 Hello, hello My name is all the Zarens for those who know my books then probably my name is is already known and I'm the author of three books probably you know like most of you know this book anatomy for sculptors That's like the most famous stuff of the ones that I've wrote The second is anatomy of facial expression and the third is head and neck the form of the head and neck this is like a little bit more advanced kind of overlaps with the previous speaker and Appreciate the work you do like like very good work and I'm the big kind of like advocate of the of the blockouts and and kind of like a thinking geometrically and and Not going into the very small details and also if you give structure to the head It's always good because in the end you kind of can appreciate it because it's not like kind of blob, but it's keeps together so today's topic is Very much overlaps the previous lecture because like a leap previous lecture was more about like practically how you apply this knowledge And I will tell you a little bit more about like the theoretical part and more about like my philosophy and why I'm so much obsessed about like the blockouts and stuff and Actually, I kind of like I Cannot imagine myself sculpting and speaking in the same time because of when I do sculpting. I just quiet I cannot even reply phone calls. I just like, huh? Because there is no way to sculpt and and speak so that's like the great talent that you have so very much appreciated So today's topic is a form of the head and neck more like a blockout like philosophy and stuff And I always start with my method and with my philosophy like why? Blockout for those who kind of using even blockouts. They sometimes they just kind of don't realize Why they do it and they don't kind of they don't think about those things of like I used to you know struggle with the philosophy too much maybe and Like the world is Can be can be looked into directions So there is this natural world which is which is like a like a chaotic and overwhelming There's a lot of organic forms and as as as long as we don't have to sculpt it It's okay because there is too much information to understand but then you start to sculpt a human form or animal form and human form especially because if you make a mistake in a Human form everybody can see it right away. So every little thing that you you you you make wrong Everybody can understand immediately. So you kind of want to kind of Cognitively understand what are you doing? So not only sculpting because sometimes you're just wasting your time But making lines and strokes and making and then in the end you somehow manage to the end and it looks fine But sometimes you're just struggling struggling struggling the only gets worse and worse and worse and you just want to understand What do you do wrong? You know and if you look at this chaotic overwhelming reality, then it's very hard to organize it And if you look in the other end of the spectrum, that's an order, you know That's like the very human humane thing. So to organize things And and those are like a two extremes This extreme is to organize and is boring in some sense and that extreme is to kind of like Undefined and I think the art is somewhere in between those things. So basically the artist is not the Documentalist so you don't you don't document reality. You interpret it. You interpret it. So so that's why art happens somewhere over there So basically you take geometric forms that you understand you somehow Organize them in some organic way, but still keeping that form intact So that's that's my understanding. So you always have to deal with this chaos of reality and Therefore when you create the head like you noticed from the previous lecture There is multiple ways how to deal with this this undefined organic world and One thing is blockouts those are as I mentioned before and a previous lecture you saw it as well So and I divide them in a multiple levels. It doesn't mean that you really have to follow those levels, you know, I kind of I'm jealous if somebody can really maintain this blockout thing like you all the way the sculpting process usually you start with this with the blockout and then you just lost in the organic world or something and then You try to keep back and then sometimes you manage sometimes you don't And if you divide it into like let's say four levels The first level is like like a helmet head, you know, and the fourth level is like organic Then you have two more levels in between so as I as I always like this claim You don't really have to go all four levels You just have to keep them in mind that there is such thing exists. Maybe there's only three levels Maybe there's 17 levels. You don't know but anyway When you look at the human face It's good to hold and somehow keep that structure intact because it's easier to not to lost, you know It's sometimes when you when you go into the strange strange place and then you just okay You first time in Amsterdam and then you say, okay, I saw this building once so when I see this building I know I have to turn right and then you see another building wait a minute This building looks very similar to that building. Oh and that too. So there's so many similar buildings So you have to build your own kind of like system to navigate in this like organic complex world And therefore these levels kind of are very very handy So this I this is another disc disclaimer. These are not like this. That's not the topology Okay, those are the guidelines to understand the form. So that's what that's how I do I'm very bad in 3d. Honestly, you know I'm I came here to Blender conference and then I say I I don't know much about 3d Even though I sculpt a lot 3d, but it's more like I have to because otherwise. It's very hard to survive in this world But I'm very bad. So I did it in in Illustrator like