To appear in the SIGGRAPH 97 conference proceedings
Anatomy-Based Modeling of the Human Musculature
FERDI SCHEEPERS RICHARD E. PARENTy WAYNE E. CARLSONz STEPHEN F. MAYz
y z
Satellite Applications Centre Department of Computer and Advanced Computing Center for
CSIR Information Science the Arts and Design
South Africa The Ohio State University The Ohio State University
Anatomy increases the sensitivity of the artist s eye and makes the skin transparent; it allows the artist to grasp the true form of the surface contours of the
body because he knows the parts that lie hidden beneath a veil of flesh.
Gerdy
Abstract plification causes undesirable or distracting results. Using flexible
surfaces at or near joints is a poor approximation because many de-
Artists study anatomy to understand the relationship between ex- formations (like bulging muscles) occur far away from joints. Also,
terior form and the structures responsible for creating it. In this producing intricate joint-dependent changes in the shape of the skin
paper we follow a similar approach in developing anatomy-based without considering the motivators for those shape changes seems
models of muscles. We consider the influence of the musculature implausible.
on surface form and develop muscle models which react automati- In this paper we present an approach to human figure modeling
cally to changes in the posture of an underlying articulated skeleton. similar to the one taken in artistic anatomy by analyzing the re-
The models are implemented in a procedural language that provides lationship between exterior form and the underlying structures re-
convenient facilities for defining and manipulating articulated mod- sponsible for creating it, surface form and shape change may be
els. To illustrate their operation, the models are applied to the torso understood and represented best. We focus on the musculature by
and arm of a human figure. However, they are sufficiently general developing anatomy-based models of skeletal muscles, but many of
to be applied in other contexts where articulated skeletons provide the principles apply equally well to the modeling of other anatom-
the basis of modeling. ical structures that create surface form, such as bones and fatty tis-
sue.
CR Categories and Subject Descriptors: I.3.5 [Computer Graph-
ics]: Computational Geometry and Object Modeling Surfaces
and Object Representations; I.3.7 [Computer Graphics]: Three-
1.1 Related Work
Dimensional Graphics and Realism.
Because of demands for rapid feedback and the limitations of
Additional Keywords: Articulated Models, Procedural Modeling,
present-day technology, human figures are often represented with
Deformations, Muscles, Tendons, Bones, Human Figure Animation
stick figures, curves, or simple geometric primitives. This approach
sacrifices realism of representation for display efficiency. Recently,
a layered approach to the representation of human figures has been
1 INTRODUCTION
adopted [2][20][23][28] in which skeletons support one or more
layers, typically muscle, fatty tissue, skin, and clothing layers. The
Human figure modeling and animation has been one of the primary
additional layers serve to flesh-out the skeleton and to enhance the
areas of research in computer graphics since the early 1970 s. The
realism of the representation.
complexity of simulating the human body and its behavior is di-
rectly proportional to the complexity of the human body itself, and
is compounded by the vast number of movements it is capable of.
Anatomy-based skeletal models
Although articulated structures containing rigid segments is a rea-
Most human figure models use a simplified articulated skeleton
sonable approximation of the human skeleton, most researchers use
consisting of relatively few jointed segments. Magnenat-Thalmann
articulated structures that are too simple to be deemed anatomically
and Thalmann [11] challenged researchers to develop more accu-
appropriate. The shoulder, spine, forearm, and hand are typical
examples where accuracy is sacrificed for simplicity. The more dif- rate articulated models for the skeletal support of human figures.
They observe that complex motion control algorithms which have
ficult problem of fleshing-out a skeleton is currently an active area
of research [6][9][23][28][29]. In several of these cases, oversim- been developed for primitive articulated models better suit robot-
like characters than they do human figures. To address this issue,
Ferdi.Scheepers@csir.co.za
researchers have revisited the skeletal layer of human figure mod-
y
parent@cis.ohio-state.edu
els to solve some specific problems. In Jack [1], the shoulder is
z
[ waynec j smay ]@cgrg.ohio-state.edu
modeled accurately as a clavicle and shoulder pair. The spatial re-
lationship between the clavicle and shoulder is adjusted based on
the position and orientation of the upper arm. In another treatment
of the shoulder-arm complex, the Thalmanns [11] use a moving
joint based on lengthening the clavicle which produces good re-
sults. Monheit and Badler [14] developed a kinematic model of the
human spine that improves on the realism with which the torso can
be bent or twisted. Scheepers et al. [21] developed a skeleton model
which supports anatomically accurate pronation and supination of
the two forearm bones. Gourret et al. [9] use realistic bones in their
hand skeleton to assist in producing appropriate deformations of the
fingers in a grasping task.
