About this Book As computer graphies have become increasingly sophisticated, so have our expectations for realism, This is true forthe computer games that we play, the animations that we watch, and the digital art that we enjoy. Inthe early 1980s, when Pae Man was atthe height of its popularity, we were content to watch litle creatures, whose circular bodies we only ever saw in profile, gobble each other up, Now, we want to see Onimusha's bulging muscles flex as he fiercely battles with his formidable opponents. ‘The trouble is, of course, that on a superficial level we are all exceedingly familiar with the human body—both its form as well as its potential for action Whether you realize it or not, you have been studying the human body your ‘whole lfe—when you brush your teeth in the morning, when you absent- 'mindedly see other people walking down the street, when you wateh your favorite music star perform on stage. Most of us don't ever think about it, but in our everyday lives we see many different kinds of people performing every Imaginable action. Consequently, when we see a CG figure who hasn't been well, rendered—perhaps the hair looks funny or the motion is awkward or the lip synch is off —we can be harsh in our critique. ‘This poses areal challenge for all digital eeators. Not only do we need to, be fluent in whatever 2D or 3D software programs we are using —whether itis lustrator, Photoshop, LightWave 3D, 8D Studio Max, or any other of the many excellent programs that are available for digital artists—but we also need to have an extremely high level of skill in the foundations of our arts. And for many of us, this includes having a sold understanding of human anatomy, ‘This book will help you in your quest. It examines the human body and provides deeper knowledge of the various body parts and how they all work together, both in stop-motion as well asin action. Part 1: Structure presents the ‘numan form, This begins with complete diagrams ofthe human bone and musculature structures, and then continues, body part by body part, with a ‘thorough examination of the entire body. Part 2: Action analyzes a number of ‘typical movements. llustrated by sequences of freeze frame Images, each of ‘these activities is presented in great detail, with attention given to common trouble spots. All ofthe chapters are connected to each other, so there's no need to read it linearly. Instead, start with any section that interests you and continue from there, We hope that this book answers all of your questions about the human body—and inspires you to create truly animated digital at. ‘The EditorsContents 6 | The Human Form 8 | The Moving Body 10. The Flow of Move Bee sis 4 | Understanding the Body's Examining Hey maepealte Aeton: 14) sng serictire 5 | the Human Muse 92 Structure Exploring the Construction of Human Body Parts Eyes Feet Shoulders Neck Chest Legs 24 30 36 42 48 54 Hands Arms Back & Waist Head Mouth 60 66 72 78 84 Nose & Ears Skin & Hair Face Figure Shapes of Actig 90 96 102 108 114ACTION ANATOMY For Gamers, Animators, and Digital Artist 120 Action Exploring the Mechanisms of Body Movements Climbing up Getting up Sitting down Walking Bl dea Running 122 128 134 140 146 Jumping Throwing Standing Looking back a 152 158 164 170 173 Afterword 174 | IndexThe Human Form Bones support the core of the human body. The spine is the center, which provides flexible support. Above it is the skull, which gives central protection. The bones of the arms and legs extend in four directions. Muscles extend over the bones to cover them. Above the muscles is the flesh or skin, which shows various bulges on the surface, What form does the human body take? What mechanisms are involved in human movements? Understanding the answers to these questions is the first step in depicting the natural movements of the human body.The | Moving Body Muscles provide incredible power and allow varied types of actions. When humans move, the body shape changes and the surfaces are greatly altered, Bach part of the body t limited movement ability. Human bodies are heavy and change immensely when erect After understanding the baste human structure, we need to investigate the mechanisms that help us move. Where is the center of gravity? How does someone maintain balance? When do people exert strength and where is the energy absorbed? Itis important to continually and deeply investigate the basis for naturalAwareness / and | Habits People have idiosyncrasies. The factors related to a person’s actions include age, gender, occupation, environment, character, and race, Even if you can't see a person's face, you can identify him by his gestures. A peculiar habit can make a very strong individualistic impression. An old person's face reveals the experience of time, which has been carved into it, Also, faces express something that is seared into one’s memory, and which can’t easily be summed up in words, Each person has a different posture, One trivial gesture is connected to many factors, such as taste, aesthetics, situation, knowledge, feeling, and condition, Actions become alive when these factors are interwoven. A model hat may look real but doesn't move is nothing more than a wax doll. Movement helps us to fee! life. One simple mavement ean be overwhelming, as it brings us closer to the mystery of lifeZz ° fon} fy‘The human body is, comprised of roughly 200 bones, all of which form a strong, column to support the body and provide an to help it move. Some bones can actually be seen right below the surface ofthe skin; they often look different when in motion. Bones manifest themselves differently {dependling on whether they are beneath soft layers of Jat or muscle, or are protruding. The skin gets ‘aut where the muscle is working, creating many forms of expression. A one's form ean change greatly during movernent Bones can be divced roughly into two parts: hard ‘bones and soft cartilage Cartilage refers to areas between the joints, at the ‘base of the frontal ribs, or ‘on the nose, for example. 15chest Pages 48-53a arms, hands Pages 60-71 andi um a nc rai forearm. At the base of the hands | % Benin ats thumb side, they mate teiquetram, and Pisform, The pal ofthe hands Each finger i the metacarpus Hur as only 0 bones. Fingerais havea dual function. They protect the fingers ‘hile expanding their functions. Nais facilitate detailed finger work that soft fingertips lone are unable to perform. Thanks to ‘the nals, we can pickup sna objets. Telr function is salar to ones, bur nas are simply hardened skin, legs, feet Pages 30-35, Te bones ofthe feet constant ‘bear the weight ofthe body Gravity dictates thatthe farther you go down the =e a Sa bi the muscles should be. And yet, agit responsible for hips toward the b the inside ofthe knees, ending atthe Achilles tendon. Tis sp of energy ssignificat in ing the foots structure, Te feet consist of seven tarsal bones the calcaneus, als, naicular, cuboid, laceral cuneiform, intermediate cu medial cuneiform five metatarsal bones four toes, with just toon the big toe. The and three bones on bones ofthe feet are considerably larger and stronger than those of the hands. The bones ofthe bis toe are especialy Inge How Joints Are Constructed The basic Joints are displayed fom both ends. The movable pars of the bones form a pai in the drawings below. Roughly speaking, most joints move in the vn clepicted bythe rai per left. Pex, games, which a 1 ial directions, ont assistance. As fn the muscle wil contrac relax, and it wil return t ha’ allt can set aoint vo bend and postion—or to get it to maint any angle it has o be ripe aes andar onl mainly in parts ofthe body that places. Sade joints have slightly oda forms and ean be found in the palm of the hand at use ofthe metacarpus, for example. Pan re fuel Jong the backbone, cllabone i other such places. Many shave cartilage between nes to protect against make big movements, such as the shoulders a thighs, Oval ois look ke spherical joints at they mor smaller axis, They ean ‘wrists, for exam found below the ees. Hinge joints elbows, knees, and other similar Joint Shapes Basic Model for Joints spherical jot ovatoint atojont Parts That Support a Joint’s Movement my, ee Fn tot saan ort ple re20 head, neck Pages 42-47, 78-83 ‘There are basically two head weaker ones ‘change the ‘reat strength. The rele that move the jae sul across the side andthe masseter, wh onnects the cheeks an the mandible 1 lower jawbone, They work together to both unleash power and ereate deli nts, The muscles that change facial expressions eve muscles, which need to react quickly, are strong ind thick. The emnoceldomastoid extends rom behind the ears tothe mide at the collarbone, The big mi und the eyes, mouth, and brow. The at the hack ofthe neck i the trapezius i helps support the neck ad Is said that stiff shoulders are cased by poor circulation, and muscle pain is bout bout when the fiers that make up the risle swell inthe process of thickening arms, hands Pages 60-71 Tredicers mets 3, peer om, when we want to show those well-developed biceps I allows us to bring our arms toward us, From the elbow to the west, much of the es for moving the flexing Ams and les have sila compositions In your eg, the thigh is where a welldeveloped risle can stand out ike the biceps. The shin contains a complex army of muscles like the lower am, In the hand, there area lo of ruscles on the palm The muscles you can see onthe surface are ‘entirely related tothe thumb's movement, Bven the btleabsuctor ‘ligt minim muscles play important roe shoulders, chest, abdomen, back _ Pages 36-41, 48-53, 72-7 Amanis chest muscles muscles inthe abdomen are not spread from the center of the visible, In the back, the teres nibs, where the breastbone i, to maj infaspinatus, and teres each Most muscles help the ams move the ‘The diaphragm, the intemal of intercostals along the unison, The sentence “He has no hese minor create protuberances. For J Mexily, a ot collarbone, and the transversus backbone” conjures up someone "The upper part ofthe backbone vital bo Protect the skull and brain, Back the neck, making it acts a8 spring to who is unwilng to take action. Finally, the rectus abdominis| Ir the backbone were realy muscles, planklike muscles i taken out, a human would the abdomen, protect the hardly be able to move at all, internal organs ae create bloctike protuberanceships, legs, feet ages 30-35, 54-59, 72-7 Fp anieg mcs go tgetier tke Bra sno ptr BBetniechot trie gute ste poco ig, Bee macs cet nv ccc Tage Nace he change inte bcs BG cirmeccsncte Breyer ho er Ime nen tn tices Monti acre t,he Bi toe ane a On ie cress nee te scree Mmonmonds tt te seus Pees the