most of the most of the you know, I know how to draw because I'm classically trained and I can cheat So and and and I'm a sculptor so I can understand the form and I can draw the lines So basically you take illustrator and bum and and there you are and it's all blocked out And then I give to my 3d artist and they go like, oh my god, how can I sculpt it in in a blender? And so So the first level I always give this picture with the two kind of two approaches There is like a two approaches one is is the egghead another one is helmet head You know, it doesn't mean that there is only two approaches It means that you can pick and choose any of those who want who you want Sometimes people like one sometimes they like the second sometimes they like the third which I didn't show you have your own way that's about like the first level and Where these two and it's a little history and lead little background, you know Now it's like widely circulating in into the into the 3d community this idea about like the helmet head and blah blah But there is history. There is some person in history who started this thing, you know And there's like two significant personalities that I wanted to mention when we talk about the first block What one is Godfried Bammes? Maybe some of you know some of you know the Godfried Bammes. I think that's my favorite That's my favorite Plastic and how you call it like art anatomy guy. He's a German He died recently 2007 for me. It's recently because I'm too old And there's another one which is Andrea Loomis and he's the guy from 30s from America He is the one who created the kind of the learning system to produce more and more artists for the Advertisement industry, so it's another extreme, but he developed a very quick way how to how to shape the basic shapes of the head So basically what I did I kind of made Made some some somewhere in between and use for myself. So a little bit about About Andrea Loomis You probably know this idea that you have this helmet head and you wide basically that's a sphere Then you chop off the the temples then you had this, you know, and then you From the center of the sphere you draw the line. That's the bro line For the mouth. It's all kind of very easy and and the simple and in also in drawing They they kind of use it a lot this helmet had idea Basically, you have to start from something and if that something is good, then it's easier to start basically You don't until this point You don't think you just make helmet with these proportions as you mentioned this kind of elongated proportions And then it's a good start you basically kind of you get you get rid of this basic Anxiety because when you start new project you always have this nervousness and anxiety You have to start when you start with the helmet that you already have half of the anxiety is gone And then you can do more work on more on details and then there is a Godfrey bum miss method Then you just take kind of like a egg shape and then you chop it off similarly like Andrea Loomis and then and then you basically Then then you're done, you know, you all know this I always get complaints in my lectures because I'm lecturing in Academy and always get these complaints from students like a man It's easy to say. I mean like you have to do and honestly I have 40 hours 40 hours of lectures of the human anatomy 40 hours, you know, and then Somebody explains anatomy in one hour here, you know, it's like 140 of the information So there is so much information that basically when you look that somebody is just sculpting you really getting And you get anxiety because there is so much information just like packed in this little a little bit then you kind of Very it makes you shivering But I'll try to kind of lead you out from this anxiety with some tricks at least some tricks and Try to not to overwhelm you with too much information because when you get too much information Then you then it's then you don't get any information, you know, there is some limits There's a red line when you go across the red line, then is then you zero again So this call can be divided in two two parts in in in medical anatomy. It's called Neurochronium and the visceral cranium. We call it brain case and the facial skeleton Division is not precisely like in a medical anatomy, but very similar So there is basically the place where you have brain and then place where the face is connected to and It's the same thing with with this cylinder and and the egg that I explained you before So we have this these two skeletons these two places the problem with this thing is that this this these proportions They are changing. Yeah, during the lifetime proportions in between the the facial skeleton and and the facial skeleton and The brain case they change and You have to understand that these proportions like I like show you this egg shape and the facial skeleton They can be applied for the adult male adult more likely male because you know they The proportions one to one point five, you know But when you're born you have one to three so you have a huge brain case and almost no face, you know Sounds funny, right? But but if you measure it is so and then When you look at the whole proportions of the of the of the baby You have like a huge head and then something hanging from it, you know because you have to get through You know if you have to get through you don't you shouldn't have like shoulders or something like that so Basically, you need brain to develop the rest of the body So you get like the basic information you born and then you start developing all the rest of the body and the faces Believe me, it's not so important when you're born and also jaws You don't need jaws because you don't have teeth You don't have like any kind of food you just need to you know eating breast and that's pretty much what you need You need to