The images you see here in this collection are all my own. They're examples of a number of drawings and illustrations I make every week, either working from a model or from my imagination. Throughout my lecture, I will project these images onto a large screen using a digital projector. A number of these will be copied for my students to be used as handouts for that particular night.


Here I'm illustrating the three different muscle bellies of the pectoralis major and it's insertion on along the upper 2/5ths of the humerus (these kind of proportions are important for those of my students in Écorché
that have to sculpt it). Having these handouts acquaints the student with a system from which they can approach their own studies outside of class.


I'll often take pencil drawings I do in the studio from life and use them in my lectures... this pencil drawing here I did on the left is also being compared to it's skeleton I drew on the right. Understanding were the skeleton reveals it's form in the living is critical for any student of anatomy and those who wish to better understand  the human body in their own work. I think here  I was focusing on the spinal furrow and how deep it is along the lumbar region of the back.  I am also pointing out how flatter it becomes as it continues up along  the back of the ribcage. The vertical groove of the spinal furrow is made up of  the individual spinous processes of the spine of the skeleton. Taken together, they combine to create a kind of fleshy gutter when surrounded by the muscles of the back in the living... blah, blah, blah.


Another drawing of mine detailing how the bottom of the trapezius sets up the bottom of the thoracic vertebrae... again, another important detail for those that have to sculpt the flayed figure and/or draw écorché.


A pencil drawing of mine illustrating the "M" like shape of the rhomboid plane. I use different hardness of graphite leads in my drawings... I usually begin with something soft, a 2B or even softer... a 6b. I find my initial lines easier to erase when using a light touch.


Here, I'm illustrating geometrically the 4 major planes of the nose on top of a charcoal study I did. Features of the face need to be drawn over and over again to better understand their basic geometry and construction. I find this especially true for those interested in portraiture.


An image taken from a figure painting I did as a student in the model room at the FAA. I think here I'm talking about how dark the actual "white" of the eyes, or the "sclera," are in value when compared to the rest of the face.


Proportion stuff. This drawing I did looking at a mirror was from my own eye. Proportion rules are a funny thing when mentioned in a school like the FAA, only in that it can bring out all kinds of heated debate of whether one is being actually true to nature or simply drawing what they think. I feel it is absolutely critical for a student to understand and know these canons.


It's important for my student to be able break down the complicated forms found in nature into basic shapes... to better understand their geometry and construction. My ultimate goal is to get my students to be able to draw these complicated forms from memory - like the pelvis, for example, and to better understand how it's shape impacts the surface of the skin. This drawing was taken from one of my charcoal drawings of a figure I did 5 years ago! Unfortunately (or fortunately) This was the only good part.


Another one of my pencil drawings I did in the studio. The depression pointed out on the drawing marks the limit of the muscles of the back laterally. Its creates a horizontal line that also sets up the 'angle of the ribs' (an all too familiar detail for any of my Écorché students) and the medial border of the scapulas.


Here I am taking the bones of the hand and breaking down their individual features...


A handout I give to my students and a slide I drew and created  illustrating the latissimus. Note the "sling" it creates from which the teres major will rest... kind of like a hotdog on top of piece of bacon.


It's odd, but few if any anatomy books ever have this point of view and it's one that I find critical. Especially when trying to explain the shape of the shoulder girdle and the bow like form the clavicles create around the neck. Also note again, the scapular and rhomboids planes together creating that stretched out "M" like shape along the upper back.


A photo of the écorché sculpture I created with various anatomical points illustrated.


More proportion stuff. Very old handout. Drawn at least 7 years ago. I had the wonderful opportunity to teach for David Hardy in Oakland, California  7 - 8 years ago before I returned to the FAA in 2002. The idea of using a box to better understand the proportions of the face when considering the profile was taught to me by Vince Perez.


Again, my own drawing. The measurements you see are for those students in Écorché. Also in my lecture I will take the skull and break it down into a basic geometric shape and then tumble it. The idea I'm presenting to the students is that if they can understand it's geometry then they should be able to draw this form from imagination and tumble it in space... it's learning how to take a difficult form like the skull and break it down into it's most simplest planes and components. Also, every line and/or plane represents a specific form. So, for example, the plane change you see that is running horizontally along the side of the face sets up the border between the bottom of the cheek bone (the zygomatic bone) and the plane of the jaw.


A drawing I did illustrating the head of the femur and how it connects with the acetabulum to form a ball and socket joint. I did this drawing from a wax sculpture at the La Specola in Florence... a beautiful museum a  great source for studying anatomy. I think I was also talking about how each joint is encapsulated within a kind of fibrous sock... whatever.


Another drawing of mine. The muscles of the back are 'uber' complicated so I break them down into two simple forms: a lateral and medial form.


Another handout I give out for the pelvis. The geometric shape on the right is one I created and use to help my Écorché students better understand the pelvis's complicated form. Again, note the various measurements used for creating the écorché sculpture and relating it’s proportions to the skull.


I made this drawing to better explain the basics of myology... “A muscle acts by contracting, pulling it’s insertion to it’s origin.”... one of the many anatomy mantras I have my students commit to memory.

Copyright 2011