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Form of the Head and Neck
Form of the Head and Neck 1st Edition:
As you’ve probably discovered, the face muscles have almost nothing to do with the face’s final form. Most of the time, facial muscles do not create the form itself but influence the form change. They are just moving the masses instead of being the masses. Therefore, it is the relationship between anatomy and form.
Understand and gain artistic freedom. What are the things that make a face look masculine or older? Maybe it’s the nasolabial fold, or perhaps it’s the jawline?
The head and neck have a changing structure. Face modeling and face anatomy is full of challenges. It’s rarely static, and many factors make us look different besides emotions. Factors:
– Gender
– Age
– Ethnicity
– Body type
– Bit of anatomy
These are the main topics analyzed and described in this book as to how they affect the form of a person’s head.
Using references, either photos or live models, is about copying nature.
However, in the author’s own experience, the key to success isn’t found in only copying nature but, most importantly, understanding it. If you know the basic form and how to create it, it gives you, as an artist, a lot of creative freedom.
From simple to complex.
Visual grid for describing the form. Color-coded 3D and live models. The structured approach made for artists – to properly understand the complex structures needs to be simplified first. Every element is broken down with block-outs and developed into detailed realistic shapes.
Anatomy For Artists
Uldis Zarins is a sculptor with more than 25-year experience and a professor of Anatomy at Arts Academy. Book’s central audience is digital and traditional sculpting, but they have grown to a broader sense. Sculpting as creating a realistic human using any artistic platform — people who learn and enjoy obtaining information in a visual format.
- See additional information on the Amazon.
More Details
Form of the Head and Neck 1st edition:
Cover
Ttle
Copyright
About, Hstory, Background
WHAT MAKES THE FORM OFTHE HEAD AND NECK SO SPECIAL
THE METHOD
TABLE OF CONTENTS
HEAD
WHY IT ALL STARTS WITH THE SKULL?
PROPORTIONAL CHANGES
THE EGGHEAD
FORM OF THE SKULL
THE EGGHEAD
BASIC SHAPES OF THE HEAD
HEAD BREADTH
FACE BREADTH
ANATOMY OF THE HEAD
MUSCLES WITH VOLUME
BONY LANDMARKS OF THE HEAD
EYE
EYE AREA
MOUTH
MOUTH AREA
EAR
PARTS OF THE EAR
FORM OF THE EAR
CROSS SECTIONS OF THE EAR
EAR CONNECTION AND POSITION ON THE HEAD
NOSE
Parts of the nose
3D scan of the nose
Forms of the nose
Nose
ANATOMY OF THE NOSE
DETAILED ANALYSIS OF THE FORM OF THE NOSE
TYPOLOGY OF THE NOSE
MAJOR ETHNIC NOSE PHENOTYPES
FACIAL FAT
THE SHAPE OF THE FACE IS INFLUENCED…
FACIAL FAT
FACIAL SUBCUTANEOUS FAT PAD DISTRIBUTION AND FACIAL SHAPE CHANGES
THE RETAINING LIGAMENTS
AGING
AGING OF THE FACE
AGING OF THE EYES AND ORBITAL AREA
AGING OF THE MOUTH AREA
AGING OF THE NOSE AND MIDFACIAL AREA
AGING OF THE EAR
HEAD PROPORTIONS
PERSPECTIVE DISTORTION
LENS DISTORTION
POINT OF VIEW
THE PROPORTIONS OF THE HEAD
NECK
GENERAL MORPHOLOGY OF THE NECK
GENERAL SHAPES OF THE NECK
CROSS SECTIONS OF THE NECK
DETAILED SHAPES OF THE MALE NECK
DETAILED SHAPES OF THE MALE NECK
DETAILED SHAPES OF THE FEMALE NECK
ANATOMY OF THE NECK
NEUTRAL
RIGHT ROTATION
RIGHT LATERAL BENDING
EXTENSION
FLEXION
FEMALE VS MALE NECK
AGING OF THE NECK
DEVELOPMENT OF THE NECK
PHOTOGRAMMETRY SCANS AND FORM ANALYSIS OF THE HEAD AND NECK
OLIVIA: female, 6 m
OLIVER: male, 9 m
NEO: male, 1 y
ELZA: female, 4 y, photoscan
ANNA: female, 8 y, photoscan
TOM: male, 15 y, photoscan
JACOB: male, 15 y, photoscan
AGATE: female, 17 y, photoscan
ULLA, female, 11 y, photoscan
HELENA: female, 21 y
AMY: female, 25 y
ANETE: female, 27 y
LELDE: female, 34 y, photoscan/block-out
LILY: female, 22 y
VERONICA: female, 25 y
SAUL: male, 23 y, photoscan
KANG: male, 29 y, photoscan
MARCUS: male, 24 y, photoscan
TONY: male, 26 y, photoscan
RAIMONDS: male, 54 y, photoscan
ALEXANDER: male, 72 y, photoscan
ILZE: female, 67 y
RUTH: female, 71 y
SPECIAL THANKS TO SUPPORTERS ALL OVER THE WORLD
Back Cover
Uldis Zarins
Uldis Zarins teaches anatomy in the Art Academy of Latvia and is an award-winning sculptor with more than 25 years of experience. In 2015 he started the Anatomy for Sculptors online community.
Being a dyslectic student in the 2000s, he developed a method for translating medical anatomy texts into visual information that he could use while sculpting. All the anatomy books for artists at the time were text-centered, and his reference sketches soon became popular among colleagues – it became clear that visual artists soak up information best when it’s visual. For the purpose of sharing his sketches, Uldis created a small Facebook group which quickly snowballed – in the era of no Facebook ads the Anatomy for Sculptors community grew to 50 000 people in just a year.
The group members encouraged Uldis to compile his materials in a book. In spring 2013, he launched a Kickstarter campaign, and the amazing Anatomy for Sculptors community came together and quickly crowdfunded the idea for the book. A team of artists, 3D designers, anatomy experts, and medical specialists joined Uldis to create content and precise renders of anatomy models. And that is how Uldis became a published author.
Now the Anatomy for Sculptors handbooks are bestsellers among visual artists striving to better understand the human form.
Anatomy for Sculptors is the artistic branch of Anatomy Next Inc., an ed-tech startup that uses clear and reliable 3D anatomy models to create empowering education tools for artists and medical students.
Dentistry
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