just opening and that's it and maybe you need to learn to smile As quickly as possible because in case if the male comes home And then he has some kind of like confusion and doubts that is it his child or not You have to smile and when you smile problem solved. So the male is getting a high such a beautiful smile and you safe Then you go up and then your facial skeletons start growing because there is a two functions of the face One is social function and the second thing is eating, you know, you need to eat You need to digest food. So you need some some masseters and temporal muscle all kinds of like You know eating muscles so called And and social interaction But not so much social interaction when you adult when you adult you need to make these all affairs and all crazy like you know Scenes and and dramas and and then you really need face And also you need very like a very strong jaws in case if there is some meat to To grind and then when you get older The brain as you see is the same The brain case size but the face is kind of shrinks and they usually it shrinks because of the teeth because you lose these These and and then then then you just and I'll talk later a little bit about like the mechanics of the of the jaws And why when you get older you get smaller face And then of course if you beginner you are not beginners you are all professional artists There is not basically I'm not addressing you but sometimes they you know the students in Academy. They have this question Why there is why you are so much obsessed about these bones because we don't see bones Bones are inside why you want to know why we should know about about the bones because we have flesh on top Haven't seen that I mean like Skull you know why skull and the my reply is but well you have to Think about the skull as a basic structure because like soft tissue changes and moving and there was this good Good idea about like that the skin and the soft tissue slides over the skull and by sliding over the skull You can really see the structures underneath. So that's why if you build wrong skull, you probably will build this wrong soft tissue Well There is one moving part of the skull. It's the the mandible. So you don't want to neglect that one I'm cheating in this in this picture. I'm cheating. So it's doesn't move. Yeah, I bet it moves Sometimes I get these complaints So skull is not soft except these heavy metals calls. They are kind of soft They they can make expressions and stuff but in reality so like skulls. They don't they don't make angry faces That's why if I see like the zombie movies I just can't watch them because like I'm always thinking about the cartilages and connective tissue and bones and iterations and and the blood supplies and all these kind of things that makes People move and then I just can't enjoy the zombie movies. That's the problem. That's my kind of like a Professional cretinism as we used to call it. I don't know. Maybe that's not political politically correct word So the bony structure is almost like a hanger in in in the in the closet So basically you have soft tissue, which is your you know a jumper and then you have this hanger Which is bone and and of course we want to put it on a hanger because if we don't then probably the shape in the morning can Be different, you know and the same thing with the face So you always want to have skull underneath just in case if you wake up in the morning and there's no skull and it's everything is wrinkled and that's why you always can blame on pillow if you have wrinkles and folds when you get older So a little bit a little bit of anatomy just not too much, but a little bit just a little tiny intro about so we have a skull and Of course We have skull it is like that The heart tissue and heart tissue and like bone like the teeth are not the bone Which is kind of surprising thing looks very bony, but it's not bone. So we have bone and teeth Then we have soft tissue, which is muscle fat and skin which is laying on top of it And then we have connective tissue basically that connects the soft tissue with heart tissue That's basically most of the work what it does. There's some more Use for the connected issue, but I'm not going to go as deep now But still interesting and what kind of connective tissue we have cartilage ligaments and tendons, you know and if you look at the face You can always see some marks like a bony landmarks Like a bone bone kind of pushing to the skin and always visible and we can always rely on those bony landmarks When we're thinking about the skull underneath and how it's constructed so there are some places where you always have to look for those bony landmarks and I'll be talking about those bony landmarks a little bit just some sort of like an intro in the bony landmarks and and I Hope it will be some some good good Application I know you're professionals. You all know these things, you know You all read my books and went to academies and studied yourself and you all know better than me sometimes And I'm not going to teach you anything new, but anyway, I'm here And so I can explain you something that I discovered and thinking it's important Can you see these blue and red lines here? It's kind of not very visible, but still can see so these are the outlines of the soft tissue and the bone and the thing is that the form of the skull the form of the bone very much Influences that the soft tissue so there is this technique a forensic anthropology reconstruction reconstruction from the from the skull Have you hear about it? There's this guy Gerasimov not he's not there. He was there like 70 years ago So he discovered the relationship between the bone and the soft tissue. So whenever you find a skull in some Level of precision you can reconstruct Reconstruct like the soft tissue and then later there's other techniques that been