#619 In the studio . . . horse anatomy and bony landmarks

Please start this series of posts about horse anatomy with blog #616.

The artist must understand the location of bony landmarks when drawing, painting, and sculpting a figure such as the horse.   A painter creates the illusion of form by showing shadow, middle-tone, and highlights while the sculptor models a form in space that creates its own.  It may sound simplistic, but when asked what my main concern is in sculpture . . .
my reply is to make sure all of the shadows fall in the right place!


But how does a sculptor make sure all of the shadows fall in the right place?
The answer:  Bony landmarks.

The best way to analyze bony landmarks involve the following considerations:

1.  How does the skeleton influence the surface appearance?

2.  The artist must understand the animal's skeleton and the location of bony landmarks in the figure.

3.  Where does the skeletal structure rise to the surface?    

4.  Bony landmarks are typically hard edges while muscle structure is not.  Their relationship to each   

     other, where muscles attach to the main bones, must be understood.

5.  Observe the horse:  Where there are dips, curves, bumps, and knobs, projection and indentations -
     there is an anatomical explanation that the sculptor must understand.

6.  A bony landmark is a "waypoint" for the sculptor and is any identifiable point on the figure that     

     can be referred to such as where the femur joins the pelvis, where the humerus joins the scapula,
     or the tibia joins the metatarsus [cannonbone], etc.

                 Shown below is a clay model of a horse with body landmarks identified with dots.

7.  Bony landmarks occur at places where different parts of a form meet or come together.  This is  
     also called  "points of articulation".
8.  Understanding anatomy takes the mystery out of drawing, painting, and sculpting.   Start with the
      largest bones and compare them with your own.  All mammals have the same basic design.
9.  Bony landmarks can assist the artist in establishing proportion and a point of reference which is      
     discussed and illustrated in the next blog post.
10. Beyond bony landmarks and waypoints, the sculptor must keep the large masses simple. clarified,          
      and unified . . . more is said with large shapes, planes, and masses.
11. Indicate the simple, underlying masses of the skeletal system:  Skull, rib cage, pelvis, lumbar,
      abdomen, neck, shoulder, upper and lower leg, etc.
12. Bony landmarks are generally the joining of limbs and the points of articulation . . . be aware of

      your own body and movement when modeling the horse.   See drawing below.

13. Don't give premature attention to detail . . . there will typically be problems with proportion.

14. It's really true:  Sculptors sculpt what they know and painters paint what they see.

Three-dimintional form creates shadows . . .  when the sculptor understands anatomy,  

the shadows fall in the right place.

Eclipse
26"H 25"W 9"D

                 

Go to the BLOG INDEX and Reference Page for more information.  See posts #616 and 655

Blog, text, photos, and sculpture . . . © Sandy Scott and Trish

     

#618 In the studio: Bone structure and musculature of the horse

There are approximately 205 bones in the horse's skeleton and the artist must understand the skeletal structure. 

The artist must also know the major muscle groups.  Some of the muscles are deep and are hidden by outer muscles that lie over them.  The outer muscles - called superficial muscles - are those that lie just beneath the skin and are of major importance to the horse artist.  Some animals, such as bears are covered with thick fur but a horse's musculature, like humans, is revealed.  Please see blog #448, posted July 31, 2013; and blog #450, posted August 7, 2013 

for more information about this subject.

www.Blog#448

www.Blog#450

Shown below, is a drawing of the horse's superficial muscles with some of the main muscles identified.

Neck and shoulder:    1.  Deltoid                               Back and trunk:    10.  Latissimus Dorsi

                                   2.  Triceps                                                             11.  Longissimus

                                   3.  Brachiocephalus                                              12.  Fascia of Back and Loins

                                   4.  Splenius                                                           13.  Ventral part of Serratus

                                   5.  Trapezius                                                         14.  Intercostals

                                   6.  Cervical Part of Serratus                                 15.  External Abdominal 

                                   7.  Sternocephalicus                                                    Obliques

                                   8.  Trapezius                                                         16.  Ascending Pectoral

                                   9.  Pectoral

Hindquarters:             17.  Tensor Fascia Latae

                                   18.  Gluteals

                                   19.  Biceps 

                                   20.  Hamstrings

                                   21.  Hamstrings

                                   

    Although tissue, skin, and hair cover these muscles, they influence form.