Acs enon is Bettatenns wor: ces vie inthe isan ue mecca and eth No teers sree Du - Bare tenn tn ios sre urd bere, Bi edoss change ie ar ofthe musleon eteclson te cy. Te tors ph all ali erp micea ln he caves alow onl srg Front a Pm theitoes and keep from fling. Describing and Explaining Movement Yielding to Gravity Most nuscis rn counter tothe fits Aes supor. Tat reans stretching out te Jats equtes mse work The exception dewhe gravy it work, Te ce of feat depen upon he weigh td ass te mater in question takes Hremendos rent to dey rity: On te (eran, you cou ex your boty give in fot eng around onthe Noor orteting suraems drop, When you kt sour ars fang, sour arm ances wl ela, Th he eit of your ars wil si vo your oues, You can cal your back to shin | that wight of your shoulders, but that ‘gain only pts the onus on some ther part ofthe by When we are inthe same ‘aston for hours, we seck ways to shit the eight of our ams—by putting furhand it our pockets, or example. When you cose sd uneross your legs or | est our bows onthe able, pay attention not tonto the muscles that flexand reax, but also 10 the changes incurred ‘by fattened muscles and ty fa. body suppor vit of ho ms. Motionless Tension ‘The Thinker i a famous work of art by the 19th-century sculptor Rain. The subject isin deep though. Even if you don't now the tte of the seupture, ou ean tell ‘what the subjects doing just by Ieoking at him, The way he rests his ‘elbow on his knees, the way his "ght shonlder curs in, and the tension seen in the shoulder muscle that supports the dangle! eam all precisely depict the muses at ‘work, His brow ie furrowed. His entire body, chang his face, is ripped with museular tension, We ‘often etoss our aris when in ‘thought thes to disperse the ‘weight of the arms and lows us relax. Lis also said that crossing the arms erates just the right amount ‘of tension in the arms, and that stimulates the brain. The simple act ‘of thinking, which on the surface may seem unrelated to movement ‘ereates masce tension that signals the thinkrg process the Momentary Ripples ‘When you run orm, the moet you land, sour leg uscleeetartng with the ales then the thghe—tien tmomentariy. You can tll that the legs ave ned by the way the mses ty 10 contra the inyuact, retin saves, ke pts in he water Te largest muscle tnoverent is seen upon nding the effect weakens ater it The Power in Repose Michelangelo's statue of David captures the young ‘man gathering strength moments before his battle with ith. Dave's posture suggests that he may be ia state of calm repos in the way he rests his weight on fone leg, Ad yet, his entire boy emanates the energy that fretells his next course of action. Intentionally sculpting the head, eet, and hans proportionately larger than the rest ofthe body Is not just atlek ofthe trade to express physical power, The precise muscular portrayal, especially the contrast between tense and relaxed muscles, isalso an excellent depiction of the ow of energy. Attention to the details of muscles at ther height of power ean even demonstrate inncr resolve ‘Te impact of 9)Part 1 SLA MIARIN AS Exploring the Construction of Human Body Parts ACR oe oO Rees EEC ORO we first have to understand the basic structure of the human body. The body's structure Ce MeCN orees ee eRe ee eRe oe NC EOS e CU Reon eon nen Recon eco en Cerne een ROS ee CR eS eee URC EOE Dyn Breconeye proportions «: pupils -2 e Example 25-year-old femal ‘The pupils slightly larger ‘The eyeballs nota perfect then Anetta Gameteelle sptere. The aren surrounding the located in the center of theese. ME pupil forms a small mound, The Theirs controls the amount of tba about 1 ineh in light tha enters the eve by et witk theta anusting the diameter ofthe approximately hal ofthat poi > seo eye muscles super rece ieeyaheseee meses Rae insnty by pling the egeball rom behind, allowing for quick and eae £1. sir and extra aieencesinie pups si. The __therena wi apper rad, aston ht would appear bigot are depending one ef oping thtecoed eer ee eta n in ditmocrs isn fact the seucl_Thosutace te oeissmeatrand 72. The color ofthe rs thongs and wy wet see trovsuls Tinie th eytel covesiattbeurcneftin aes Minden tin othe peopl nee rt and ‘lost clnrwatarreltit—elstosriators tare gaily Tegontrthe pmo retin shel th yes whe hands 2.Theshape ofthe pupil ary Noma. te pup appears sho inate There are fe indus, Back Butwhan ight enters the pupil, der oes, sothe same amount ot26 eye whites The surface ofthe white part ofthe the pupil. Many eapllares run aeross the pilarics when the eyes becom tired or lack sleep, surface, Blood pools to the making the eyes red. Eye whites are ‘basically white with a slightly bluish tnt Dut ean change a cording to one’s health ‘The constant secretion of tears creates a stall pool of water between the eyes and the eyelids to keep the eyes moist. eyelashes Eyelashes are about inch Jong. The upper lashes tend to be thicker and clumped together, numbering about 100 to 150. There are about 50 075 lower lashes. Eyelashes appear to grow parallel to each other, but they aetually overlap to protect the eves from dust. The number of eyelashes varies greatly from person to person. The more eyelashes one has, the mare noticeable they are £5. Animal eyes ‘Soma animals sucha birds, have yes that dont move. Beds tate thar haat eo Fram the en that ‘bird movesits head see whan eyelids A thin layer of muscle circles the eyes beneath the eyelids, "The lower lid moves in conjunction with the upper lid “The lower ld has very hte ft, so something as simple as pulling an allnighter ean burn that fat, revealing the veins beneath the skin's surface and creating dark circles, The shape of the eyelids ‘has subtle individual differences, bire's movements tandta be vary Smart the way bes head ‘moves. The only te the movement ‘smooths when the eyes are ietopsta focus the subject becomes follwing the mations of hei sje bay. To et down oni tine, the animal eyes <3 ‘The irises in rabbits eves lack any pigmentation, Because of their transparency, the rotinas, which are red, are visible to the naked eye. The cat's pupils vertically elongated, like a sit. This allows for rapid light adjustment. Cats that are nocturnal animals need fees that help them navigate rimbly through the dark of the night, The pupils are vertical to match thelr line of vision —that i up andl down—enabling cats to climb trees and fences. Horses, on the other hand, have pupils that ae stretched rorizontally to adapt to their lie fn flat lands, which inelines ‘hem toward horizontal vision rabbiteyebrows «+ iris movements -s ize of the pupil in the presence of light. Under strong light, the diameter sinch inks to about 1 inch, In total darkness, the pupil lates to about 3 inch ‘<4. Eyebrows £5. lis movements iis ardor wo oad the expression enn ae of smeone without insecurity. Generally, th Japanese European descent, sth eyebrows Thesis activate by changes in ‘th amount of ht tha orto the looking at sorting ney. To thre eateporis direct inhi Tigh and closerange reflex. This is a sitetiex When avery eit itt ters tho wy, re pup Indirect ight reaction This refers to whan ght enters one ye andthe pup of Close-ange reflex ‘When looking et someting at lose range the pupil contract focuseo | 3 z 5 4 | i i i ano ond wy 8 Ua: HO Blinking conte died ino wo parts cyliel an average of 20 mes or minutefor an adut nae; tines forth at fem) and tine, 0 protetthe eyes rom extaral mar Wiking is doibeat fom of Dinkng. Soe the pictures above. twe measured one second 30 picture ‘eames, liking takes up about Sot ‘those frames. The ey closes i four i : § 43 = Z onal i frames, open in 1 eames. Furthermore the ee closes rapiyin the eames and shuts ight in ne frame. Than the eye opens in six frames and otuns slows iia postin in five remes, The ‘rab age shy behing the eye intuming don, batretvensto te ‘anginal postion quicker han te ‘ya The lower eyelids alsa ‘mowing daring ths time. est Dury vison thet eesuts ram the sweualyimposse ‘sweeping motion. Blinking brings the are ting your ey, ut ou are ‘278 down ond tothe conte Then stl ntifing your eyebrows eyelid movements <« Blinking and eyeball pictures shows the eye movements go hand in blinking while focusing hhand; blinking keeps the straight ahead. The right image isp and clear set shows the eye blinking even while the eyes shi as it shifts its focus tothe their focus. The left set of left eyeball movements «; ‘The left and right eyes Also, the right eye and focus together on an the left eve do not move Image. That means the in symmetry. They only eves will become cross- follow what they see eyed when focusing on an creating differences in Image in close range how they move, a $Y HS fourtrames ities ae: itgoes the eyes loko the side whl the back downinthe next sit frames; and eyelids reopen One quick. dark then tstops moment ates ot the lr Eyelids Inov topether, 10. youook £7. Eyeball movements ‘your ver eytis wil move up andi yes moveinstantangous. Whon_youlook down, ath your lower and theymove from ett right tinking your uppers wilove down. iting 2995 the brain ram registering the _Youruppe void while ooking down iste youofthe eyes Wiarab or yes whan we got ad ran sends message that t forest and dacaose fears, ingot te Inaralted sate when he re at ousng, ther move oun anc omar re cet, be pis ate aie. Mis the ranges of eyeball movements - Looking straight ahead, the range of movement for the eyes in (a) is 20 degrees above and 30 degrees below that point, totaling 50 degrees. In (b), the range becomes 30 degrees to the Fight and 50 degrees to the most confortable positon forthe ‘ys. In conorsation wolek atthe person align doing eo, we send ‘tha mossage that wo ar tring We habitual protect our eyes. Tey are symbos four awareness, nd = they cantauero be mstenous organs. Ieft, totaling 80 degrees. The natural position of the ‘eves—when the eyes are not focusing on anything—is not along a horizontal or vertical line. Rather, the eyes rest at ‘somewhat lower gaze, looking slightly outward .feetfoot proportions Example: Prom h year-old female to 10, the foot is foot bones «1 The bones of the foot can ‘be divided into three parts the tarsus, whe where the toes are, bout 10 inches long, The bottom af the heel to the inside anklebone measures about 3.2 inches. 