Anatomy For Sculptors

When the neck extends and the head tilts back, the trapezius does most of the heavy lifting. Meanwhile, the cervical vertebrae hinge with a huge range – up to 85°. Great to know for character artists aiming to create believable neck motion. #anatomy #3dmodeling #characterdesign

The two heads of the gastrocnemius muscle create the calf’s outer and inner curves – rounder and lower on the inside, tighter and higher on the outside. Together, they form the diamond shape of the calf. A must-know shape for character artists and anyone studying anatomy for art.

The gastrocnemius is the main surface muscle of the calf. It merges with the Achilles tendon, which inserts into the heel. Remember this when sculpting, drawing, or modeling the lower leg. #anatomy #3dmodeling #characterdesign

Male buttocks feature less fat pads than female ones, making the base forms more angular. When simplified, they can be blocked out using two short cylinders angled outward – use this approach whether you're #3dmodeling, sculpting, or studying #anatomy for art. #characterdesign

Meet the bony landmarks of the knee: medial and lateral femoral epicondyles, patella, medial and lateral tibial condyles, fibular head, and tibial tuberosity. Also clearly visible on the lower leg is the medial surface of the tibia.

Bony landmarks define the surface forms of the knee – where bones, muscles, tendons, ligaments, and fat pads meet. They're useful for anyone learning anatomy for art. #anatomy #3dmodeling #characterdesign

When the leg is straight, the fat pad behind the knee sticks out. Bend the leg, and the back of the knee sinks while the calf bulges. The calf also pops when the foot extends – a must-know tip for #3dmodeling , #characterdesign, and anyone studying #anatomy for art.

If you saw our earlier male torso cross sections, you’ll notice the difference here – the female forms are softer, more fluid. These cross sections help character designers shape more believable female bodies. #anatomy #characterdesign #3dmodeling

Let’s start with the basics: the thorax and pelvis. Then, more complex forms are developed on these fundamental movable masses. Whether you’re sculpting, 3D modeling, or studying anatomy for character design — this one’s for you.

#anatomy #3dmodeling #characterdesign

Mastering the hand isn’t easy, but breaking it into simple shapes helps – especially if you’re into digital sculpting, 3D character design, or just studying anatomy for your art. Check out this breakdown from block-outs to organic forms! #anatomy #3dmodeling #characterdesign

The hand is made up of 27 bones. Carpals, metacarpals, and three types of phalanges: proximal, intermediate, and distal. All color-coded for clarity and built for artists studying #anatomy, #3Dmodeling, or #characterdesign (with knuckles in all the right places).

A quick flip-through of our newest book – Arm and Hand in Motion. Dive into the anatomy of movement with hand-sculpted poses, layered visuals, and 3D references. Built for working artists. Available on our web store: anatomy4sculptors.com

#anatomy #3dmodeling #characterdesign

Tackle dynamic anatomy with hand-sculpted poses, layered views, and clear 3D references. Compare male and female anatomy, and see how upper limb forms shift in motion. Get Arm and Hand in Motion now on our webstore: anatomy4sculptors.com

#anatomy #3dmodeling #characterdesign

The wait is over – Arm and Hand in Motion is finally available on our webstore: anatomy4sculptors.com

Dive into dynamic upper-limb poses, layered anatomy, and references built for real artistic work.

#anatomy #3dmodeling #characterdesign

Surprise expression engages the frontalis and depressor labii inferioris muscles – lifting the brows, widening the eyes, and dropping the jaw. This anatomy breakdown helps 3D artists and sculptors study expression in detail, from surface forms to muscles. #anatomy #3dmodeling #characterdesign

Recognize this pose from our new book cover? The self-hug pose compresses and stretches muscles in the chest, shoulder, back, and arm, showcasing how surface forms shift with movement. #anatomy #3dmodeling #characterdesign

Scapula (Shoulder blade) for artists

A flat, roughly triangular bone that moves with the arm, altering the visible shapes of the shoulder and upper back. Its spine and edges are the visible bony landmarks. #anatomy #scultping #characterdesign #3dmodeling

The eye area color-coded block-out doesn’t follow strict anatomical boundaries – instead, it’s mainly based on differences in form. It makes it easier to read the structure, highlighting key elements like the eyelids, tear bag, brow area, etc. #anatomy #3dmodeling #characterdesign

Ear forms can be tricky to grasp, but this color-coded block-out reduces the structure into simple shapes. The same color code is used on the realistic model, making it easy to see how each simplified volume translates back into organic form. #anatomy #3dmodeling #characterdesign

The nose keeps changing across a lifetime, and its profile also differs by sex. This comparison of nose profiles across four individuals shows how the nasal tip and its nearby landmarks change. #anatomy #characterdesign #3dmodeling

The nose can feel like a tricky form to understand. This block-out into simple shapes clearly shows its parts: the root, dorsum, tip, ala, columella, etc. Once you see how these parts fit together, recreating a realistic nose becomes easier. #anatomy #characterdesign #3dmodeling

The mouth area may look uniform, but its form is quite complex. Primary and secondary shapes help clarify its underlying structure – from the chin and mouth pillars to the roof of the mouth.

#anatomy #scultping #characterdesign #3dmodeling

Then split the bottom third: nose to mouth, mouth to upper chin, and chin itself. The blue line shows the head’s midpoint – that’s the eye line. These guides help place features as you move from helmethead to first-level block-out. (2/2)

Unlock key head landmarks through proportions. First, remove the top sixth (crown to hairline) to isolate the face. Divide the rest into thirds: hairline to brow, brow to nose, nose to chin. (1/2)

In early childhood, the neck is short, and the muscles are weak, offering limited support for the oversized head. That shortness helps protect the spine from injury while the body develops. #anatomy #characterdesign #3dmodeling

Ever wondered what that bump is near the base of your neck? That’s your C7 vertebra sticking out – a key bony landmark for artists. #anatomy #3dmodeling #characterdesign

Lower extremity bony landmarks sit on the pelvis, femur, patella, tibia, and fibula. We’ve color-coded them by bone – use these key points to place muscles where they belong. #anatomy #3dmodeling #characterdesign

Bony landmarks of the hip: the iliac crest and greater trochanter. These two fixed points show on the surface. Know them, and you won’t have any problems placing the muscles around the pelvis. #anatomy #3dmodeling #characterdesign

Think of the butt as two bubbles: the gluteus medius and gluteus maximus muscles fit the curves of the pelvis perfectly. Add the tensor fascia latae at the side, and you’ve shaped the hips too. #anatomy #3dmodeling #characterdesign

Compare the live-model surface forms with the color-coded muscle overlay. This lets you understand how the structure underneath shapes the appearance above – from delts to abs. #anatomy #characterdesign