The very nature of the horse's coat breaks reflections so that muscle masses become soft 

and fused into one another.  The artist must know what lies underneath. . .
In other words:  What causes the bumps, bulges, and hollows that I see on the animal?    

I have sketchbooks full of bone structure and musculature drawings of many animals including the horse.

I have found that drawing the skeleton and superficial muscles is an extraordinary way to analyze physical 

construction while a sculpture is in progress. . . much better than looking at pictures.

Keep in mind, drawing the animal from life allows the artist to portray the true character of the animal.

 I constantly refer to the authors, illustrators, and publications 

that are posted in the previous two blogs for anatomical information.

    Below, are drawings from my sketchbooks after A. Szunyoghy; credit resource.

                         

Below, are images of a great source of information . . . a plastic horse that I use in my studio for reference.

Contact Breyer Animal Creations - copyright, Susan L. Harris  2005

Go to the BLOG INDEX  and Reference Page for more information.

Blog, text, photos, and sculpture . . . © Sandy Scott and Trish

#603 Paris: comparative anatomy museum at the Jardin des Plantes

Please see the previous blog for more information about this post.

The comparative anatomy museum in Paris - Galerie de Paleontologie
et d'Anatomie Comparee - consists of two floors in an enormous building in the Jardin de Plantes, and is unlike any natural history museum

 I've ever visited . . . I could spend weeks there and I will return.

I've never been so overwhelmed entering a room . . . there were hundreds of skeletons identified by hand-written cards from the 1800s.  There were skeletons everywhere in the huge atrium . . .  a dizzying array of skeletons of every shape and size.   The academic ambiance was perfect for a figurative sculptor and collector of bones
and skeletons such as myself.  Osteology has long been
an interest and passion . . . I was in heaven!

Every imaginable species could be seen . . . including dinosaurs.  Glass cases and cabinets
filled with an astonishing array of bird skeletons and more.  I took hundreds of pictures and made
many sketches with notes.  Only a few students were there on the day we attended and as the image
shows below, I was able to sit on the floor and get great photographic angles of the specimens.

The collections derive from the great expeditions of naturalists of the 18th and 19th centuries as well as specimens

 from the zoo (menagerie) on the grounds of the Jardin des Plantes which we had visited the day before. 

 Barye, Bugatti, and Fremiet had worked in not only the zoo, but in the vast room we were standing in.

 I'm concluding every blog about our trip to Paris last month with a glimpse of life in the beautiful city.

The first photo depicts Sacre Coure on the bluff of Montmarte, looking north from the Musee d'Orsay on a rainy day.
We stayed in Montmarte . . . our hotel room overlooked Sacre Coure and the next photo, shows the view from our room.
 Our mornings started with coffee, croissant, and fruit in the room . . . the day's adventure before us.

Go to the BLOG INDEX on the right for more information.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#577 The studio in Canada: Trumpeter Swan, con't . . .

Please go to blog #575, posted October 19, 2014 for more information about the Trumpeter Swan sculpture.  Blog #575 focuses on field work and inspiration, #576 on bird anatomy.  
This post focuses on artistic considerations and
art technique in figurative sculpture.  
Making the swam mold will be discussed in a future blog.
Please go to the BLOG INDEX for 
information about bird anatomy.

The goal of the figurative artist is to create a work of art as opposed to a specimen of the subject.
While there are outstanding works of art out there that show every detail, particularly in wood carving,
the more the artist knows, the more that can be eliminated.

Soft, buttery clay lends itself to a more spontaneous modeling technique and indicating every feather
on the surface of the sculpture can interrupt the sweep of the wing, the feeling of lightness, lift, and flight.
Too much detail can simply freeze the wing without creating the sensation of movement.
While quickly executed and direct modeling can give life and vitality to the work, the sculptor must refrain
 from sloppy representation of form and surface,

Below, is an image of a Trumpeter Swan sculpture in progress.

Below, is a detail of the swan's lifted wing, I have exaggerated and suggested the placement of the underlying radius and ulna to indicate the bird's wing structure.  I paid special attention to the thickness of the wing where the humerus joins the forearm in order to convey to the viewer the internal structural strength needed to raise the enormous wings.
The elbow is the thickest part of the wing.