1's about 2.8 inches to the outside anklebone. the metatarsus, on the instep; and the phalanges, the heel is ~ phalanges ‘+1, Supporting humans: the {oot and te bones ‘The tarsutin tha eels made up of seven bones. The biggest nes are ‘hetaus ond heal bane. There are tho ive Heke tones. The ites onthe instep conse ve bones, andthe phalonges are mado up of. The big tac as a ones: the ater toes hve tee unteinen ach. Tho big he the thumb has ‘ne leas jit than theater digits. ‘ssongor and can mova more rely +2 The muscles and tendons that create agility ‘The foo’s muscles are complex group. Tha ae that stands atthe ‘masts the soleus, extending tom the foot structure «2 The complicated rmusele structure allows the foot to move freely. The anklebone slants downvvard, favoring movernents to the inside, Fe Achilles tendon othe calf. Just bolw the Acilasondon tha hoo ong; th anklbone oats the foot, upand down. There oe ao important muscles inthe botom ot the ot the ale, and the tes ‘The muscles around the oe joints ward he baton. The compat mesh of mscesin the ane allows to move oe,foot surfaces ‘The instep doesn’t ‘come into much contac with air or sunlight, so the skin islighter and sof. With the exception of the arch, the bottom of the foot has thick skin from Between the shape fndlthe show An ntcateweb af thick baad esl is sie onthe surface of ‘he foo some ofthe vessels wrap around othe botom. The toonais tre much smaller nen fngerais They become tite as they grow out 208 arom dovnarson the ses. But toenails vary widely depending ‘onthe typeof shoes a person wears the way eo she was, and sao. ‘Ad its tut the nai that raiet indvduldiferences inthe eet thor are igi big tos, hammortoes, calles, and other manifestations, Today, oop spend most of their shoes «3 Tate ea ts reinforced along the faleram, stronger on the heel, which carry the most weigh time wearing shovs, What tho shoes the fest or not the ae ke partofthe Boy, ad they can great sft the shape and uncon af he feat For the gt smoothly mow faxwatd the opering athe shoe has towidan aot When women wear high nae, which ag he Rela ‘der taohtan thecal, they ar on thoittintoes, Sutin the questo make thei feet seem sma wamen con oar shoes that produce ri big tors ond caluses onthe smartstoes «+ When the bwo arches on theft cat bear the load, thelive toes support the bay as it moves forward The weak looking litte toes tue actually litle so that they fan exert great strength at theitips When the tips of the nes cant bare the load the ther foot refexively fakesa step forward The toes, the atom othe foot, andthe eel each hulp person balance ashe uses his center fofganity and tis ‘raetionsto balance ‘+4 The bottom ofthe foot When persons stencing st, the Fotis srucred so that re pas tht estutinal ach areincomaet withthe ound ard balances ‘ey mani, The ots sanginsintosructure a ho tihthathls disperse pressure Iron top Because ooh wo bikes ate towihtand heavy prs oe man args. ing balance -s 475. Maintaining and reacting Toone's center of gravity When yu eleva take to big of a stop award, ing your comer at ‘rary, you tendo ovrcompensate. by ending sage this time, aMlofthe tors are woking t support ‘your body When siting sideways, people ero stand with ther fot S90 so tharos iklinood at ‘ty wil need further seth thie ops Noraly to kop from fang whan stopping forward you stick out Your hips, force your head upturn toward th ini, ad ise on oot inthe air bhi ou When you are trying to mein your center of ray whl fling Backward you quchy step back eth ‘one foot The heel bears atot weit even when you'r just standing, and itis natura forito compansato the this But your foot Soasjuststap back. To keg tom {aling, you clnch your jaw thst ‘your his forward, extend your ams tothe sido, nd tit your thor fot in 33keeping balance -« Walking is more than just an activity where the less propel the body, I's more like continuously and skilfully balancing ourselves a8 we fll forward ‘+6. Walking and balance ‘her oo comes fora. The fest Lets consider therole ofthe fectin cary he body natural a5 ho contr walking The foots oan thougtot of ray moves tse vhicle—the ata wih The aut walkhas been perfectod Catepilarteads—that puchesthe and thereby lacks in variety, 20 odyfonard. Butthefoct actualy, consider thewaya cid walks ‘comes outta balance the body tien Normal chiren are unbalanced tho conor of visits. Shitthe and meandering chil wt large ravtyfoward ever more, andthe oad hatis not yet stable has rouble a -eepng balance in anyone pace Bocause thoy woul beable to ‘susan tec weight they pt one foot ahead ofthe ater, een end to shut thie tothe lt anda the ight Keeping balance i dynamic and ‘cons necessary tocar our eight act and maintain our cate fray rb have sffets on many four ether movements Understandings goas beyond any indo ape lan or ‘emp thas sbout aration and straight tothe abily to express the movement fing tings in anata wa.(2) we sve that a foot, move ina 105-degree arhing up 30 degrees siretching dow 75 In(b) the foot can (te chractes toes that the ground The foot outaed hen walking, inges of foot movements move in a 50-degree range as range, 45 degrees to both the viewed from the rear—25 left and the right of the degrees to either side, And center line (©) shows thatthe foot ean move sideways in a M-degree \ ec cave \ tostoattencas \ OR cnacttinasene Tia eresvetel ier tee ib oe eee ~The foot as viewed (Crom below, with the bot vio With heheslontheinsde. The fest ground hard, When you become even sta apling the animation ram the sr both fooning eet ine ‘ore ites, you end up just shtfing btm. Second theft must depict between them Typical, the centr yourfet along, When you get tis the physiealweght ofthe person. of araviy ison the front foot ih the exhausted, is ifeukto even you dontknau where the center of heel sor of fain. Shift te center yourfeet, and yourtoes hopin to curl__steiys you won't ale to show ‘ot aravity tothe heol wich isnat in ACthat pit, you are susceptible this when the body ismoing. And ‘made absorb the inact anditwil to stumbling on abun in your path oven you spotihe center, you hurt Shoes absorb he mpuctfenby sn aling can't opiet he fat suppring tthe thehee|allwing usta wakforlong For animators, hero are two poins__petre becomes periods When yout, yourback to keepin mid Fst, dant et the slopesforuardandthe fethtthe feet sid. To keep thom rom sing,shouldersshoulder proportions Example: 28-year-old male Bich eollarbone is about 6 Ineeslong Irs 7 inches from Mieegof he shoulder totelow Ahestoaller bate. An iis ater tes fro the bottom Die soullr bade tothe top Mbetone is about 4 inches ems shoulder surfaces When exposed ro sunlight Ahe stolen can quick Bum, Atraeoftalr onthe sure gst he ack loth armrit, sou Fann erty hr at targe artery, The arborea [Souler bide bot jut out Fettgh tobe visible. Since Are are no major rnscles he two, the area 4 hollowed ot gng te shoulders 71.2. Most movements ce Sra out te ncate Casitectesterostangsoi (latonship between muacio The colartone starts jst above the fist and extends backtothe shoulder bad, The shoulder bade angular ané connected othe humerus The hae of he humerus Tooke sal ball sticking outta slant You can protaby icra the way jit ves but tat motion lone dees ntl yout rise arate ave more ‘your am into he ar. The hover is ‘exible because ofthe ico rasp laon botwoon the work of ‘he shoulder blade andthe supporto the collarbone, The srcture ampee—uscles esa work closely ‘wth bones. “The shoulder muscles work to allow the folioing movements faising or lowering the ars 8 horizontal positon; lowering and ‘ising the shou lee; and paling the shoulder tades cose together Tur the page or move on the bona and muscles othe shoulder—$_ sf : poo shoulder bones «1 The shoulder is made up snouder bade fof the humerus inthe arm, i the triangular shoulder blade cana in the back, and the collarbone, which is connected to the sternum in the center ofthe ribs shoulder muscles -2 humerus ‘The shoulder, which can move quite freely, has all sorts of muscles that establish close connections with other body parts AREA ‘=. Shoulder muscles ond the shoulder lade andthehurerus, HY/ Thelassinus dorsiconnects the L/ Thetaperus covers lato the ovement ‘lay aroieinthe arm's abdveton, humerus andthe lower sine. back nd stretches tothe coartone, Here are explanations fhow the, F/ Thelevatorscapulae connects paysaroeinthe arm's adduction ‘plays a comprehensive rein the shoulder muscles displayed above _thetopoftheBackofthe shoulder _andinvauton. shoulder adesmovenents holpwih movement ade withthe neck Bones. helps If The sbratus amare connects the MY. Th pctras major connects ‘A.B/ Thesupraspinsts comects the shoulder bonerse. The rhomboid backaf he shoulder lade andthe the collarono isan humerus. long the top ofthe humerus nd connects the botiom athe backt ib tmoves the shoulder lays alo inthe ams addeton shoulder blade. ples rola inthe the ahouler lade withthe spin. bade forward. fndinveiion. fms abduction The ters major haps the shoud bide ulin 4, K/ The pectcals mine connacts NY The dtod isa wisngular muscle connects thelower shoulder blade G/ Thesubscapulariscomectsthe the fontafthe hauler blade and onthe ous ofthe huss. fandhumeru. plays aroleinthe middle of the backof the shoulder the ribs. The coracobrachiais plays rol in bending the shoulder ‘saat and involution, Bade vith tiehumerus plays connects the onto the shoulder jit vtndng, abduction, end ©.D/ Theinraspinaus and teres role inthe ams adduction and ‘inde andthe humors, They stabiee horizontal addiction ag abet rmioor which canmectthe mide of imvlutan the shoulder bladeTookingat the shoulder from Aloe, we can see a triangular fahmade by the base ofthe Tumors, the shoulder blade Sipporing it from behind, and Ae alarbone in font. The ‘la soe of movement the Shouder is making Dsioning ofthis arch indicates Lihyourarm, and the mpi tits forvarc Extend your arm straight in “nto you, andthe armpit [ois diagonals clown, As ‘eshouder rotates, the amp rises 4¢3-Thetangulr arch that “npesses the shoulders ‘movement Donte ranula arch an depig te shoes Inorerent As aor shape. ingest movers By ewig sii oho stale ont tndismbie pars, we cant gas ‘hosp othe shat or te owes tis movements. 