The purpose of artistic anatomy is not to dissect and expose muscles, but to analyze and evaluate forms. The student must observe which forms are major, minor, or superficial; which ones have significant visual impact; and which ones are scarcely visible. Furthermore, he must evaluate head forms in general, studying the relations between bony skeletal forms, rigid cartilaginous forms, and flexible muscular forms. The artist studies anatomy not as an end in itself, but as a groundwork for the expressive interpretation of visual form.
To draw the movement of the head means to record the changing aspects and relations of head forms when the head changes position. How do we draw the varied views of the head? How are the major masses related when the head changes direction? How are the features expressed when seen from above and below? How are the significant planes and structures positioned when the head turns? When the head moves, a new set of form relations appears. The student must strive to observe these changes and draw them without distortion.
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