Table Of ContentUldis Zarins
Form of the
Head and Neck
anatomy for professional artists
from the creators of:
Prepared exclusively for: Thomas Smith | E-mail used: [email protected]
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Prepared exclusively for: Thomas Smith | E-mail used: [email protected]
Uldis Zarins
Form of the
Head and Neck
anatomy for professional artists
Prepared exclusively for: Thomas Smith | E-mail used: [email protected]
Author and design: Uldis Zarins
Layout and graphic designer: Janis Pauzers
Lead 3D artist: Jēkabs Jaunarājs
3D artists: Helēna Ozola, Sergej Lobanov, Sergejs Kolecenko, Kristaps Raits
Cover design: Ralfs Jānis Gailītis
Photography: Alvils Ronalds Bijons, Sabina Grams
Photogrammetry scanning: Overlyapp.com
Editor: Monika Hanley
Editor: MD. Anna Riekstiņa
Editor: Artis Oltre
Medical consultant: MD. Reinis Jansons
Proofreading: Toby Moore
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First Edition, 2021
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To purchase additional copies of this book visit anatomy4sculptors.com
Prepared exclusively for: Thomas Smith | E-mail used: [email protected]
About, History, Background
Find your own sandbox though there was still too much complex text). Then it came to
me: “I could indeed make a book. One that is image-centered!”
Looking back, I can say I had very little clue about what I was
doing in my first semester of sculpting studies at the Riga College Neurologically, reading comprehension is a relatively new thing.
of Applied Arts. The main emphasis was always on those endless It’s a complex multi-stage process that requires vast cognitive
exercises – just copying stuff, without any real understanding of resources. We see words printed on a page and assemble them
the human form and how it is composed. into sentences. We try to decipher the thought that’s put into the
text. Only then we visualize the written, and all of that together
Before each new project, I always tried my best to find some requires a lot of brain activity.
information in text-cluttered anatomy books, which was confusing
and time-consuming. Then, I drew small sketches so that I could The visual centers of the brain, on the other hand, have
better analyze the complex shapes of the human body. Through developed over a much longer period. Understanding things
my studies and with time, I became much better, but my real through seeing comes more naturally to us. That was another
breakthrough came when I found my sandbox for affordable good reason to fill my book with more images.
experimenting. In my final year in the Art Academy of Latvia, I got
an offer to participate in a sand sculpture festival in Finland. Visual artists are visual thinkers. Most of us, me included, soak up
information best when it is presented visually. In addition to that,
That was a game changer in many aspects. I discovered that I also have dyslexia, which often made reading medical anatomy
working with sand is fast and cheap. That helped me let go and texts difficult. I had to develop a very systematic approach for
experiment, since my mistakes weren’t carved in stone, and they translating text into visual information. Searching for the best
suddenly became a lot less expensive. I could make ten different way to understand my own notes, I became better with visual
sculptures in two days, each of them teaching me a lesson about communication, which is what the Anatomy for Sculptors books
human depiction – I was suddenly on a steep learning curve. are all about.
Besides that, at these international events, you meet many A concept alone doesn’t make a book, though. Publishing is
colleagues from all over the world. Apart from gaining new costly, and I didn’t have that kind of resources to pay for a team
friends and becoming more fluent in English, it was a great way of editors, printing house services, and logistics. In spring 2013,
to discover how the sculpting problems that I was struggling I launched a Kickstarter campaign, and the amazing Anatomy for
with were being solved in other parts of the world with different Sculptors community came together and quickly crowdfunded
sculpting traditions. the idea for the book. I had my work cut out for me.
Peer pressure The Form of the Head and Neck
Back home, I started to get frequent requests to share my Our first book, Understanding the Human Figure, was a general
reference sketches for different parts of the human body that overview of the human physique (my friends from the international
I had made over many years. To do that, I created a small sand sculpting community helped immensely with making it).
Facebook group which quickly snowballed – in the era of no Afterward, came the Anatomy of Facial Expression, where we
Facebook ads, and the Anatomy for Sculptors community dived into mechanics of face muscles and the physiology behind
grew to 50 000 people in just a year. different expressions.