8 lokig ate tangle, however we ansee tate sours chon igor or up. Won you tend the am bck ed the shoulder age sage ait, ining the ange downward fa consider the shape of the shoulder ise, you cen se how ts hardto ‘move he shoulder tote back When ‘slp vatout pil. your ‘heak and shoulder willtoveh, Your head slopes oun ofcourse, bts ‘alsa clearthat the shoulder moves up ‘ndin Tho collarbone eaiy broken There te muscle to protect ti ots ike spi. The Shouler blade, wahits conection ‘west of muscles, bps 0a Iaverment ithe it and supers ‘ho am nts moveonts pectoral arch; tri angular suspens jon «3 ‘Shoulder old she forward and tp, as does the rangi. shoulder movements and armpits -+ Pf ‘£4. The linkage between the Collarbone and shoulder blade Ukyour am toa B-dogree angle nde shoulder lage and Callerbona dont have to mave too ‘ramatcaly The triangle we spoke of ear als stays horizontal forthe mos par Lit your sigh arm boyond 30 doproos, andthe callsrbone moves way back wie he shoulder blade tants par, Move the arm backoard, andthe collarbone pushes forward a bit wile the shaudor lao inchs closet ase ses quto a bit forward Integ an sirking the tangle the center of the body. Move the sm forward again, andthe shoulder lade sido long in suppor. The ‘connection batieen he collarbone and shoulder blade depicts the oye ature fee moverents—ths the kay to undestonding the shoulder.shoulder postures <5: "The shoulder changes into various forms depending on a person's f spiritual condition, lifestyle, 4 and actions. I's also Important to grasp the differences between men's and women's shoulders i [A Nera posture (ef, stoping man ight) _B Preparing to exalt, depress man exhaling ll re C Fightoned man - ss ef F Man taking of sit att, woman font Walking’ proud man lt, fred man at '+5. Shoulder postures sag That makesthe sagging action in aug tac ‘he lg goes forward or yu fl. By The shouderscan unitentonaly look bigger. E/ Walking ‘wisi te tips and tho upper bady rovoal something abouta persons C/ Fear The shoulders an change the inoppsia drecton, you mata hats and situa candion When you're stad of something, impression of someane wating Whe talonce Sang your shoulders hard Lets take aloo at how th shoulders the defense instinct ake over and shoulders re drooping andthe back andyoucan tthe ground th are done: yourshouldersellxvely cower. rounded, the person looks tired and farce, ropeling oursolfrward Al Relaxing ‘When you fac fear, your whole weak fhe shoulders ara reised and F/ Putting on or taking of, The shoulders usualy seg, When body bacames rounders you thechest out to porson lots elothes you stoopthe shoulors moveinand protect yaurhead, stomach, and _—_confdentandsnergat. Whon ‘Who puting something o, your Sun, When yourchest sels, the other vlorable areas ‘alin, he shouldersimove in ‘ht hand (ore you art Shouldersmove back sity sit Attacking ‘hythm wah the arms. When runing, handed goes hough the sleeve fist. ‘they leaning on he spine. ‘The shoulders are sturdy andeasy the shoulders are ou st Tey help Thon your ight hand reaches backta B/ Disappointment toputone's weight btin, so theyte the Body ist When runing, you grab th lots item and pl t ove The shaudersise just before hay good for charging it somothing,a& _havetothwst your shoulder cut as Your heb, puting on yourbady a¢ 40‘Thetotation shown in (a) ated. The arm, limp, can exter to about 90, ron there, witha ofthe humerus, the arm extend another 115, 118deaees surface Of couse, pople stack erat buton sen nd women put on say. Hower th soos + etaion oF upper arm nges of shoulder movements degrees. It can also extend] the opposite way for about 25 degrees. In (b), the arm ean extend 50 degrees to the bback and 150 degrees to the front, fora total of 200 degrees. something a Women eas thi arms grab the clothing an ether site, and wedge ‘hei lao ita the material. Thon thoy make sot un wth bath aes, reach up, and take of thir cating ‘Men gab he clthing sound the nook with both hands an pl t over thoi heads.Thn they gra he ‘materi at th back otha neck th ‘hoe hunbs, din ne motion — fevtend thor ame and tke of ating ts sié tate sexes take of tie cones ater because ofthe shape of thie sour. Chien usualy take terrae hand and grab theft ove, pulling ‘ute lf am. Theat rm reaches from nsida th clthes to he rh leave, andthe ight am steed “hon hy extond both ams down and slowly wiggle re by ising ‘heirams, eventual taking off heir ‘ops. Chidron do this way because the clothing tan be ig on hom, an they dont worry abou stretching origin he lathes “The question for animators anit wshutermen and woman rea ake of thiclates tie way, bt hat approach works when dopicing a feminine or masculine way otakng one's cates? Tako care to eupess is ference between men and women and you wil rng indidulty tothe movements f your characters, 41fI9Uneck proportions Bangle: 28-year-old male Mens necks measure about AFinehes ong, wide, and across. Women’s are thinner, at about 4 ices. Women’s necks seem Monger because of the clothes a ey oar and he way tei stoukers soe neck bones «1 Theneckstars ot the base of theshl. OF the 24 vertebra fatal te spinal column that extend S vous Alte way tothe sacrum, the tp Bee coral vertebrae) are . the neck bones . second ena! * ‘centrum = a ok . . 3 seg cre Therole ofthe head's padestalthe neck Tanock sa pedal or tuba paedon plays aco! Inport: te lao whors Dundes ofneres—ubicnansnit sipas to to bain—are tzacanse tba tome ofthe tsapups anditshoms tothe vocal ters se, thnk contr spats nd moves oad urate. Te race a whieh mean tentins many charactrst ofthe nec thatthe layer of piu thin, on tho surface can change rascal When deawing tbe ere ato risk take a ube or make te head oo ike ie moving independent ‘Also the neck should allct gender and ageditferances. you wart your animation afc the Constant fx thats cherecterse of ving things, you en aerooe hese points ‘+1. The bones that compose the neck and make t move The fist second, and seventh ceria vertebrae have sight ferent shapes. The other four are ‘ier in shape. The seventh one, ‘known a tha verb proninens bulges oun the back more than the hors, making visible. Becnuse he spinal clu absorbs the impacts the body, urdsates when vowed from the side. The upper part of the ack A nauborn baby doesn have this eoied! pine yo te head et ‘aed n posta, so totes back and forth Once a aby tus tees moths ‘the erica spines present and the head is more stable 43neck muscles Eg apect ia ns tej tots baz ofthe neck The sternocleidomastoid £ aera Peper nde ee ee ae paicepitaiy Beata neck surfaces «2 “The neck isan easy area to accentuate individual differences, starting with a ‘man's Adam’ apple and including the aging ofthe muscles and blood vessels, cntenaligula vein ac ek appears the Fat under ‘he jaw ee 1+. The surface of the neck Astorageaiferencesanclder exerts im- ores Tohelp depict seis em Whente neck ats, seaohois sal carpal bones 3 ‘rapecxm trapezodd captate proxmalpalanges. idol palangos. sna pslanges thumb realythe __shmbhasonelesoitthan the 1. Nails are not bones; ctor fngrs,butiyouconsiéartho they're hardened skin fuefiger: When metacarpus atthe base ofthe hand Nal protetthefingetis, but asthe third joint thecones he ‘hoi spacial quality i that hey longestfingerNextarethemigsle reinforce te finger functors The finger ané th rng finger. Thismay nals are thee because the ngerips mail odd ut because the wauldbe sot otherwise end unable placing ofthe base ofthe ingersisa to perform all sorts of small tasks. lite ofthe midle agers the only Thanks tothe nal w can pick up ane tnateak ng. The length ofthe emallitems. Functional nai seem wel os muscles, rd Iidletagerondthewidth ofthe ke bones, bathe ae aetaly eatmove ots om, tcan palm are about qual hardened skin lng withthe gers The 61hand muscles <2 “The musck mostly in the palm ofthe hand. They help the fingers open and close. But most of the sare found ‘onar muscles icles that move the fingers are in the arm, ‘muscles hand surfaces -s | ‘The skin on the back ofthe thin, Bones, tendons, ses, wrinkles, and ell visible. The palm is hair very dificult to depict because of the many large Ai lines running across it. Pat goreint creases run across the finger Joints, and the fingers have prints at the top. Prints are also on the swelling around I the base ofthe fingers. Fingerprints change from person to person ‘=2. The muscles inthe palm muscles alongthe thumb, nown as surface. Typical. tha veins gotfatar around he nx ont roxina move the fingers the mena mice, nclade the when youletyourhands drop ané interphalangeal joint has es of Muscles are connecteto ductor golics brevis, tex plicsthinr when yourase than, ‘wines, ke anova hig Uke Imovementsnthemetacarpus. The revs, opponenspolics, and pai e ‘he nue, the wiles sete, nd lumbrical palmar iteoseoous and adductor pli ‘+3. Drawing the wrinkles on the lager muscon ed tendons oralitrossoous muscles arin eae becom mere apparent when the batwoen the metacarpal ones:they The bumps on the back ofthe Thowrinlas onthe back ofthe ___igor bonds. The wrinkles around te alpine fingers open and close the hand change with movement hang come tom ite lateaisin the final jint he dial itrphalanaal pponens cit minim lexordgti ‘The many protuberances onthe wristandtha many tle musclesin jit are wear. The ni, deo rinmi brevis, and abductor gt) ——backatthe hand ean be difcultto the mide. Around the hueles, the hardened sk, wl row steady ve mimi muscles are long the base of depict whenthehandis moving. Due grin gts bigger and rougher the course of ones. Tiny roves thepinky ager. These muscies are to gravity, ood lows downward, _setchasoutandheskinwhitens run across the naatitsbaseisa edhe hypathenars. The big swoling th Blood vessels along he when ofingors are bent. Thearsa__ smal white arch 2open hand and closed fist -+ Menges move er the fendons diver the message Atte sce in the berm have contract power Closed tt {Dvarathe ane, The thumb cover the other Anger. The wines on {hs ecko the and sre Srvoned anton Open nan fe dearly vb Tate tend etardionrd ne fy. encore Geach renee. eters se ryote Projecting power how hands work -s ‘The main museles for moving the Angers are notin the hand. The muscles of the cervical spine contract when fingers move—very much like the mage hand novelty gifts. Clench your fist and the tendons in that arm will naturally tighten Insuceession. The pinky and the thumb are exceptions in that, unlike the other Angers, they have extra muscles in the palm of the hand to help them move. Otherwise, all five fingers move in the Frocelof the foe's structs Fingers aren't straight hallow is made benveen the hum arch. The space Betweon the fingers project rom the back ofthe hand }openyourhand your andthaindax finger. Ale, the slack eappears andthe cesses onthe tthe end fhe pny finger. ubdtagrvttetonarthe —_shinbatwoen these two ingers is jointsstreteh. The thimt covers the ina witout your femghaszd asitdhns out Open your other ingots, andthe sin between 35. The joints above the Hema Te space ads a ai go, the tho thumb andindextingriewistes__Kwele move in syne emetacarpas andthe thumbandpnky each farther back ito an arc of wiles. Along the Mostof angers movements are oun ach ge opens vp. tanhe other hee ingers, Power's pinky er is xcoss sin et linked tote writ Moreover the fst ins atoveteknucias projected along these wo fingers. createsrinles heading towaré the and secon its onthe igers sgh eek Tere inside Conch the ft andthe wrist maoveinsyae, They ean tmove