By Uldis Zarins and Sandis Kondrats
Every page highlights visible bony landmarks (styloid processes, olecranon, pisiform, knuckles) and shows how they move or disappear under the skin during motion. This is gold for realism.
The hand section breaks down finger flexion into cascading creases —why the thumb’s web space changes shape when you grip a sphere, or why the middle finger knuckle is the highest point in a fist. There’s also a brilliant spread on finger alignment (natural fanning vs. forced parallel).
Anatomy for Sculptors: Arm and Hand in Motion is a masterclass in applied visual anatomy. It won’t teach you to sculpt, but it will answer every “why does this shape look wrong?” question you’ve ever had about arms and hands.
By Uldis Zarins and Sandis Kondrats
Every page highlights visible bony landmarks (styloid processes, olecranon, pisiform, knuckles) and shows how they move or disappear under the skin during motion. This is gold for realism. anatomy for sculptors arm and hand in motion
The hand section breaks down finger flexion into cascading creases —why the thumb’s web space changes shape when you grip a sphere, or why the middle finger knuckle is the highest point in a fist. There’s also a brilliant spread on finger alignment (natural fanning vs. forced parallel). By Uldis Zarins and Sandis Kondrats Every page
Anatomy for Sculptors: Arm and Hand in Motion is a masterclass in applied visual anatomy. It won’t teach you to sculpt, but it will answer every “why does this shape look wrong?” question you’ve ever had about arms and hands. There’s also a brilliant spread on finger alignment