cover image for this eBook was created by the transcriber and is entered into the
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