The group members often urged me to compile my materials The Form of the Head and Neck is all about morphology: the
in some comprehensive volume. One day, in response to that, composition of all the complex surface shapes in a bust and how
I suggested that I could make an app for sculptors! The answer they vary depending on a person’s age, ethnicity, gender, or body
was: “We don’t need an app, we need a book.” You might type. We reduce the forms of separate elements (mouth, eye,
suspect what happened next. ear, etc.) to block-outs and reconstruct them gradually to give
artists a true understanding of their forms. We believe that frees
them creatively. As a student, I relied on my own sketches, where
The power of visualization I had translated anatomy texts into images. Creating this book,
however, I had the privilege of working with an awesome team
I thought about all those dreadful anatomy books with their of artists and medical experts. If I had had this kind of material
menacing and unending text passages, and writing one of my when I started my studies in the art academy, my life would have
own did not seem like such a good idea. But I had also come been a lot easier. An artist doesn’t have to remember every single
across one book that was helpful for understanding the human anatomical detail, and you really shouldn’t try to memorize all the
figure: Gottfried Bammes’, Der nackte Mensch. The easy-to- contents of this book either. This is a handbook – use it to drive
follow visualizations set the publication apart from others (even your own creative process forward!
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WHAT MAKES THE FORM OF
THE HEAD AND NECK SO SPECIAL
a b
Homo sapiens have lived on this planet for at least 300 000 years. Humans have been
able to cope with ever-changing environments and survive to this day mostly because
of their ability to collect and analyze different kinds of information and adapt their
behavior accordingly. A large part of this period we have spent in a social environment,
communicating with other people.
The ability to speak (I don’t mean the sounds used to express emotions, but meaningful
articulated speech) doesn’t go back more than 70 000 years1 – almost nothing in
comparison with the millions of years it took for our species to develop. It means that
communication was non-verbal during most of human history. Usually, it was the body pose
and hand movements that conveyed the message, and, since we’re not covered with fur,
the facial expressions were very important, as well. We learned to read people’s faces, and
the slightest shift in the form of the face wasn’t left unrecognized.
The face is our most important tool for communication besides our verbal language. A large
amount of information is encoded into those few inches of our skin, every tiny detail is
important. Its capability of showing emotion is as precise as a finely made Swiss watch. But
how fine-tuned are our expression-reading instruments, the eyes? What about our tool for
analyzing visual information, the brain? – They’re über -precise! Each little mistake could have
cost the life of our ancient ancestors. That’s why, when we see someone make a face, we
recognize it without hesitation, as if without our conscious awareness. Our consciousness
is indeed often left out. There is so much data to analyze that, if we’d consult our cognitive
brain about every little impulse, we wouldn’t have enough time to react. Information gets
captured, analyzed, and our decisions are made without us even being aware. 2 A good
example is the images above.
Can you guess which one of those two is a genuine smile and which one – a fake? Sure, you
can! But can you explain it? If you’re not trained for this, you might not have the right words
for it. Consequently, if you as an artist do not have the language to explain it to yourself, you
might also have difficulty recreating it in your artwork.
We’re often even lacking the language to describe simple organic forms like a cloud, a rock,
a puddle, or the shape of a pillow it takes in the morning. And you can be sure of one thing:
the face is way more complex and way more charged with information than any of these
simple things. Each tiny mistake gives a totally different impression to the human portrait.
Hence, in order to draw or sculpt a human face, we need to adapt our language or invent
a new one – a kind of language that will enable us to communicate with ourselves. In other
words, TO THINK.
1 Lieberman, P. (1975) On the Origins of Language, New York, MacMillan
2 Srinivasan, R., Golomb, J. D., Martinez. A. M. (2016). A Neural Basis of Facial Action Recognition in Humans. Journal of Neuroscience; 36 (16)
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THE METHOD
What is the best we can build on? What do we have already? We have the language of geometry. Skip the thousands
of similar no-name polygons. We will begin with something much simpler.