developed, especially in the Britain and USA and the facial recognition this forensic Reconstruction is kind of like it's a whole like science and there's Institute Liverpool Art Institute and they do a lot of these kind of digital nowadays not anymore like physical with the clay the digital So there's a plenty of very good work done So that's just kind of what I wanted to show you just proves the idea that the soft tissue and heart tissue They are very much connected and you always have to be very about one another thing So we'll talk about a little bit about the land Bonnie landmarks I already mentioned the Amsterdam and the situation when you walk in Amsterdam and then you kind of like rely on some in like a very Significant building. So you make a circle. I've been here already. Yeah, I know this shop, you know, and then okay I'll set this tower as a landmark. Let's say in in Paris. We have We have awful tower in And in other cities we have some other tall buildings that we can see from the distance So you always can measure the distances and the place just based on these landmarks and same thing with the body and Why these landmarks are important? Have you been in a train that you can see only one side of the train and that the one train is moving and you have this Feeling that you are moving and then train is gone and you're like, wait a minute. Why we stopped Because you were thinking that the train was passing you were standing and you are moving So that's why you always want to understand which parts are not moving and which parts are soft and and Riable and moving. So that's why in my understanding the Bonnie landmarks are the very good very good Points to rely on so this is data from the hospital It's legal, you know, it is depersonalized. There is no nobody nobody knows who this guy is So I got it from hospital and I made this bone and the soft tissue in different colors and I made like the skin just kind of semi-transparent so you can see the bone and just pay attention how much bone Influences the form, you know, and and and the places where there is more red there's deep like a thicker soft tissue and Whereas the yellow the bone is much more closer to the To the surface. So you always have to think about the bone. So you don't want to forget it and Let's hit the road then Parietal bone all these complicated words and I know you don't have enough time and power to remember all these names. Just forget it. Just Just try to kind of enjoy So why I mentioned this bone? Because on the parietal bone, there is so-called parietal eminences and those are the Widest parts of the head. So basically before you even start to block out You always understand. Okay, the widest part of the of the head is is on parietal bone So how to find this highest this biggest dimension? Well, you just go from the ear and a little bit back. That's it. You found the parietal eminence And of course already mentioned the head is not round if you look from the from the from the top The the the fork head part is a little bit more tapered. So it's almost like an egg shape So that's why Guthrie Bammus is using egg because the front side is a little bit tapered and In this picture, you can see it quite Vividly you can see the face is much smaller than the back and on adults It is the same but maybe less pronounced, but you can always see it on Except if you break your Cephalic Break your cephalic. That's the type of the skull in some parts of the world People have more rounded heads and some people have more flattened more narrow So there is like division in three parts. This is coming from those dark times When they were measuring with the circles heads So you don't want to show this information to very dangerous people So I always have to be careful. This is a very very specific information People start dividing people in that hate head shapes and start to treating them differently So you always have to be careful with these kind of anthropometric and anthropological information. That's why These information that you don't want to let go out So that's why in internet also it's kind of limited access to these kind of things But anyways for you as artists these things have to you you have to know that there is these types and I also teach the ethnic Anthropology like and ethnic morphology. So I explain the difference between different nations and again, it's very specific Inside information just for you guys because when you as an artist you have to understand one population But differs from other population in a general, you know in a general and a general idea So three types of the skulls Not going to go deeper. So there's another thing of why this part of the face Yeah, you can see these definitely these two faces are not the same I mean like you learn one face and then you go like well, wait a minute You know, I can't find that face that I learned this average kind of neutral idolized face I don't see them. Of course, you don't see them because there is no such thing. It's just like this medium, you know, there's just Arithmetic kind of Average person there is no average guy average guy Joe Well, but if you understand this average proportions, you always see in which direction the shift on the spectrum You see so you always can understand. So you need to make the zero point 3d guys know everything about the zero points, especially those who do 3d printing What happens if you lose the zero then it goes like, oh my god, oh my god There's one guy who was building CNC machines and he woke once he woke in the night and he was screaming I lost the zero and he's why like it's just a dream. Don't worry. You have zero So this average person or neutral or kind of this medial kind of person That's a zero for you. And that's it. There is no better worse, you know, just zero and Obviously, you can see the the guy