To appear in the SIGGRAPH 97 conference proceedings
Modeling deformable tissues Concluding remarks are given in Section 5 where we discuss possi-
bilities for future research.
Ignoring the effects that gravity and other external forces may have
on tissue, some researchers have concentrated on the deformations
that occur in the vicinity of joints. One simplifying assumption con- 2 ARTISTIC ANATOMY
siders the human body as consisting of rigid body parts connected
with flexible surfaces at joints. Chadwick et al. [2] use free-form Anatomy is a biological science concerned with the form, position,
deformations [22] (FFDs) to deform skin surfaces that surround function, and relationship of structures in the human body. Artistic
the underlying skeleton. By using abstract muscle operators, a re- anatomy [8][19][30] is a specialized discipline concerned only with
lationship between skeletal parameters (such as joint angles) and those structures that create and influence surface form. Whereas
the control points of the FFDs is established. For example, ten- medical anatomies consider the human body in an erect and mo-
don muscle operators are used to control deformations near joints. tionless stance, artistic anatomy is also concerned with changes that
The Thalmanns[12] use joint-dependent local deformation opera- occur when the body moves into different stances.
tors to control the changes that surfaces undergo near flexing joints. Three general anatomical structures create surface form:
Singh [23] models the skin surfaces near joints with polyhedral ob-
1. The skeleton, consisting of bones and joints organized into an
jects embedded in implicit functions. As the joints move, the im-
articulated structure;
plicit functions deform the polyhedral definition, and therefore the
skin surface in the vicinity of the joint.
2. The musculature, consisting of contractile muscles and
Surfaces may also be deformed in areas other than near joints.
nonelastic tendons; and
Chadwick et al. [2] use flexor muscle operators based on FFDs
to simulate the visible result of muscle contraction, while Nahas
3. The panniculus adiposus (or fat layer), consisting of fatty tis-
et al. [15] manipulate the control points of a B-spline model to
sue located beneath the skin.
mimic deformations. Henne [10] and Singh [23] both use implicit
Before discussing the musculature and its effect on surface form,
function primitives to model muscles and pseudo-physical models
we briefly mention the influence of the skeleton. Interested readers
to cause these muscles to bulge. None of these methods model in-
should consult reference [20] for more detail.
dividual muscles in an anatomically appropriate way, nor do any of
them attempt to account for all muscles that create or influence the
visible surfaces surrounding the underlying skeleton.
2.1 The skeleton
Early physically-based techniques for modeling facial expres-
The skeleton is the basis of all surface form [30]. It determines the
sions consider the face to be sufficiently representable by its skin,
applying abstract muscle actions to the skin to produce facial ex- general shape of the body and each of its constituent parts. The
pressions [17]. The work of Waters [26] in this regard is partic- skeleton also affects surface form more directly: bones create sur-
face form where skin abuts to bones, such as at the elbows and
ularly noteworthy. More recent physically-based techniques are
knees. Bones are attached at joints which allow the bones to move
anatomically more appropriate [25]. Pieper [16] developed a model
relative to one another. Parts of bones that appear not to create sur-
of soft tissue which accounts for the 3D structure and mechanical
face form in some postures do so in others. For example, the heads
properties of human facial tissue, allowing accurate simulation of
of the metacarpal bones cannot be seen unless the hand is clenched
the interaction between soft tissue, muscles, and bony structures in
the face. Waters [27] extended his earlier work by using a physi- into a fist.
cal model of the epidermis, subcutaneous fatty tissues, and bone to
model facial expressions more realistically.
2.2 The musculature
Chen and Zeltzer [3] developed a finite element model of mus-
Of the anatomical systems that determine surface form, the mus-
cle to simulate muscle forces and to visualize the deformations that
muscles undergo during contraction. They used polygonal data de- culature is the most complex. Muscles are arranged side by side
rived from MRI scans or data digitized from anatomically accu- and in layers on top of bones and other muscles [8]. They often
span multiple joints. Muscles typically consist of different kinds of
rate plastic models to represent muscles. Their model accounts for
shape changes due to external forces, such as gravity, or due to in- tissue, allowing some portions to be contractile and others not. De-
pending on their state of contraction, muscles have different shapes
ternal muscle forces which produce movement.
and they influence surface form in different ways.