         Like most bird artists, I know every set of feathers ad every feather within the set and I know where they go:             The primaries, secondaries, tertials, alula, coverts, axillars, scapulars, etc. My approach is to perceive and present the wing as a solitary shape or form COMPRISED of these feather groups.  I'm careful not to add too much detail and arrest movement . . . typically, I simply suggest the different sets of feathers in their proper place.  More can be said, artistically, with large shapes and form than with any amount of detail and I constantly edit out detail and overstatement.

Below, is an image suggesting the forward thrust of the birds pectoral muscles and body as it lifts it's immense wings.
The bulge below the neck area indicates the crop and the pectorals are between the wings.

The figurative artist must always keep the subject's skeleton in mind . . .
 my dear friend and great animal artist, Bob Kuhn once said:  "If the artist knows the animal's anatomy,
 he can create a moose sitting cross-legged at a bar drinking a martini".

Go to the BLOG INDEX on the right for more information. 

Blog, text, photos, and sculpture . . . © Sandy Scott and Trish

#576 The studio in Canada: Trumpeter Swan sculpture, con't . . .

Please see the previous blog for more information regarding the Trumpeter Swan sculpture.

The focus of this blog post is bird anatomy.  An in-depth discussion about the anatomy of birds, flight, and wing
structure can be found by going to the BLOG INDEX and visiting previous posts about bird anatomy.  These posts are a wealth of information regarding birds and provide insight into bird anatomy feather groupings, aerodynamics, and more.


A bird's wing can be compared to the human arm as shown below, but is modified for flying.

Unlike humans, the wrist joint automatically bends when the elbow joint is bent
and the wrist joint straightens when the elbow joint is straightened.

Below,  much can be learned about how the wing joints articulate by moving
and manipulating a supermarket chicken's wing back and forth and up and down.
The photo below is looking down on the bird . . . the upper surface of the wing.
Note, the bird's elbow . . . this is the thickest part of the wing.
Compare the photo below with the drawing above.
The flap of skin between the wrist and the inboard end of the humerus area
prevents the wing from straightening out - thus tiring - the bird in flight.
This tendon supports the leading edge of the wing and is connected to the pectoral muscle.
The 10 primary flight feathers are attached to the bird's "hand".

The bird artist must understand bird anatomy, wing structure, and feather groups.
The creature is covered with feathers but the artist must know what is
going on underneath all the feathers in order to breath life into the art.
The sculptor must assist the viewer in understanding bird locomotion
by understanding how the joints articulate.


Below, is an image of a recently completed sculpture depicting a Trumpeter Swan.
Also shown, are drawings and photographs that were helpful in actualizing the work.

The drawing below is the underside of the bird's wing.
Note the tendon between the pectoral muscle and the wrist . . .
it supports the leading edge of the wing.

Below, note the bulge below the swans's neck . . . this is the crop and NOT the pectoral muscles.
Always locate the pectorals between the bird's wings for they are the engine that drives the wings.

To learn more about the subjects go to the links below.

For a complete list of the blog index go to the Index Page and

type the subject in the Search This Blog link on the upper right.

Blog, text, photos, and sculpture . . . © Sandy Scott and Trish
A source for bird anatomy images for this blog is "Manual of Ornithology" by Noble Proctor and Patrick Lynch and additional anatomical reference used can be found by going to the link Post #616
Also, "Zoobooks" are another excellent reference resource and have routinely been referred to while preparing this educational blog for students and artists.

#573 The studio in Canada: Cody quick-draw . . . planning

Last month I modeled a "quick-draw" sculpture depicting a domestic bull at the Buffalo Bill Art Show in Cody, Wyoming.  

For more information about the event and the creation of
the work, go to blog #567, posted on September 21, 2014.

The focus of this blog is my method of
planning and executing a "quick-draw".

  

PLANNING AND EXECUTING A "QUICK-DRAW" SCULPTURE

Quick-draw paintings and sculptures are popular with collectors at art shows . . . prospective buyers love
seeing artists under pressure to create a "work of art" in an hour.  To prevent your creation from being
a dubious achievement and to make the "quick-draw" experience interesting and rewarding for
both you and the collector, your success ratio dramatically improves with sufficient planning.

I've participated in many "quick-draws" over the years and my most successful efforts have been achieved
by modeling subjects that I am very familiar with or of subjects I had recently worked with.

While a live model can be beneficial, with only an hour to work . . . many times they are simply a distraction
unless there's a handler and several artists are working from the same model.  Also, the animal rarely strikes the
gesture or pose you wish to present . . .  especially birds.   I've found that a live model works best for painters.