hove secondjcie 4. Creases formed by a tums toward the inside, seineating independently. entotuck oft hand teneched it tho und of ondons in hemi, aig vane mare When youmsko efit yourfngars Because he pinky shes toward he Twotenionsinthe ——_—_tendtomovein and ond the ride, distorted wns appear este anéatiangular thumb. Tnemetacarpusreatesan between each finger. The powers 63hand postures = “The most basie action of the hand is grasping something. Even newborn babies will uy to grab objects near them. I's practically a reflex. hana grabbing soup 6. Grasping, throwing, catching Babies bocome ware of oboe ninety ryt grab hem when they are jst two or thee months od. Next the act of throwing iui learned, But the his needed to cate something ake ‘ruch ange to acquit The ity inplaying catch sthatone has to fsnuge me placement speed, ond ras fhe objeto prepare forthe impat. The hand absorbing the elaxed Impact also canst ro he bal, ‘thas to grb tan row it back “Tieton alo shows how much ‘and how eevee hand and brain srolintos 4=6. Grabbing a cup and iting ‘to one's mouth Thar ae al sos of way to gab things. The fingarips arelaaded wih nerves, and they ean tl with touch the nature of omehing ineuting how thick tis For example, when tambo grabbing a cup ona able and twining tt Your mouth, yout take ‘he following stops Fst your hand vl gra the ep. The agers immetiatoy repro thebein that the ey thick and canbe grabbed fim without resing, orth the surface is smoot and 0 you naw beorohand hat he cop fled wth water and heavy. the fingerins will exer srengh when touching ‘er grabbing ely, the gets will asimate the strength ned a lithe cup. nce the iting bois, tho ingorrns wil act the ‘roves in re keeping the cop from sipping The hand ish ap tate lace estimates the south bei also trying ott spil Ths important things ato esta ‘wot of ho bjot while ig th ‘ingersps wil otis toe he ag bagns. The hands ean handle et ict actions wth owes adinges of hand movements Fomtheindex tyerto the skinconnectingitto the move along the axis formed spiky, the joints at the palm work in a way that by a vertical line extending fe gers can ‘Allows the thumb to make big through the mile ger Cuvards about 10 movernents. One pointto that movement is controled ic exverber:the wiat cant: bythe upper arm ga B8e view of he rand EE. wets te ais at the cammunicaton and expressing rusia’ ngs ting over an pat fematons and doses. tyouwant _instumon. Tho hands second only [oj] eaten vencine fomething, you extend youraem to tothe eyes in exgrssing ur desies. (| Semen takeic youre bored, yourmaytap When people shako hans, ho Se a Your igs on your desk When you meanings clear because isthe The wrist snot capable fretting wana putyourthougts down an hand hats exrering the by set ape, your hand grabs pen and spits intent. writes The hand lnboate moves astproportions Baample: 28-year-old male ute top of te to the elbow is inches. From the othe wrist is about 10 ‘he tase ofthe arm is Ainches wide; the 8 35 wets andthe < is 28 inches. rons bones -: armas tee bones mers, which nthe stoulder; mers tla and ads eomer tothe wrist important potberances bands sight atthe end. When you bnitatcoonact wth the caves on bend your edo the shape ofthe ‘hea andra Also, the tina canbe made out as pushes Irauberances on these forearm ou The aus thick tthe atom ones sete inthe cvs on both and beds ut sigh, When tase sides othe mda the elbow pit ones tis the forearm ms ans Thebones inthe forearm help the the wist oats wiht To wrist jwmbed and extend. Etond your joint ant tun by ts. The hoo palm tin ontofyou, andthe una bones andjois ofthe am ll have ‘wilde onthe nie, th rads on he specilchracterisies tsi. Te in starts et thick andarm muscles <2 ‘The ann shows the rmuscles more than any other body part. The muscles that bulge the most are te detiids, which cover the shoulders; the biceps brachi and the triceps Drachi. The other muscles ate listed in the dlagram, boeps baci ‘extensor ceri ~ ‘aa onges extensor carp rosie extensor polis. Tongs wtonsor cp ura arm surfaces Pale hair grows here, and sometimes veins are visible. Extend your arm and the turns into a mound of fine transversal lines. The skin on the tip ofthe elbow and around the wrist is thin and ‘hard. The skin on the elbow Is alittle thick and rough, Also, ‘depending on the clothes one wears, the skin may become tanned in places. ra skin around the elbow ‘+2. The muscles responsible {or the prominent bulges ‘The tod cover th shoulder The pectoris majrinthe chests also» shoulder misc the arm can make itransform. The sightly aoresed aroa whore the dtd and pacorals major come together treats groove. nthe Baek, the Inraspinatus, toes minor, and teres ‘major alsttch roth shoulder Blade tothe mers. The upper arm ha tvo muscles toe Bulge wil \Wiapped araund the back ofthe humrusistheticeps brechi: the 68 caps brachiisin rot The wicgps shaulder blade, butitdoesrt show on tothe wrist These muscles ets brachiissomamadbocausoitsplts tho suace. ‘ho bgyest ges inthe fovea ino ee. stons above the elbow at The brachial i ‘Along ha hur are the abiuc ‘tha ulna and extends tothe armpt the icaps bach onthe other sie ot polis ogus extensor pli andthe shoulder lade The biceps therm Itconnees the mile afthe revs, an yor olicislongs The brachi which pitsiniotwo starsat humerus tothe top ofthe wna, A other ingers re contain by tho ais ond exnds tothe ‘complex array of muscles that conrol extensor tendon which sis ina hauler lage. IRcan grow qutea fer movements un rm te eldow —fouran the back the han he bitwhen te aembands atte eltow, — tothe forearm. The ponatartaras flexor dgtorum superfine itdstnetybuiges. The sla starts goes trom the batt af he humors pale exo Grp ins al he onthe sie sd heads sighty tothe tothe top ofthe radus. The Palimarslorgus, which connects i ‘ouside Inthe side ofthe upper brachial andthe extensor earpi_themembranous tendons fnneou farm, the coracobrachiais extends rials ngus andbevis are found in acrossthe pal. Cher muscles ite fromthe middle of the humors to just tho buna of muscles tat run along foroarm clothe spina and before he busing part of ne the ouside ofthe am rome loow —_pronatr quadrats,movements <3 Miearn moves nthe shape ofa ihe stouker asthe contr. sul maybe considered ball inks movements, but when eomsider gravity and the average afnovenen, it snare fake. The ein ofthe fan i lured because of rae of vere of ollrbone an shoul Mrerange of the eos moraa ice Also, ener arm's bit to Be Asinple move by the arm Ey tecames complex when the eran foear rotate F anes inside ar visting Joint control rotation ofthe forearm and ‘Shoulder when walking. (Gscordant int cont) forearm can ls change when he ‘+23. concordant and discordant ly, ate ood yckrng the veins ise yurhand, nd eso, avg te eis tse. Tv abow charges thorns une When he amis conscious ot Scmathing inthe hand, t moves ‘fore When the hard trying to et something, he staring point for ismovomenti known a discordant isneconrol When youwak or do Something ise where he arms move rotation when waking $A rere wren waning ~ & natural the movement staring in tho shoulders own as concordant jit contro. the body part ollow themovarontof the adjacent part ‘losestta the waist Fr example the hand follws the movement ofthe {erear the fear flows the ‘upper arm; the upper arm follows ‘ators, Discord jit contol is hon a body art moves against this fw ‘Wen walking. the way the arms the rotational ange ot the hour bia aed ‘caloone when walang imines, we wo highights finer. The female face has many layers. Geeshadow. When we want to fut depth, we use shadows S| na ,o-™ cosmetics for selective | emphasis <« Cosmetics can be divided into two general ‘groups: those that are used to hide trouble and foycrow those that are used to bring out features or ia texture, emphasizing or adoring certain parts, “7 i Z eyeliner von J i ha ee Pa —— . ~~ ‘mouth However, skinwilnat aways shaving he eyebrons, then sing cosmic use highlight to dr out ithgesshpeandwinkles be pulledin the dracon ofthe sneyebron pencitofilinthe shape certain elements, and app tush 0 renthevingsofth seta muscles. Themouthienover pulled the way theylito. Women use toner, th choek to give thm marae. A Whenthomout changes act tothe sido, andthe eyebrows frst. to prepare the face; thon ‘woman's “second kn” is made of henosesnschelsialow sia dont mavetothe nde roster whch seppsthecther many layers On top a of his go Sintra nb, batt cosmeticsin lace, then perhaps a eye psc, andmascara hich rk souhenanepanis F456. Therrle of concealer her andthore ta cover emphasize ceran parts esterearetoundtobe cosmetics trouble spats: and thn oundotan, Wore's sknis lighter and soker whichis spread on he “canvas.“To than mens. Cosmatiscanbevery make the sin rin appear fier, they important for waren Thay take 1s face powder. Tey aso crate ‘exceedingly create actinslite shadows wth eye shadow and ther 108106 when the mouth is opened/closed -7 Open the mouth wide, and the jaw will stretch into the extra skin below One of the special characteristics of the jaw is that when it opens wide, i creates a bulge justin front of the ear facial parts under motor control «s Facil parts that look as if they move voluntarily incde the sides of the mouth the end ofthe upper tip the wings ofthe nose, the base ofthe eyebrows, the upper and fav Pats that rire under motor control give the important impression snd the frame of the lower of individual volition (£7 #8. Facial movements emphasized whentheface moves. way. theshape ofthe heads also raised as much as possible Wie The biggestmoverentinth face The chooks stretch, gather, nd form greatly altered The movamants ofthe tis happens, mosco rend isdonebythejow,butuless we re wrikls—theyworkinconcort with lworjaw probably reat the upper ip carract andthe singing or eating the jow doesnt ferent expressions They do nat —_biggest og between he Bone tyebrows—connectad atte ate Imove that much When we tak mest ooklke they ean voluntary move. suture andthe atin end-—naturalae ple avn ‘hanges ae around the mowth The Parts thatlaok ke they do move ‘Al exrosions ar tect by tyes move ne more age and lvely volurtanlyinlude the upper eyelid, emovons, and every ety occurs in ‘way. Consider the wink for example, which unconscious binks The chin of acon. For example, we Evenwithasmallchangeinthe ayes, lower eelié sometines movesin open ourmouth wide when we yan the oyebrows move andthe cast!” wave ured to emotion,buttisslzo We dontony open our aw wide the oyesis set imponantin creative expressions. _thesides of ourmouth ise ina The soos ofthe cheeks When the lowerjaw mavesina big agonal fashion andthe upper pisWehave to pay attention to Areficrs