(1) Choose a point of reference. The one chosen here is the jaw line leading to the ear. drop a perpendicular line to see the action of the figure on both sides of that line. In the drawing to the left it is in line with the right side of his right heel.

(2) Take a measurement vertically from the chin to the top of the head. Use this measurement, as shown, to get the body in relationship with the head. In this sketch it is a little over six heads high. There is no need to put these measurement lines in as shown. They can be done "in the air" with either the claw method, and just ticking a line lightly with a pencil, or by the pencil being used, held vertically in front of your eyes. In this stance there are approximately two head measurements from heel to heel, so the left heel position can be checked, and ticked in.

(3) The landmarks to look for in this figure are:

• The movement of the spine through the perpendicular.
• The form of the thorax (rib cage).
• The two scapulae on the rib cage.
• The indentations (the dimples) on the buttocks where the posterior superior spines are situated.
• The greater trochanter of the femur, at the hip.
• The big rounded form of the hamstring muscles.
• The rounded form of the gastrocnemii (the calf muscles) and the straight pull line of the achilles tendons to the heels.

Note the plane change on the head, from the small face area to the side and top planes of the cranium which are much bigger.

The lumbar vertebrae are arching forward and rotating as the scrospinales contract. The muscles are therefore very apparent columns in the lumbar region. The quadratus muscles beneath them will also be contracting and add even more form.

The sacrospinales on the left side is contracting
more than the one on his right side, so the trunk is pulled to the left side.

The arm is being raised by the deltoid contracting, helped by the supraspinatus, and also it is being pulled forward.

The deltoid muscle is attached to the lateral flattened one-third of the clavicle, the lateral border of the acromion and from the lower edge of the spine of the scapula. It's tendons inserts and creates a roughened area on the humerus called the deltoid tuberosity. The muscle is divided into three parts, anterior, middle, and posterior. The anterior part pulls the arm forward and the posterior part, backward. The middle part is used in raising the arm and the internal structure of this section is designed for this function.

Four tendinous septa (partitions) descend from the acromion and short muscle bundles are attached to these diagonally, like barbs on a feather. It is therefore called a bipennate muscle. This structure of the deltoid is of great importance to the artist because when the muscle bundles are shorter and thicker in contraction, these septa appear like furrows in the form of the deltoid.

LANDMARKS TO HELP SKETCH THE FIGURE

• The perpendicular is dropped from the point where the ear lobe meets the jaw.
• The trachea has a strong curve as it goes behind the suprasternal notch of the manubrium to enter the thorax.
• The cartilaginous edge of the rib cage is an important form.
• The anterior superior spine of the pelvis with the flesh bulging slightly over it.
• The greater trochanter of the femur may be difficult to see but it is worth looking for.
• The fleshy part of the biceps femoris muscle is a rich form in contraction.
• The ilio-tibial tract is a linear indentation.
• The head of the fibula, where the biceps femoris is attached.
• The patella, with a definite plan change from it's top to it's front surface.
• The lateral malleolus of the fibula (the right outside ankle bone) which can always be seen.