We will use the basic 3D geometry primitives, the shapes that each have their own distinct name and form that
everyone understands. We’ll be using a cone, a cube, a sphere, a cylinder, etc.
By combining these primitives as words in a language and gradually increasing complexity, we will explain myriad
complex organic forms.
Chaos Order
overwhelming boring
Complex organic Basic
form 3D primitives
cone
cylinder
sphere
Chaos is not the lack of order, it is merely the absence of order, that the observer is used to. /Mamur Mustapha/
Art is order, made out of the chaos of life. /Saul Bellow/
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TABLE OF CONTENTS
10 HEAD 52 MOUTH
WHY IT ALL STARTS WITH THE SKULL? .......................12 MOUTH AREA ............................................................52
PROPORTIONAL CHANGES .........................................12 Parts of the mouth area ...........................................52
THE EGGHEAD ..........................................................13 Basic structures of the mouth .....................................53
FORM OF THE SKULL ..................................................14 The node (modiolus) ...............................................54
THE EGGHEAD ..........................................................15 Basic structures of the mouth .....................................55
BASIC SHAPES OF THE HEAD ......................................16 Aging of the superior (Sjf) and inferior jowl fat (Ijf) .............56
Simple to complex method in action ............................17 Localization of inferior jowl fat .....................................56
1st level block-out ..................................................18 Aging of the superior (Sjf) and inferior jowl fat (Ijf) .............57
2nd level block-out .................................................19 Philtrum ................................................................58
HEAD BREADTH .........................................................20 Columella (1), philtrum (2) and roof of the mouth (3) ..........58
FACE BREADTH ..........................................................21 Philtrum ................................................................59
ANATOMY OF THE HEAD ............................................22 Mouth ..................................................................60
Skeleton of the head ................................................22 Mouth / vermilion border ...........................................62
Muscles of the head ................................................23
MUSCLES WITH VOLUME ............................................24
Masseter ..............................................................24 64 EAR
Temporalis ............................................................25
BONY LANDMARKS OF THE HEAD ...............................26 PARTS OF THE EAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
The auricle (part of the outer ear) .................................64
Complex block-out ..................................................65
28 EYE Simple block-out .....................................................65
FORM OF THE EAR .....................................................66
EYE AREA ..................................................................28 CROSS SECTIONS OF THE EAR ....................................68
Complexity levels ....................................................28 EAR CONNECTION AND POSITION ON THE HEAD .........69
Forms that surround the eye ......................................30
What makes eyes look hooded or sunken? ....................32
Epicanthic fold (monolid eye) ......................................34 70 NOSE
Examples of monolid eyes .........................................35
Structure of the eyebrow ...........................................36 Parts of the nose ....................................................70
Gender differences of the eyebrow ..............................37 3D scan of the nose ................................................71
Topography of the eyebrow .......................................38 Forms of the nose ...................................................71
Various eyebrow examples ........................................39 Nose ...................................................................72
Common placement of the eye globe in orbit. . . . . . . . . . . . . . . . . .40 ANATOMY OF THE NOSE .............................................74
Why does a character sometimes look cross-eyed? .........41 Nasal skeleton ........................................................74
The space between eyes (intercanthal distance) ..............42 Muscles of the nasal area ..........................................75
Canthal tilt (palpebral fissure inclination) ........................43 DETAILED ANALYSIS OF THE FORM OF THE NOSE ........76
Parts of the eye .....................................................44 TYPOLOGY OF THE NOSE ...........................................77
Eyelids ................................................................46 Nasal profile of the nose. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
Eyelashes .............................................................46 The nasal tip ..........................................................77
Eyelid creases ........................................................47 MAJOR ETHNIC NOSE PHENOTYPES ...........................78
The vertical dynamic of the medial (MC) and lateral
canthi (LC) .....................................................48
80 FACIAL FAT
The elevated eye ....................................................48
Cornea influence on the form of the eyelids during
horizontal gaze ................................................49 THE SHAPE OF THE FACE IS INFLUENCED... ..................80
Eye movement reference ...........................................50 FACIAL FAT ................................................................81
FACIAL SUBCUTANEOUS FAT PAD DISTRIBUTION
AND FACIAL SHAPE CHANGES ..............................82
THE RETAINING LIGAMENTS ........................................83
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84 AGING FLEXION ..................................................................162