asymmetry when Abalng with ts shape and fspressons. The two sides are otmirror images; even facial Hepressions have clear ilerences from the left side to Thera. Depicting the face is Berto infusing a character with Bi, which makes these minor Alerences of ncreasina inporance facial asymmetry a habitual expressions and postures ‘he legs have almost Hexessfully completed the lak of supporting the body Dri. Al that's et is for the laper body to straighten Ip The body formed a AP before; now it acy , bending nan “S mata ecxarium 35 42 utting things in order The bly weight has been andthe feat of standing silly been accomplished. Se ofthe joints are sil a litte andthe chin is stil thrust The back muscles are not yet stretched out. When stands up with foree, the ends backward, the knees snore bent nd the chin is the bones, Sraightening the limbs Taare hae fnsred he role hannah sides. When ising ey. ands go toward sie Dice he boy has risen ants ban ro each ther inthe ominga hal cl ‘other and return ke a pendulum, ‘te, body parts hat re Boing used ina certain action tend tobe ‘puso as just so much heavy mater. Bu ractons, habits, nd reste physieaimoges ae very important characteristics when t ames to expressing movement Information abou te fe, weight, ‘knee and range of Boy arts is enreuting ther respective fer when they donthit each Bahan ross ovr wach finishing the action ‘The ein is drawn in; the back is extended, The knees are als fully extended, The body has reached is fal position, but from the side, it looks ike it's slightly curving. The arms are arranged atthe ses, Standing is exercise for the body’ frame. I’ a posture with a lot of special characteristics, and we need to probe enough to know which muscle is tensing up and what is being supported by Thea ats seni dow. \* Te anaderie ued bac ‘The wait pushes the standing essential When creating images of people shoulder continues to sing the swaying thir forearms while ol arm back ondng Koop in mind hat when the ms swing forward, the mphasisis most onthe aan a the forearm. The elbows slighty bent at back, the elbow saightens.AhS eit the foreas range of tat132 49 going insecurely for the seat -s a person would 56 definitely check the completely different chair. At this point most ofthe body weight is stil supported by the feet so the person can still stop the action. checking the char 70 finding the seat <7 getting seated At this point, the hips Thetead he person has now haven’ decided exactly stays lve been seated. The whole where they will it Usually body quickly relaxes. The they go fora preliminary body is stil leaning spot, rather than the one ‘they will later settle into, ‘The person's weight has awkwardly. The hands are still on the knees; they hhave nothing to do. Once the logs relax, the weight rests on the waist, and not yet hit the eb Dut, even with exertion, the body cea’ rise again. the buttocks and thigh are latened out ‘Te noac mating £6. Sitting posture Wen sting down, he ee whch hasbeen wholeheartedly thrust ou is pulled in shade. The ams also fain ite, andthe muscasin the logs ae tense Whon te weigh of tho bodys on he has, the oes are suspendedin aio poiting vp. The muscles in th thigh are tanse a5 ‘they mort steady the es. The backis bent. ‘#7, Head movements when finding the seat ‘Tha head cautous stays level its to act uy he body shauldlose equilibrium. The heads ot only an oration process, but aoa balancing device atthe top ofthe body. you tun your head hen standing, your boy wil rary flo When the ho move, the waist works a an xis Before siting the person ks at the chair. She chacks because she fallon her backside theres no char When we stand we sometimes oso in an energetic way. This is rover the cao with siting with ‘exception of sturdy sof other ‘halts wo can arp into without fang letting the body fall <<. fie Coonan es the pars that are staining andthe ts that ere working 77 _ finishing up The ofthe body is inthe iran we are beck tothe starting poston, The back is straight and stable. The legs are relaxed, Both armsate in front. The waist and hips are supporting the up ox body ‘Actions ifr from charts chair ‘The actions of ting up toma cha and ating dou esol her, but hey are xa dle ‘eto ns a so dora. \Whan standin up. wey sande anenergt way Whon we teu ‘we tro eiminate any vey fnergave movements Gog pan ‘ting down ae very aguet scons, and of cours, ty ae important Not that the actos at84 settling down ‘The slightly sloping back slowly settles against the chair, The head is slightly thrown back and the chin i sightly drawn, in, The hands are putin a place where they won't be in the way, such as next to the w ais, The legs part a little to either side. The person can hold this posture fora long period, ETCETERA possibly crossing her leas from time to time Sittin, fing edhe peo char ‘mustalgo pay atanon whe person. propeling here imo the next action, Fed Wi alow chai, ha body‘ sheis wearing slang coat or» When someone i relutanto got op Init ik gute 2 ‘ir she wil tuck Rin behing he that person may lan sharply Tinie at wogh shit iscitieat. belore sting The person's mand wll forward raise the wait ony ite, Miatacnae, ewastand the alsoaterthe acon, depending on and continu on with the shoulders Tayi mst eed therois whether she ised, thinking, ovina slumped Eanatiog onthe chair grab ons, diferent sate of mind Heuser stthsway somos ‘Our posture changes according a papas, Linking to the next action ‘tw how long we: Haathstactons match he chair The waywe getup depends on cur ‘we havea complete related Troha wheteritsastudy sofa, next action For example, someone posture when we are asleep, than we Dba or acho on roles Of isin a hurry, shewifrstlean way have ahalFelaxed posture when we Fawseitsnataluptothe chai we back, ten bust fh rmthe chat, re siting, Th song relax the stomach an 1g in a seat that doesn’t fit the body “The way we sit depends on the type ‘of chai In low cha, the knees a higher than te waist an is ard to shifl the body weight higher chair, impossible to lly etnood we wil stay seated ora ona im, owl ertorm ass wile ‘seated. Stag silo along tei ico and nanan he same posture ipinfl the person siting isnoaslep, were bound to see Some Sorat changein he poste When depicting ay actity done ‘hie sting, we neat beeen on ust what ats of the body are stl ‘nd what prs are moving eysending the right leg forward Walking is a steady repetition ‘of tumbling and control. The position starts the moment the right legis sent forward. The head faces directly forward and the arms hang loosely, The left Jeg tenses and supports part of the body weight. The right leg is bent and brought forward. The left legs hip, which forms the fulerum, is positioned higher and faces to the right. A erease forms below the left buttocks as shown by the right side's extension. At the same time, the Tena spine and head bwst laterally to Hep pois re ‘ ft heed cola eee ‘the fulcrum and is fe Keep the head eve. The upper a eumant tery faces and bends forward, _‘rwspnoan ea Just before the center of gravity St ray is thrown forward and the ~ aa balance is upse 2 getting off balance The head is positioned more forward than the hel but the ight foot has not yet arrived on the ground, which shows thatthe body is losing ts balance. To keep the body from arm swings forward and remains relaxed wile the elbow naturally Denes with it, Energy is put into the left leg to cary this postion. ts upper thigh tenses slightly when the right leg ‘sled and brought forward, The toes are ash against the ground ‘The walking motion backachos. Sow sidwe become best cadonca. Adding a “sop” Bipedal wating allows human Homo erectus?An erect posture produces the thee-beat waz beings te stand upright and wal on supports a heavy brain that enlarges cadence, Such yim fers rom wo lg while the mre sable ‘hen grea cushioned by the sine, person to person ‘quadrupeds have fou flrums. The human spine creates efciont ‘movemetin walking o runing —we far ble to stan easiyandrunfasoreythn: aecnaely puting the right animale but we do et and oft fot forward to create two 136‘The right leg with its lower part below the is propelled forward, as not yet landed on ground. The greater the of fatigue (careless 9) or huriedness eg quickly pushes the more the kic egremains stl, the sled up as the body Jams advance forward, right arm swings in to keep the upper om twisting. ‘Advancing the on ‘aa wicking mation from the let leg, and hy the right leg, which is planted on the ground. The ofthe ling foot lies at ant ly bears the weight to ‘The right foots large on the ground generates a erica jolt in walking. The buttocks and other areas ‘Avwoman’s chest drops and her arm backward. Thus, the left becomes more bent like the ans ited slighty to Morward. The right foot, points upward rapidly creating 3 impact. 6 carrying on the momentum ‘The leg and hand extend fully forward ina sliding ‘motion, The arm swings approximately until a maximum point. The hips (the right raised higher than the left) and shoulders (the lett raised higher than the right) twist slightly in opposite directions, while the areas around them and the center of the head do not move. The head remains level andl exhibits an up-and-down motion, but the neck does not tlt. The left hand and teg stop in place. The nonparallel lines dravin through the shoulders and the hips cross each other. Thus, the spine is slightly flexed laterally. ‘The area around the belly ‘button and the middle of the forehead remains aligned to the center. If these two points swing, control over the the bos] center of gravity is lost, twist either from front to back or from side to side ‘Te bay se ‘Te conto pont forthe omar of eranty ‘one nat mo 10 on to the next tumbling ‘The first step is now completed. As the first countermove, the body's center of gravity shifts to the right leg while the left leg moves forward to attain a posture. The sole ofthe lef fot is also lifted and the thigh is sent forward past the perpendicular line. The right foot is immobile, The muscles tense to support the body’s weight and both arms return in position. The hips and shoulders twist similarly in reverse, 1312 14 16 sending the getting off balance -: advancing the left leg forward This the fp ide offame2 From hereon eft leg farther out, let's examine some ofthe finer details of this action and study aspects of different walks. There are all sorts of walking styles. One striking example is, the big restrictions inflicted on a person wearing high heels ‘waist is still lower because the ‘restrictions from 18 carrying the momentum on ‘This is the ip side of frame 4, Wornen have restrictions inflicted on their walking by not only high heels, but also the shape and Jengtt of thei skirts. In this frame, the material ofthe skirt would press against the top of the thigh, and from there down, horizontal wrinkles would be seen ‘Thisis the fip side of frame 6. thrown forward and is twisting Let's check out the movements of slightly inward. The palm is facing the arms in more detail. The left down, and the wrist is bent slightly arm is returning forward. The downward. Neither hand is elbow is straight, and the fingers _ exerting itself and is just going are bent back. The arms slightly with the flow-—slightly rounded farther out than the shoulder. The and spread out right arm is swinging forward. The elbow is bent and the forearm is 20 landing and its impact “This is the Mp side of frame 8. ‘The thigh muscles on the lef leg are xing. The spine is slightly bent to the sie, but the navel and the middle forehead are stilin a straight line, From the side, the heal ook ike it iso in front. “The waist sa ite bit tothe let and forward, and the right shoulder is sight infront. 