In her approach to modeling and animating animals, Wil-
helms [28] uses ellipsoids to model bones, muscles, and fatty tissue.
She uses an iso-surface extraction program to generate polygonal
Muscles
skin surfaces around the ellipsoids in some rest posture of the body,
Skeletal muscles are voluntary muscles which contract in order to
and anchors the skin to the underlying body components, allowing
move the bones they connect. Located throughout the body, these
the skin to be adjusted automatically when the body moves. Her
muscles form a layer between the bones of the skeleton and subcu-
research concentrates on the generation of models that may be de-
taneous fatty tissue.
veloped at least semi-automatically.
Structurally, skeletal muscles consist of a contractile belly and
two extremities, often tendinous, called the origin and the inser-
tion. The origin is usually the more stationary end of a contracting
1.2 Overview
muscle, and the insertion the more movable. Skeletal muscles con-
The remainder of this paper is organized as follows. In Section 2 we sist of elongated muscle fibers and fibrous connective tissue which
identify the anatomical structures that influence surface form and anchors the muscles to the underlying skeleton. The composition of
discuss the musculature and its influence in some detail. In Sec- muscle fibers in a muscle determines the potential strength of mus-
tion 3 we briefly describe a procedural model for skeletons. Sec- cle contraction and the possible range of motion due to contraction.
tion 4 presents anatomy-based muscle models for simulating the The shapes of muscles often reveal their function.
deformable nature of skeletal muscles. We illustrate the operation Anatomists distinguish between two types of muscle contraction.
of each muscle model and show how the muscle models may be In isotonic contraction, the length of a muscle changes and the mus-
used in conjunction with the skeleton model presented in Section 3. cle produces movement, while in isometric contraction, the muscle
2
To appear in the SIGGRAPH 97 conference proceedings
contracts or tenses without producing movement or undergoing a
change in length.
Skeletal muscles act across one or more movable joints, working
together in groups to produce movement or to modify the actions
of other muscles. Depending on the types of joints involved and
the points of attachment of the muscle [4], a standard name can be
given to any movement so produced, for example flexion/extension
or protraction/retraction [7].
Tendons
Skeletal muscles attach to other structures directly or by means of
tendons. A tendon is a dense band of white connective tissue that
connects the belly of a muscle to its attachment on the skeleton.
Tendons are nonelastic, flexible, and extremely strong. They con-
centrate the force produced by the contractile muscle belly, trans-
mitting it to the structure to be moved. Tendons decrease the bulk
Figure 1: Stage-fright stylized representations of a human skele-
of tissue around certain joints, obviating the need for long fibers in
ton assembled from spheres, cylinders, tori, hyperboloids, and bi-
the belly portion of the muscle. For example, in the forearm and
linear patches.
lower leg, long tendons shift the weight away from the hand and
foot, making the ends of the arm and leg lighter.
Clavicle
3
Influence on surface form
2 1
Scapula
Skeletal muscles can be thought of as independent convex forms [8]
placed in layers on top of the underlying skeleton. Although the
forms of adjacent muscles tend to blend with each other, furrows
Reference body
or grooves are present between some muscles and muscle groups, Humerus
especially between those that have different or opposing actions.
Scapula
This arrangement of muscles is visible on the surface as a series
of convexities [8], especially when the muscles are put into action. 4
Joints
In their relaxed state, however, muscles are soft and appear less
Ulna
1 Sternoclavicular (SC)
defined, even hanging loosely because of the pull of gravity [19].
2 Acromioclavicular (AC)
Upon contraction, the belly of muscles become shorter and thicker.
5 3 Shoulder (SH)
Radius
4 Elbow (EL)
In superficial muscles, this change in shape can be observed on the
5 Radioulnar (RU)
surface where the muscle s relief becomes increasingly defined.
6 Wrist (WR)
When muscles with narrow tendons contract, the tendons often
6
stand out prominently on the surface of the skin. For example, some Hand
of the tendons of the forearm muscles can be seen on the wrist when
the fingers are clenched into a fist. In superficial muscles, the area
Figure 2: Conceptual model of the arm skeleton.
of attachment of a tendon and its muscle belly is often apparent on
the surface.