Movements of the neck ..........................................163
AGING OF THE FACE ...................................................84 Anatomy .............................................................168
AGING OF THE EYES AND ORBITAL AREA .....................86 FEMALE VS MALE NECK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
AGING OF THE MOUTH AREA ......................................88 Woman Necklace lines (wnl) ....................................173
Lips inversion with age .............................................88 AGING OF THE NECK ................................................174
Dimensional changes of the lips ..................................88 DEVELOPMENT OF THE NECK ...................................176
Marionette lines ......................................................89
Mentalis crease and Peau d’orange .............................89
178 PHOTOGRAMMETRY SCANS
AGING OF THE NOSE AND MIDFACIAL AREA .................90
AGING OF THE EAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91 AND FORM ANALYSIS OF
THE HEAD AND NECK
92 HEAD PROPORTIONS
OLIVIA: female, 6 m
photoscan ...........................................................180
PERSPECTIVE DISTORTION .........................................92 block-out ............................................................181
LENS DISTORTION ......................................................93 OLIVER: male, 9 m
POINT OF VIEW ..........................................................94 photoscan ...........................................................182
THE PROPORTIONS OF THE HEAD ...............................95 block-out ............................................................183
Adult. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95 NEO: male, 1 y
Teen ....................................................................96 photoscan ...........................................................184
Child ....................................................................97 block-out ............................................................186
Baby. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98 ELZA: female, 4 y, photoscan .......................................188
Toddler .................................................................98 ANNA: female, 8 y, photoscan ......................................189
Senior ..................................................................99 TOM: male, 15 y, photoscan .........................................190
JACOB: male, 15 y, photoscan .....................................191
AGATE: female, 17 y, photoscan ...................................192
100 NECK
ULLA, female, 11 y, photoscan .....................................193
HELENA: female, 20 y
GENERAL MORPHOLOGY OF THE NECK ....................102 photoscan ...........................................................194
How the neck is connected to the trunk ......................102 block-out ............................................................196
How the head is connected to the neck ......................103 AMY: female, 25 y
GENERAL SHAPES OF THE NECK ..............................104 photoscan ...........................................................198
CROSS SECTIONS OF THE NECK ...............................106 block-out ............................................................202
DETAILED SHAPES OF THE MALE NECK .....................108 ANETE: female, 27 y
Triangles of neck ...................................................108 photoscan ...........................................................204
DETAILED SHAPES OF THE MALE NECK .....................109 block-out ............................................................205
DETAILED SHAPES OF THE FEMALE NECK ..................110 LELDE: female, 34 y, photoscan/block-out ......................206
Triangles of neck ...................................................110 LILY: female, 22 y
ANATOMY OF THE NECK ..........................................112 photoscan ...........................................................208
Connecting the head and neck ................................118 block-out ............................................................209
Anatomy of the neck ..............................................120 VERONICA: female, 25 y
Major veins of the head and neck ..............................120 photoscan ...........................................................210
NEUTRAL ................................................................122 block-out ............................................................211
Movements of the neck ..........................................122 SAUL: male, 23 y, photoscan ........................................212
Anatomy of the neck .............................................130 KANG: male, 29 y, photoscan .......................................213
RIGHT ROTATION ......................................................132 MARCUS: male, 24 y, photoscan ...................................214
Movements of the neck ..........................................132 TONY: male, 26 y, photoscan ........................................215
Anatomy .............................................................138 RAIMONDS: male, 54 y, photoscan ...............................216
RIGHT LATERAL BENDING .........................................142 ALEXANDER: male, 72 y, photoscan ..............................217
Movements of the neck ..........................................142 ILZE: female, 67 y
Anatomy .............................................................148 photoscan ...........................................................218
EXTENSION .............................................................152 block-out ............................................................219
Movements of the neck ..........................................152 RUTH: female, 71 y
Anatomy ............................................................158 photoscan ...........................................................220
block-out ............................................................221
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Head
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