in the right hand side and the guy on the left hand side They have different sizes different proportions of the face and here as well, you know So more narrow more a break your break your symbolic And here's well, so where this widest part of the face actually is located Like anatomically So where you can find it so somewhere on the cheek. Yeah, but exactly where on a cheek So there is anatomical place where this place is actually located and it's in between where these two bones meet The temporal bone and the zygomatic bone they meet they meet on the bridge So there is a bridge they they're coming from one side on the side And they meet on top of the bridge and this top of the bridge is usually the widest part of the face so Let's see how much time do we have left? I still have some so And this place called zygomatic arch as I mentioned, so it's it's kind of like a you can call it cheekbone as well, but the cheekbone is very kind of Washed term because you know when the girls drawing the cheekbones there no precisely exactly where the cheekbone have to be drawn But they know it by heart but anatomically it's good to know anatomically because if you draw it correctly you can give this Slimmer appearance. Yeah, that's a whole knowledge girls are very smart in anatomy, but and They know how to trick us So in between these two these two bones so there's zygomatic arch It is the like a bridge over some kind of hollowness and why do we need this bridge? We need this bridge because there is important muscle called Temporal is muscle that going under the bridge and grabs the mandible and This muscle basically keeps our mouth shut. That's the main job. It does it doesn't even do chewing so much Of course, it does some like mastication But the most of all it does it keeps mouth shut Yeah, and that's important thing to have this muscle to keep your mouth shut sometimes Especially for me because I like doc You did I have this legit way of speaking out like here So temporal is muscle We all know it it occupies big part of the of the temple So basically it creates partly creates this roundness, you know as bigger muscle You have as rounder head you have not only because of the skull but also muscle you remember this the Andrew Loomis when he chopped away the sides. So basically those sides where he chopped away That's the places where temporal muscle is located and as and then we put it back the volume So mandible mandible That's the only moving bone of the of the skull there's little things also need to be mentioned need to be mentioned about the about About the mandible as well The most important thing in a mandible is a gonal angle. So again this picture of the newborn like kind of like a Child or teenager then you have adult and then you have the elderly person and Of course massive Joe's small Joe's Feminine Joe's masculine Joe's but you always have to understand what this term means and one of the important things Is this gonal angle so as you can see like the adult male is the most steepest gonal angle and most pronounced and When you get older it kind of opens up and the same thing when you're born So it's a very small gonal angle because there is no pressure on the gums Meaning that there is no pressure also on to the to the to the bony structures supporting it like maxilla and and and And mandible and and then it kind of starts to steeping up And of course if you learn about like the feminine masculine features The Joe is one of the first things that you kind of thinking about and as you can see on this picture Definitely when if you learn everything about the Joe line and Joe's Joe is not the name by the way Then then you kind of don't If you look if you men and you're looking in a mirror and sculpt yourself usually then you girls when you sculpt the women characters They also tend to be more masculine and the same thing with the women if they sculpt masculine characters They used to make them more masculine more feminine sorry so Just very simple when you look from the front you have these two points These eminences these these are two angles and on a female one or more rounded very simple and The different like distance between the lower lip and and the Joe as well so we have the masculine features and the feminine features and Going back referring back to the gonal angle as you can see the on a male in this this green line or this Remus of the of the mandible is more steeper on a female is more More it's more like one this kind of line and you don't leave the angles when you sculpt the female You want to make them more feminine you just try to avoid Angles because later on your female will look more masculine because of these angles because the female body is more You know rounded and more smooth And of course the front part of the of the mandible is much wider because of these two points remember and the one point or the smaller On a male it will be will be much much wider and Of course, I promise already you about this aging thing and how does it changes in age? so Basically if you don't replace your teeth with with the prosthetics There is not enough pressure on on a maxilla and the mandible and the body starts to kind of taking away the the bone manner Because if you don't use it, we will use somewhere else Same thing like with astronauts if they don't walk they're losing like the strength of the bones same thing happens here so Just advice if you lose the teeth replace it as soon as possible because it might be you might lose this Yellow area, which is called all the older processes where the bones are kind of said it So basically you don't have teeth and you don't have structure where the teeth being being located So you don't even have options to To Where this prosthetic teeth have to be put in so always Years years many years ago. We made this gift like I don't know 10 years