Don't just create, build

Where do you begin? Well you don't have to start with all this detail when designing a character but I wanted something specific for my Troganite horse. It's the parts that make the whole when designing anything, and the saying is true that you can't build on a bad foundation, so even if it's a drawing of a biological structure it starts with a well adapted frame.

Anthro-grade stance

Been a few weeks from my last post, had a few things on my mind but it's given me time to sketch out more ideas, particularly on the subject of tails and anthro legs.

To keep the anthro 'stoop' we need to change some of the anatomy. Quadriceps shown in green, gluteals in shades of red, hamstrings in purple and the ilio-tibial tract in cream.

Anthro leg anatomy issues really come down to antho characters standing in a constant 'stoop'. I think that this is some sort of visual misnomer in that it's drawn to emulate the shape of an animals leg but with limited consideration on the extent of its impact to the anatomy. 

Holding a stooped position as a human is hard work, it requires a great deal of force from the quadriceps to keep the knee in partial flexion and the gluteals and hamstrings are under stress to hold the femur at an angle. This is because the weight of the torso is placing the centre of gravity too far behind the feet, the pelvis needs to tilt the torso forward to counterbalance this, bringing the centre of gravity back under the torso. That's why if you try squats in the gym, releasing the stress on your glutes can be done by leaning forward. This stoop is very energy inefficient, and clearly will lead to characters walking not only on bent knees but in a bent forward stance.

There could be a couple of ways to fix this if you wanted to keep the 'dog leg'. Either increase the muscular force the leg can muster (but this still does not change the energy required to hold the leg up, it just means the muscle will be slower to fatigue). Or you shorten the length of the femur. Shortening the distance of the load arm (shown above) makes the stance more energy efficient. This is because the load (the weight of the torso) is now much closer to the pivot (the knee joint), it means that less force is require to lift the load. Much like when using a wheel barrow, this is an example of a second class lever.

Shortening the thigh doesn't solve the problem but it certainly would help.

'A' represents a possible digitigrade stance with a vertical femur. 'B' represents a possible unguligrade stance where the femur is in a stoop. I was not trying to compare digitigrade and unguligrade here, only a vertical femur and one in a stoop.

Taking the stance as a whole it's easier to see that 'B', stood in a stoop with the torso fully upright, would result in the characters centre of gravity being behind it's foot, it's still below the torso but the torso is now more inclined to want to fall backwards because of the stoop, the quadriceps are taking the strain to hold this stance upright.

'A' is digitigrade and the femur is vertical but the knee is still slightly in flexion. If the quadriceps contract too much it will cause the trunk to fall forward. From a balance perspective the centre of gravity is better maintained under the feet of 'A' since the leg is much more vertical but it will of course require a greater level of tone to hold this stance than that of a human plantigrade biped. 

Combining the ideas above:

• shorter thigh
• thigh more vertical than stooped
• larger musculature to lower the fatigue 
• maintains a stance directly under the torso

Is this a more likely anatomically correct look for an antho? One of many configurations for sure!

Way is knowing the pelvic structure important?

It’s a good idea to note the configuration of the pelvis when creating any character, human or anthro. I'm a firm believer in sketching out the basic bone structure in any character sketch, it helps to create your anchor points and maintain your proportions. There are a number of landmarks of the hip that will dictate the overall look of your characters waist, hips and legs that are worth taking some time to study.

Landmarks from the front:
1. The iliac crest, the most obvious part of the pelvis you can feel under the skin. In an athletic character the crest forms the ridge to the bulging mass of the obliques, the muscles of your waist.
2. The inguinal ligament is formed by the obliques and demarcates the line where the torso ends and legs begin. It creates the distinctive 'V' or 'U' shape seen in the photo below.
3. Pubic tubercle this forward projection of the pubic bone can be felt under the public line and is the attachment of the inguinal ligament. The abdominal muscles also attach to the pubic bone. Below this landmark is the point at which the genitals sit, in the male for example via the suspensory ligament. (Also worth noting is that if your characters are in 'heroic' proportion, that's 8-heads high, this landmark marks the mid point of your character height).
4. The greater trochanter of the femur is the major attachment point of the gluteals. It is clearly visible in a frontal view as a bulge at the top of the leg and more predominant in the female. It adds a distinctive curve to the top of the leg when drawing characters from the front or back.

The distinctive 'V' or 'U' shape of the obliques.

Standing upright - Part III

In Part I I looked at changes in pelvic configuration from early hominids. It’s useful to note these changes as it helps explain why we are good at being bipedal and conversely, what wouldn't work or work very well. I’ve laid out what I’ve found here in terms of adaptations to the pelvis from quadruped to biped, these can act as our ‘ground rules’ for consideration when designing anthro characters or mechanical walkers.

Points to consider:

• Centre of gravity – bipeds must make sure their centre of gravity doesn't shift drastically from side to side with each step, this is destablising and inefficient.
• A tall pelvis has the effect of lengthening the torso, meaning that the centre of gravity moves higher, further away from the hips. This makes the trunk harder to stabilise.
• The ‘S’ curve of the lumbar vertebra lowers the centre of gravity towards the hips, helping stabilise the torso.
• This lumbar curve also gives the vertebral column the flex needed to withstand the pressure of the torso acting through it, the lower lumbar have widened giving a larger surface area for weight transmission.
• A wider sacrum has evolved to accommodate the wider lower lumbar vertebra. The sacroiliac joint (connecting the sacrum and the pelvis) also has a large surface area for weight transmission from the torso through both sides of the pelvis down to the femoral heads.
• The widened sacrum increases the width of the 'true pelvis', (the space through the centre of the pelvis), facilitating the ability to birth offspring with much larger craniums.
• However, a wider pelvis is a problem. During the support phase of locomotion one leg is off the ground. The weight of the torso is now acting on the femoral head of the standing leg. This is an example of a first class lever (levers that balance weight like a child's see-saw). The femoral head is acting as the pivot and the distance from the pivot to the body weight is called the 'load arm'. The ‘force arm’ on the other side of the pivot is our gluteus medius (an abductor muscle). It contracts to counterbalance the load arm. The wider we make our pelvis the longer we make the load arm, putting more pressure on the femoral head. We need a larger force or longer force arm to increase the mechanical advantage of this lever, otherwise we risk damaging the femoral head or having the hips slump with each step, just like the chimpanzee. In the Lucy skeleton, Australopithecus afarensis, it reveals her long load arm was countered by an increased length in the neck of the femur and a flaring of the iliac crest of the pelvis to place the abductors further from the pivot.
• The bicondylar angle is unique in humans. The femurs converge at the knees, bringing the legs close to the midline. This means the feet pass close to the midline and the centre of gravity is maintained directly underneath the torso. This is energy efficient as it doesn’t create a side to side motion of the hips when we walk.