Common Anatomical Faults
In his article for figurine modellers
Charles Buchanan
reveals the technique involved to obtain
a casual stance simply by observing
the operation of the largest bone
in the human body … the femur
In this article I’ll deal with a common fault which plagues many or us. but is harder to resolve than the “raised shoulder” syndrome. Unless you know the secret of this problem. you will battle on into absolute frustration.
As an artist I realised at an early age that the shoulder blade and collarbone moved when the arm was raised. What foxed me. however. was modelling a figure when the angle or the pelvis changed due to stance. A running. walking. crouching or n1arching figure did not present. too n1uch of a problem because of an even stance. but as soon as I wanted to sculpt a relaxed standing pose. 1ny troubles began.
When the body weight is supported mostly on one lei, the centre of gravity is shifted. I knew u1is because the angle of the pelvis changed slightly fron1 Lhe horizontal. The spine is also affected because it curves into a shallow “S” shape to counter this angle and keep the head and shoulders level. (Fig. B1). In addition, my anatomy book showed me a golden rule -“with a relaxed pose. a vertical line can be drawn down through the centre of the head to the weight-supporting foot.” (Fig. B2).
With all of these rules in mind l would apply them. yet try as I may. the weight bearing leg would always end up being shorter than the other between the knee and hip joints. I could never gel the centre of gravity right and the vertical line would not pass through the head and foot simultaneously. I thought I had the answer through making my figures bandy. but this was not so. This problem plagued me for years. You will easily recognise this fault in your own work and that of others. There are a number of ways in which modellers try to conceal it. They may place the figure on a sloping base, or allow it to list to one side like a drunk standing on level ground. (Fig. B4). In other instances modellers have created that “half relaxed pose”. (Fig. B5). When placed on a level base. the “vertical line Lest” fails significantly because of the position or the weigh l-supporting fool. Others have given up because of the work involved and have allowed the opposing leg to remain too long.
Remember the old saying “when all else fails read the instructions” … well that’s what I did. The answer was so simple it stared me in the race and I didn’t see it. My anatomy book had contained this valuable piece or information all along. As soon as I adjusted my armalure the fault was resolved amicably. It has never re-occurred again I’m happy to say.
What is it you ask? Well it all lies in the shape of the femur (thigh bone) and its position in relation to the pelvis. My fault. and that of others. was to allow the armature’s thigh sections Lo leave the pelvic area al right angles to the horizontal. (Fig. B6). This is incorrect. as they should branch off al an angle of less than 90 degrees.
Look at any anatomy book and you will see what I mean. In short. the femur does not hang fron1 the pelvis like a plumb line: its angled departure from the pelvis slops when it joins the tibia (shin bone) at the knee.
The tibia and fibula are more or less at 90 degrees to the horizontal. (Fig. B7). This is the secret! As soon as you grasp this your figure conversions and/or scratch building will be easier. The angle allows for the extra length required between the pelvic and knee joints. Simply apply more of an angle when shaping Lhe arrnalu re·s thighs. Compensate for your departure from the horizontal when bending the knee joints. Here you need lo ensure that the shin area is straight lo the horizontal. (Fig. B8). Aligned to this is the fact that you’ll find it easier to animate the spinal section into a shallow “S” shape without your figure taking on that over-balanced appearance. (Fig. B9). You \.viii also find that the golden rule of lhe vertical line will work. Now that you have overcome these faults. remember that ‘practice makes perfect’·. Allow yourself to bask in temporary glory until your eyes are further opened and other anatomical problems arise to end the honeymoon! I speak from personal experience.
With all of these rules in mind l would apply them. yet try as I may. the weight bearing leg would always end up being shorter than the other between the knee and hip joints. I could never gel the centre of gravity right and the vertical line would not pass through the head and foot simultaneously. I thought I had the answer through making my figures bandy. but this was not so. This problem plagued me for years. You will easily recognise this fault in your own work and that of others. There are a number of ways in which modellers try to conceal it. They may place the figure on a sloping base, or allow it to list to one side like a drunk standing on level ground. (Fig. B4). In other instances modellers have created that “half relaxed pose”. (Fig. B5). When placed on a level base. the “vertical line Lest” fails significantly because of the position or the weigh l-supporting fool. Others have given up because of the work involved and have allowed the opposing leg to remain too long.
Remember the old saying “when all else fails read the instructions” … well that’s what I did. The answer was so simple it stared me in the race and I didn’t see it. My anatomy book had contained this valuable piece or information all along. As soon as I adjusted my armalure the fault was resolved amicably. It has never re-occurred again I’m happy to say.
What is it you ask? Well it all lies in the shape of the femur (thigh bone) and its position in relation to the pelvis. My fault. and that of others. was to allow the armature’s thigh sections Lo leave the pelvic area al right angles to the horizontal. (Fig. B6). This is incorrect. as they should branch off al an angle of less than 90 degrees.
Look at any anatomy book and you will see what I mean. In short. the femur does not hang fron1 the pelvis like a plumb line: its angled departure from the pelvis slops when it joins the tibia (shin bone) at the knee.
The tibia and fibula are more or less at 90 degrees to the horizontal. (Fig. B7). This is the secret! As soon as you grasp this your figure conversions and/or scratch building will be easier. The angle allows for the extra length required between the pelvic and knee joints. Simply apply more of an angle when shaping Lhe arrnalu re·s thighs. Compensate for your departure from the horizontal when bending the knee joints. Here you need lo ensure that the shin area is straight lo the horizontal. (Fig. B8). Aligned to this is the fact that you’ll find it easier to animate the spinal section into a shallow “S” shape without your figure taking on that over-balanced appearance. (Fig. B9). You \.viii also find that the golden rule of lhe vertical line will work. Now that you have overcome these faults. remember that ‘practice makes perfect’·. Allow yourself to bask in temporary glory until your eyes are further opened and other anatomical problems arise to end the honeymoon! I speak from personal experience.
A naked torso and limbs on the left where the faulty femur angle can be seen when compared with the partially completed 200mm figure on the right.
Two pairs of 200mm scale naked lower limbs. The left-hand pair, somewhat slim because they are to be clothed, are incorrect and too bandy! Those on the right have a correct femur angle and the limbs are straight.
Two clothed pairs of 200mm scale lower limbs. Those on the left are clearly too bandy, whereas the right-hand pair is correct in that the right leg has the correct angle. The leg bears the body weight and at the same time remains straight.
Above: a pair of South African soldiers 200mm high. The fault with the figure on the left is apparent. The figure on the right looks normal with most of the body weight distributed onto the right leg.
Above: An early attempt at a Boer officer standing next to a modern soldier. Although the subject material is completely different the pose is not. The figure on the right is correct. Note the difference in the distance between both sets of feet. With the correct femur angle this distance will be much closer when compared with a faulty figure.
Above: Roman and Greek Hoplite. The Roman’s femur angle is modelled correctly.
Above: Cetshwayo kaMpande 1826-84 the fourth Zulu King
an original sculpture by the author. Reproduced courtesy
of the Curator, Local History Museum, Durban.