1 way th as twist. the hours move an he bows bond wen we walk quium ie destroyed ‘swe move forward “These gravity-contoting pots do not move +142. Restrictions on walking shoesrarrow thelongt of astop _reasonthefeetcartstybehind or below the nee dont hind We natural change our posture because they iitthe movement of lngeris thatthe toes are bort and womar's wal at much whenthey and speed when waking, ‘he hel. We can ago she Carit support the body's weight tis havea stin he ia Tah sins lepending on whether we ae ted, importance of the tors when we moredificutto balance inhigh heels enhance the Bnd ofthe bcklen an ing hur, ‘watch someon walkin igh es ‘swell which sy women take ——_heepthe onl rom advancing Thereason women canta bigger smaller stps when wearing them. much. tis worth tha tine and ot (© Women’s high heels stops when wearing high eal that to study the consvucton of sis and igh hols init big esvicton the oes ate sready fly extended @ Women’s shirts ‘now tow ceases appear on thm on women who wear them, Ti and cant stretch anymore, The Tightskitsthat come o just above when a persons wang 138,22 on to the next tumbling ‘hisis the fip side of frame M.Let’s investigate the head. It Says level, though it goes up tnd own little beeause it can't Slay at the same height while the egs alternately take steps. The neck isnot straining, but it Ismaily to suddenly lean to fier side iit needs to absorb Ablow. That's why the head can {ay stl during walking, as long, As there are only stall Inovements from the shoulders own. Ofcourse, the head is ‘ot completely imumune to Feactons; it moves just enough ono affect its field of vison, Note that the head is usually Heaing ite bit forward, ‘Hiss the same as the frst But this isnot the end, sready to lead into action. This frame can withthe second frame if walk continues. “The upper hal ofthe body tears back oft poopie. ETCETERA Walks change according to the physique and age of the person ‘There areal sors of walks, ‘They change acconting to people's igure, age, art personality. Fat people place ‘more burden on their legs. To shift their body weit, they contro their posture i a very afferent way. The arms create a big hal cree as they swing along the fat spiling lover the sides ofthe stomach, The body weights constantly polling forward, so the upper body leans backward Because the range of vision around the fet i ited, movements tee! to be slow. But age is probably an even ager factor in walking tha physique. Infants who eant control their posture and children who let ther actions ‘be led by what interests them dit walk straight ‘Adolescents walkin a simple way because they haven't developed a sal-conscious style yet. Selconsciousness sprouts in adults, and walking changes in all sorts of ways. At age 40 oF so, walking feels like exercise, ai tires us The elderly may use canes oF have to muster up all heir might to move. Inthe first half of ou ives, the reasons that our walks ifr tend tobe inside ‘ourselves Inthe second half the masons have more to do swith the condition of our bodies, especially our hips an elsery person walking and joints. But in any ‘movement, our personality And reflections of how we ‘want to be viewed by others can be glimpsed. Walking is fone activity where this sot of. selE-consciousness ca be strikingly apparent, People rarely walk ina straight ine an withthe same feting Many reasons exist to make this so, Prom physical reasons lke tiferences inthe grade of the path to reasons driven by personal feelings, we manage all sorts of things as we walk Make sure you don't have the footprints fling in a uiform patter, as if they were all measured out an fant waking ‘chi watinguz 0 checking the steps ‘The steep steps use in this sample clearly show how the body changes. Most steps are not as high, Por starters, a the person approaches te step, he loks at the ist one, She then lit her Tig foot to place i on the step. “The hip is facing slightly out and toward the right stoping checking the) firststop | ‘Shocking the footing 20 bringing the body weight up «2 By using the strength of the right eg and the forward-leaning tendency of the upper body, the walst ts moved, By using these reactions, the body ‘weght shits and the person successfully climbs the first step. The upper half of the body leans quite abit, and the chin juts out. ‘The hands float inthe air—they have nothing useful to dat the moment. The waist andthe est of the body move to the let and forvard The righ le, whic i supporting the body by tse is bent. The body s being ied ino the air by the person's eneray as well the leg does not have to bear the The ogi ty exerting tea 10 onto the first step -: The right foot comes ngine down on the first step. The left arm reacts by swinging, forward and up. The right leg is exerting itself. This is the moment where the body weight is shifted up, “™"2#°9 ‘The action at this point is___‘Thelegis nat ‘traning yet very similar to walking ‘The head is angled down a little as the eyes check the next step. The back is sloped and the arms hang at the sides. ‘rating the ener fo ck 30 setting off for the last step ‘This is just before the pera steps on the top stair. The ef Jeg has yet to touch down on ‘the surface. In order to comet a stop on the top stair, the bay begins to shut down the ‘continuing reactions that wold normally take place. Most ofthe body weight is shifted tothe slightly bent right leg. The upper half of the body is leaning forward a tad, and the waists still directly above the riht le | Tre voper body bond aot full weight ofthe person. {hebody weight” The right arm swings forward ‘Opposing gravity on the way aro pulled by gravy and are careful £2. Th line of vision when tuprbeing pulled byiton the hot al stor, ther withthe pretence af Bringing the body weight up a People rove upand dwn ata rang or nbsp material — IY sameoneisekmbig ng it Stairs re made sothat people can slower spacdthan when they walk. made of many component fsa, hat person ean esi ‘in them one at tne and When going up the energy needed the way wo move, hight othe next step, soe orshe ‘eacend them a well When moving ‘across asrface thathas ferent raes, the body beers a greater Burdon than when tsust walking ‘When climbing, the Body has tit al ‘ts wight whe opposing he pl of ‘ray, whan descending, the body hasta controls reaction a ants ite weight ower Going dwn is harder onthe legs and his as people lieth bay saws them up when 0g down the body is slowed because ts caetl nto mist. ‘so, th heads placodfrantiy ‘than when itis walking. The 2 ‘ungue frm ofmoverent, and people ‘must contol heir centar of gravy, ‘which is why we should pay close tttenion othe heads lace. tao necessary to understand ‘sul lots farther up the sacs Bat ifthe staveaesis ke thore an stone staicases ound on waking ‘al, person might ot so tats ofthe stanesis missing and step it inthe hoe We eeck ot et stop careful en we end lok farther up te path ‘+1. Onto the fist stop—how the pans move Tho tips ae sila the back, with ‘the eg closest tthe pound. The oad wich was ooking down, shows its intemon to mave ahead by Sticking out. The upper af fhe by loans forward, The let eg helps by staying wher itisarriving on the last step The left leg exerts itself as it lands imthe top step. The right leg’s role is Almost finished. The upper half of the Ty, which had been leaning forward pill no, straightens up. This isthe ny’s way of preparing to balance hile staving still—it shuts dovwn all ft impulses to continue on. The Tad, which had been angled down, Iefums to a level position. This is the pasture of someone who has just tlie a hill and finds herself Ieel ground. The hips re low. Tae caried weight to this poi ths, they will bein a higher position, 60 ‘on the top step Tre body is standing tl Thevaistis stabilized. Both fet are stains every Bath arms are hari down tout any sign of exertion, fren though they are saving, The upper body i sinthing back. The chin i Slightly drawn in. The Shoulders ar ul and the Ioers are straight, Note that ifn draw a straight ine fom the heels up the waist aldbe sigh ahead of Teds, The shoulders are etn te center ofthe sis, andthe nea sn Hao, Tis is how the toy blancs ise The cin as been Empleted, uta person tat tyke his re oints begin to ead astey rear or the ‘et action “Te upper body fee a alae ‘erestoed ‘The whole ican. a resing posture in te made of the action body ht Jower but in the same place as just before the pause The lf le has jumped up andis stretching, bringing the gt hea up in reaction The waist is stil pill a Title, and the body Weight has yet to settle. ll ofthe weight ison {he left eg, andthe right leg is coming to help. Once the Jegs are even, the body goes into esting posture. This isthe point just before the body sil, so all ofthe movements are slowed down substantially. taking the first step cautiously From here, the body descends the stairs. This is the point when the first step “8@ is made. The waist is alittle bent back before. The left leg supports the body weight, and the right leg moves cautiously forward, ‘The right leg is extended as it searches for a spot on the lower step. Both arms help the body balance by being slightly raised and to the sides. The right arm maintains the same position as before, while the let arm moves to try to compensate for the imbalance caused by the right leg’ action. The body is leaning forward, and the head is looking down. Just ‘as when the body takes its frst steps up, tis very ‘careful when taking the fist step down, The shoulders are rounded and behind the hips. From this position, i is still possible