ago And I think it very much well represents the mechanics how What happens not only with with this all the older processes But also as you can see the the gonal angle is changing because it when you lose the yellow part You need to somehow maintain the connection between the upper and lower part and that's why it kind of opens up And then you have this very strange elderly persons look and of course when you're born Here you lost the all the older processes and when you're born you didn't even had it so because there is no teeth no need Very simple Next the temporal line you all know the temporal line the temporal line is the borderline between the roof Temple and the forehead well if you look at the person sometimes you can see the you know the temporal line But if look at the female you don't see the the temporal line, but you have to think about as if it was there Anatomically there is but it's not very pronounced, but you have to kind of Draw the lines draw the borders in order to navigate in this organic Haotic world as I mentioned in the beginning, so you need to kind of if there is no border you have to draw it Yeah, and that's why these head blockouts are very handy because you can always leave these You know borders even if there is no one, you know the thing like when you look at the sea You know you see the horizon line horizon line What's this the thickness of horizon line? There is no thickness of horizon line. Maybe there is no line Maybe it's just a place where the skies and the sea meets. Oh, yeah You're right, you know, but why we talk about the horizon line as a line because we have to separate one from other We have to draw the border between these two things and same thing with the with the blockouts so you want to Make these kind of rough Divisions in order to keep in control of your organic chaos So that's why I think these blockouts and learning blockouts is very very handy Okay, there's two temporal lines actually there is Superior and inferior just in case if some doctor asks you hey temporal line you mean superior or inferior Hey, sorry, and she didn't tell me about these two lines You told me about the one and now I kind of everybody every doctor is laughing about me Well, there is two lines. You don't see the inferior line because that's the place where the muscle is connected Superior line is the place where the fascia of the muscles connected again too much information a little bit about like the frontal bone So there is two landmarks some of them already been mentioned in the previous lecture Super silly area arches. Basically, there's a bro line Bro rich so there's a combination of these two these two Cashew nut form kind of guys and the globella basically sometimes it really creates like kind of like a wing shape line And that's the that is a masculine feature. So basically as bigger Bro bro lines you make as more masculine appearance the character will have And Frontal eminences is the female Bonnie Landmark as bigger frontal eminences you make as more feminine appearance You will get to the character and it doesn't mean That female don't have bro lines bro ridges or men don't have The frontal eminences, I'm just talking about the proportions the female have much bigger Frontal eminences and the men usually especially if they are very sporty kind of like a BMW driving persons they have these bro lines of course and It's also on it on the children you have more feminine features present Especially like this case with the African You can see how round forehead is and how childish and how kind of like feminine look at it Yes, of course, it's a girl But it can be also a boy with a very round forehead and then probably If it's a it's a boy when he grew up probably he loses this roundness if he becomes more masculine And here's a good picture in comparison So you can see that how steep and how big the jaw line is and and also the forehead the forehead shape You have the bro ridge and then you have this This frontal eminence is on the left-hand side and I think this picture is lovely I always show it because you can see the roundness and the flatness of the on the male's face There's one little detail that usually I don't mention the lectures to not don't mess it up with the kids is That if you look from a bow, it's opposite female have Female have actually much flatter and the male has more rounder, you know, that's but that's too much information Because today I don't tell you too much. I just tell a little bit. So I can I think I think I can afford to tell you a little bit more confusing information that usually I do And of course you get like the masculine features on a female Especially if there's a lot of if the person is doing a lot of sports because it is tightly connected to the to the hormones tightly connected to the testosterone because female also have testosterone Yeah, and and of course if you look at the guys you might get more feminine features as well So these are the things that you can play with to give the character more feminine or masculine features So you don't want to always go. Okay, man looks like this woman looks like that. No, you can combine You can give more feminine in top more masculine about them. You can change you can play look at the Oxipot, look at the oxipot. So It gives sensitive appearance of the person if the person is very sensitive, even if it's a man you have much bigger Much you want to make much bigger oxipot. Those persons are very sensitive And doesn't consider to be a feminine feature. It is a unisex Unisexual features. So sometimes men are also sensitive. Okay External occipital protuberance. That's the last Bonnie Landmark that I wanted to mention I still will have some time for questions and answers and luckily Because my team said me just you always have to leave some time for questions and answers, okay