A drawing or even a few lines such as shown below will keep you focused.

Below is an image of the "quick-draw" in progress.

When planning your creation, keep the design simple 

and present a strong silhouette of the figure.  I try to 

squint down on my work, eliminate unimportant detail, 

and strive to make the species of the animal recognizable 

from a distance.  This is especially important when 

the clay model is shown to the auction audience and a strong impression must be made from he stage and from a distance. 

Earlier this year I modeled another domestic bull and 

cast it for the Cody show.  The anatomy and overall 

"feel" of the subject had already been researched and 

addressed so it was logical for me to create another 

design of the animal at the "quick-draw".  

Although smaller, I used a similar pose, gesture, 

and overall dynamic of the original design.

Shown below, is the catalogue entry created earlier this year that 

was sold in this year's Cody show entitled, "Taurus Rex".

Taurus Rex
19"H 16"W 8"D
6,300

After the "quick-draw," painters sign their work and the winning bidder takes their treasure home.

Sculptors must return to the studio with their creation, make a mold and cast the clay model in bronze.
Multiple castings are available to sell at the auction which typically makes it a cost-effective proposition for the sculptor.

Below, are images of the "quick-draw" clay model ready to mold at the Canadian island studio last week.
I have repaired damage and dings to the soft clay model that occurred during transport from Wyoming.

To learn more about the subjects go to the links below.

For a complete list of the blog index go to the Index Page and

type the subject in the Search This Blog link on the upper right.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#563 The island studio in Canada: "First Season Promise", con't . . .

Shown at right is a new sculpture in progress entitled,
"First Season Promise".

Please see the previous post for information regarding this post.

Much can be learned about quadruped anatomy from household pets such as dogs and cats by
simply feeling where the joints move and articulate . . . can't be done on a Grizzly or Cougar!

Over the years, I have collected many books about anatomy that are housed in the library at my Wyoming headquarters. Although I don't keep an extensive library at the cabin studio in Canada, There are several books that are indispensable
. . .  two are shown below, along with a wildlife artists' best friend . . . Zoobooks.

For additional anatomy reference, see posts, #616, and #655

Go to the BLOG INDEX on the right for more information.  See posts #616 and 655

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish

#562 The island studio in Canada: "First Season Promise"

Every summer we spend time in Canada at the cabin/studio located on an island on Lake of the Woods in Ontario.  

During our time there last month, most days were rainy, windy, stormy, and on some days, 

cold enough for a fire.  Although we typically spend the summer days outdoors . . .
photographing, sketching, fishing and exploring the enormous lake by boat, 

the bad weather meant solitude and quality time in the cabin studio on the island.   

As the owner of a Brittany bird dog, I'm never without a model and subject matter and the fall-like weather was the perfect time to model a sculpture entitled, "First Season Promise".   The work depicts an English Setter and although similar 

to the Brittany, I paid special attention to their differences.  For design purposes, I modeled the 

English Setter because of its long tail . . . Brittanys have a short tail among other different characteristics.

Years ago, I created a sculpture similar to "First Season Promise" using the same breed, pose, and theme . . .
only a few were cast before faulty mold material - a product we no long use -  liquified and failed.  

Shown below, is a photo of our Brittany and silhouettes comparing the English Setter, (top) to the Brittany.

Shown below, are two views of "First Season Promise". . . the clay model in progress.
Working in the field with a beloved hunting dog inspired the sentiment I hope to convey with this sculpture.

Although I had computer access and books about dogs at the cabin regarding The American Kennel Club's 

official standard of every breed, my intent while creating the new work was not to present the AKC ideal of 

an English Setter but to present an eager, young dog bringing it's first retrieve to it's master in the field.

Important characteristics of the English Setter are the slightly domed head, the elegant fold of the low hanging ears, 

the long, square muzzle, the feathered tail carried in line with the back, and a slightly wavy coat.  

The English Setter was bred to "sit" when they discovered game birds so the hunter could 

shoot over them.  The dog would then retrieve the downed bird. 

Below, is an image of an original etching entitled, "Eager".

To learn more about the subjects go to the links below.

For a complete list of the blog index go to the Index Page and

type the subject in the Search This Blog link on the right.

Blog, text, photos, drawings, and sculpture . . . © Sandy Scott and Trish