to stop descending land return to the top. Trend80 letting the body fall ‘The right les is descending to the lower step, The body remains straight as it goes down. The right foot has vet to touch the lower step, but the toes are fully extended. The left les supports the body weight as much as possible as it tries to alleviate the impact of landing on the step. Mk ‘The tows hea owas ‘be nonstop, stepping down +2. The cautious first step ‘We slow start our descent on stirs through th torts ofthe et ‘away the waist remains in higher poston Theat stp especialy auius. The rythn and movament ot tions upto now change ath pit, rnomatterwhatthe preceding actons wor This aniteresting posto investigate mare closely M4 ‘Te upper hit | ssvagmt as | descencs y The lower halt iy mena ‘54. The impact and range of Sision when the next step Beains’ Bascal, poole dort watch ach step they make Unless ther is sme pearson tha dangerous materi foot-people on jst ok down asthey advance. “The impact of anding canbe seen inthe muscles an joints, brit also 90 onto the next step -« ‘The right leg lands on the lower step. Th ‘bent to soften the reaction to the landing, The right leq is using alot ofits slrength, The arms are not exerting themselves, but they are stretching down, nee is ee ti landing, Once they've fully 2 te teost Tease ck Thee eee Woking rhe ead The lees begiaquctivio Ese head ortherentstep;it we ebay eet almost slides off the step. 100 can be seenina woman's beasts or then bounces backtonomal The movement re rom the tension o Iovorents ae fast because they previous movements, can be tl sre fling actions rnogigent. The body deosn't suppet. tsa as song, an the impact ‘+5. The last step is fll of roliot hs step con be songer. movements ae influenced by physical and mental feakngs frat landing and its impact -s ‘The legs stretch o for the fnal step, This step is different from the last; the groin is stretched further. This is becamse the steps before this were narrow, and the leg has arrived ata wider surface to step on, being release rom the The body snk for aninstant, restos ofthe airs. This When he botom i reached,110 moo mtencemaeey a sosnyee carrying the momentum on le angie ‘This is the last frame of the escent. Once the ground is ‘ached, the body is propelled Forward. To control this, the legs take shorter steps. The ead is forward as it checks theplace the body is heading trans. The upper body leans to the right, just as the fon foot does, The knee fashions the impact by benving, The waist also Jowers. When the waist isin a Jomer position, i is proof that fheleg muscles, not the Tones, are supporting the oy weight, 120 back to normal walking The momentum propelling the person alter the last step tote soar is contrite in ne sep, From here, the ‘person can walk at a normal 4 ig step to the ground ce The descent of the Stairs is complete, but i the Atirease was a long one, a ETCETERA Avobbing can be felt in the Avariety of stairs thigs. It seems that we would Generally speaking, there are five types of tis firemore on the way up, but, ht sai; ones tha bend a» W-legree angles ones factually the back and legs that bend in the middle; ones that have landing inthe Fave more ofa burden to bear ‘mile; and spiral staircases. The tp ofthe sai is inthe way down. To soften called the tread The part that is perpendicular to the Ee going down the sround isthe riser. The part ofthe stair that juts out a Begs have exerted Ite and has antisip material on it called the nosing Itis there to make the steps just a lite bit longer, I there isa andra ts usualy 31.5 ees above the steps, There are very few stairs sloped at 45 degres or more or steps shorter than 7.9 inches themselves quite a lot The structure of steps; the effect can use the energy om thelist and We also needto pay closeattenton backlag can supprthe body = getimo a good tempo aswe climb. twinstances whore the porsonis__woghtorthe ankle ofthe rontepis ‘When nding tba sas, wo ita inthis sample, we've used wo tall wearing boos thatimmablzethe unable tome, When we ok at lopaivacetha hips and shit the saps, butinroaty stairs are rarely ankles. Whan climbing and Instances whore a persons sled Aodyihewith burst of energy. 1 that. Some stairs every ascending sais, we cant use our insameway, ts easytoseethe etiricehortnesvength ofthe leg diiutto cm, andthscrestes ankles tohelpourfeetandpropry, roles ifarart body sats ante ovement he upper boy's iferentbody movements than thase the Body weight won be supported fenightosdvance Butte frst step seeninths example To capture and our posture becomes eifultto Inckesioger movements thanthe movement anthese sorts af stars, cota Samatnes person wont Aa stops. Fromthe second stp,we closer studyis necessary. 145ee Ake0 impact of landing -: "This frame capt moment that the right foot lands on the ground. The Fight le is using a lot of strength, and most ofthe Impact of landing is absorbed by the knee. Even 0, the whole body shakes from the impact. Because the legis coming up again soon, the hands don't drop 4 “The body loans forward > ‘Te hips ae 6 body sinking down us. Once the right foot has landed, the body is propelled forward, pushing that foot to the rear ‘When you look at someone running, this is the lowest poin ‘The right arm stretches out before the rising left thigh, which is also heading forward. When the right the body at owes! post ‘Three telling cheracterstes of human movement The teow mostimportnt characteris of man movement for animators ae consciousness, ‘woight nd abit Consciousness ‘eles to what person sinerested inand where be or she iootng It sleoreers to separating enscushy made movements rom subconscious ‘ones Weight tacts possible reaction te movements, cling Drepaatoryand suceessve actors ‘sothe animator must consider how foot hit the ground, the whole body felt the impact, and women's breasts sag for a moment. The jaw also drops a ite, although the head i trying as much as possible tostay level. The shoulders are sunken. From here, the whole body begins to rise. body bouncing up | one burst, the body tries to rise diagonally shoulders shrug as they rise. The right arm moves closer to the chest to maintain balance Tae fist rises first; the shoulders follow. Remember that the fist's rise is especially fast. Its driven to rise; the hand uses its strength to stabilize the body. The underarms are firmly shut. The lf thigh is exerting itself and is just about to kek up ‘The point of contact een’ move \woightis supported and balances ‘maintained. The final characteris, obit about ida diterencos. Movements can convy tferences In gondor, a9 and race, and bring ‘uth cheractr and circumstances surrounding the india. These tees catgories are prime subjects for ther investigation and must be enhancedin the depiction ofthe human boy, ‘Another important ond fundamental ‘opi ithe understanding a human suture We move around without much thought of how our odes werk but actualy human bodieshave shapes formed by ‘movements and movements formed by shapos. Tous a vor simple ‘example, because we have el wonocessariy tnd to wakina certain way However, we werent ‘ven twoingeforthe purpose of Walking, Once we deeply understand the human structure, we ean robe boyond the general ceumstanees and imagine nore movements ‘heambusisupand earths bod, 1£1.The impact of landing posture and body weight Look atthe pctrein rae This ison iewre taken of woman the mide of run. Toe wpe yie leaning forward it the ens raised andthe eyes are staring head Usual, he jo sghy Cran in wen vig. When runes gets trod te jaw begins jutou. Ths movement foresthe ‘shoulders ou slopes the bac, ane pushes ne ip back8 12 body stretching up body falling Te let leg has rse ‘The body begins to fall. T e arms and shoulders Mis ives birth to the a ‘The shape of conscious ‘Thera are many ways jump, but wo stlacted the vical jump becouse he conscious trantions thattae place are string. The vorcal jumps used in physical ‘examinations o measure a person's vorcal spring. The reaching hand ‘wiltouch neon the blekboord ‘hat shows the eight fhe jms, Basia, the person doing the jumping wil aim ora spt a igh as sical posite. Not much 154 san jump. "where the consciuiness is concentrated “Te logs aot ready oh. rehearsing the jump. Often the person will stretch her arta alot as she marks off spot as high as she thinks she bending the body forward < ‘The body gets ready to react. eat ‘The upper body sinks anc leans changing the body sinks, the consciousness switches from the forward. Now, gel above to the space infront ofthe knees, We treat our face as the most important body’ part, and cconsclousness follows it, This rule is not limited to the conscious moving of arms and legs. In this frame, the heae is till slightly raised as it just begins to change its focus. The hips are pushed back, and the chin is thrust, ‘ut. The arms arent really being controlled, as they're not consciously involved inthe action, They are hanging andl slightly separated from the body as they help it keep its equilibrium and wait for the chance ta jump. 14 sinking the body down ‘The body begins to sink. The shoulders drop, and the back rounds, The face looks down; the eyes gaze out at nothing in particular. The hips are pushed farther out and down, and the back becomes leven rounder. The head and hips work at keeping the body balanced, The arms, until ‘how unaware of the action, begin to exert themselves to prepare for being held aloft by rising a little and extending outward. This is the moment where the action switches from sinking to reacting thoughts given to what happens ster the jump, whichis why people tn fall ator an atompt. fa person ‘planning makes high ump, ner actions before the jam become ‘bigger. The eyes are xated onthe target andthe fingertip plate with ‘wareness. The whole bdy sinks deeply, andthe ame avng otto ‘wl toward @ ig reaction While these actions ace aking place, he jumping high, nd the ‘he target Atha som is subconscious woking tomate ‘tha jump as hgh as possible. The inns ofthe action o comes revealed by teline of sight, whichis ony focused on thetargt People rarely ump without purpose Thisis tue about other tonsa: wel £1. Visualizing the feat—the ‘Trovement and consciousness of aiferent parts ‘Te head pind atthe target The person is coming tgp with the distance fom har postion tte target and hough she is notjoning sha is reaching toward the agra Eenfirm tough he am i seething tit, he gs ace a sisting by setching auth ack Toprepareor the jump the ees bo sight, retin 2 exible pasture but hiss done subconscious. The upper bodys ‘wasting up ante night The ght ‘min contro bith ek zm is just hanging thee.