I will do that. So then that's why I ran through the lecture much quicker than I I can also stand and talk for hours about like External occipital protuberance and Nukal superior nukal lines and stuff like that We don't have so much time So that's the bone on the backside on your oxipot is a little sharp one It's usually on a man is more prominent on a female is less prominent But sometimes female also has much more prominent. That's a thing that connects Basically nukal this ligament that protects you from dying when you jump into the lake If it's very shallow water because we have this sport in Latvia that in a spring time when it's first warm day All guys drink too much beer and they jump into the lake and most of them they get paralyzed or die And and then there is this nukal ligament that actually protects all of them. So not hundred percent die So basically this ligament kind of protects this movement Yeah, so basically a stronger neck you have as bigger bone protrusion you have on the backside Also, it can be at Ethnical differences, you know some Like racial nationalities have more protusions less. So and also if you look paleo Paleolithic like skulls you can find very pronounced these These external Protuberance and then you can see these blue two blue lines. So those are superior nukal line Basically why this line is so important Because that's the place where the neck is actually connected to the skull and Sometimes you have a hard time to understand where does neck connects to the skull and then if you measure from the bottom of the neck If you draw the line, yeah, but not sorry button button of the button of the Orbit the floor or the orbit you draw the line above the external this External me at us ear canal. Yeah, and and then you basically When on the end of the on the on the backside of the skull you get the place where the neck is connected to the skull That's another lecture. I have whole lecture about these drawing skulls and blah blah blah I just wanted to mention because we have more time So I can tell a little bit more information and if you look from the back these two lines the nukal lines Those are kind of creating the attachments of the trapezius muscle on the backside So this red line actually represents like the floor of the orbit the ear canal External occipital protuberance. That's the place where the neck is connected to the to the skull And sometimes when I waiting in line in gas station I make pictures So these are not those pictures because my pictures when I usually make it like this And they are kind of not used and you cannot use them But I found that in internet there is a big deficit of good occipots and good You know, you don't find the good backsides. Yeah, that's a big problem That's why that's why I made like the whole book about like the you know The form of the head and neck and I very like carefully paid attention to the To the occipot because I personally as a sculptor I'm missing that part and usually when I make books I usually make them as if I would make them for myself and I use them in my practice. So that's my little secret trick about About like making of books anatomy for sculptors. This is my email. Just in case if you want to reach me and Ask some questions and if there is some like offline questions, you're open to ask Yeah, no questions Yeah, I appreciate it. Yeah, then I need some animator in a team Okay, because I I kind of I I'm a bottleneck in a company because I can make books about the things that I understand and know and I if I have like a person that is very good in in Animation, then we can collaborate. Yeah, that's definitely would be very useful book for that I have requests also about animal anatomy Yeah, and I totally one day when I retire, maybe I will study more animal anatomy and then I will be able to to you know, but the first before we I Get into the animal anatomy There is still these kind of like serious that we had this serious on the head and neck and now We launching in the first of November. We're launching campaign Kickstarter campaign on the upper limb We and and the next book after will be the lower limb and and then it's time for animation and animal anatomies, but we have to cover the human anatomy first and Anatomy because anatomy for sculptors. That's how we call ourselves. So so when you name yourself You have to somehow stick with that in some sense. So Yeah, you're welcome to To subscribe to get news about the case that they're campaign and if there is any other questions By the way have some books with me in case if you have some cash You can just you buy with a very good discount of books from from us But they very limited amount because I just took one bag with me But yeah, if you have any questions about like anatomy for sculptors and anything that that would be This is a good moment to ask of course if you want to ask me some private questions, of course You'll meet me after afterwards, but if you have any yes Yes Yes Yeah, we'll go You know that basically but is the part either of torso either of the lower limb so we can decide So probably the lower limb and then we'll cover the but and also we're working on a 3d viewer So you can really see the in 3d our reference because book is good, of course But sometimes you want to look from all sides and yesterday there was idea about these How you call it was the name? Yeah That name. Yeah, so we would probably want to publish and you can download and use those Meshes as a base measure or whatever how you call it as I said, I'm not very good in 3d So I sculpt of course From the desperation But I'm not so much into the thing because there's so much thing about anatomy. I have to think then Yeah Any other questions? Do we still have some? Still have three minutes No questions then we can just Say I'll set you free. Yeah. Thank you so much