The different types of movable joints in the human skeleton can
also be modeled with functions. Conceptually, each function ap-
3 SKELETAL SUPPORT
plies the required transformations to locate and orient the joint.
Joint motions may be restricted to predetermined excursion ranges,
In this section we give a brief overview of a procedural model for
one for each of the degrees of freedom of the joint. We use an
skeletal support [21]. The model is implemented in AL [13], a pro-
object-oriented style of programming in AL to encapsulate the im-
cedural modeling and animation language with facilities for defin-
plementation details into a joints class. This abstraction allows the
ing and manipulating articulated models. We introduce articulation
instantiation of joint types to be stated succinctly, which, in turn,
variables (or avars [18]) to the model and use them to provide an-
simplifies the arrangement of bones and joints into hierarchies.
imation and interaction controls. The model is applied to the arm
skeleton to illustrate its operation. This example will be extended
in the next section when the modeling of muscles is considered.
3.2 The arm skeleton
The upper limb of the human body is supported by a complex and
3.1 Bones and joints
intricate skeleton which provides an excellent testbed for devel-
oping articulated models. To simplify interaction, we introduce
Since bones are hard relative to other anatomical structures in the
anatomically appropriate simplifications to the arm skeleton. For
human body, a rigid model for individual bones is appropriate. We
example, since the acromioclavicular joint is capable of very little
model bones with functions that select one representation out of
motion in itself [24], we separate the scapula from the arm skeleton
a number of alternatives based on a complexity parameter. Two of
(see Figure 2) and define its motion functionally in terms of avars.
these alternatives, constructed in piecewise fashion from predefined
geometric primitives (g-prims), are shown in Figure 1. If necessary, Figure 3 shows a hierarchical definition of the arm skeleton. We
arbitrarily complex boundary representations could be included as place the rooted reference skeleton first, and use nested blocking
alternatives, but for our purposes the g-prims representations suf- constructs to specify the kinematic chain from the sternoclavicular
fice. joint and the clavicle bone down to the wrist joint and the hand
3
To appear in the SIGGRAPH 97 conference proceedings
(define (the-arm-skeleton)
(lambda
(reference-skeleton)
(model "clavicle" (ElevateDepress ProtractRetract)
(SC-joint (ElevateDepress) (ProtractRetract))
(clavicle)
(separator
(AC-joint (ElevateDepress) (ProtractRetract))
(scapula))
Figure 4: Volume preserving contraction (top) and stretching (bot-
(model "humerus" (AbductAdduct FlexExtend Rotate)
tom) of a muscle belly. Front and side views of the same muscle
(SH-joint (AbductAdduct) (FlexExtend) (Rotate))
belly are shown in each frame.
(humerus)
(model "ulna" (ElbowFlexExtend)
Tension = 0 Tension = 1
(EL-joint (ElbowFlexExtend))
( muscles fully relaxed ) ( muscles fully tensed )
(ulna)
(model "radius" (PronateSupinate)
Bone
(RU-joint (PronateSupinate))
width
(radius)
(model "hand" (FlexDorsiflex RabductUabduct)
(WR-joint (FlexDorsiflex) (RabductUabduct))
height Muscles
(hand)
)))))))
Figure 3: AL function defining the arm skeleton (avars associated
Figure 5: Simulating isometric muscle contraction.
with each model appear in italics and are named for joint move-
ments).
a0 = b0r: (3)
skeleton. Low-level motion control is provided by binding avars Figure 4 shows how the muscle belly bulges when contracting, and
to joint angles. High-level motion control is also possible. For how it thins out when stretching.
example, by relating a normalized avar clench to the flexion angles To simulate isometric muscle contraction, we introduce a tension
of interphalangeal joints, the fingers of the hand can be clenched parameter t to adjust the ratio r (see Figure 5). Assuming that rn =
an
into a fist simply by setting clench equal to one. is given for a muscle in a fully relaxed state, we define
bn
r = 1 , t rn + ktrn = 1 , t + kt rn; (4)
4 THE MUSCULATURE
where k is a tension control parameter1 that regulates the amount of
In this section we present three anatomy-based muscle models for
muscle bulging (increased height, reduced width) due to isometric
simulating the behavior of skeletal muscles. Before doing so, how-
contraction.
ever, we discuss the representation of muscle bellies.
4.2 Fusiform muscles
4.1 Muscle bellies
Many skeletal muscles are fusiform and act in straight lines be-
We use ellipsoids to represent muscle bellies. As Wilhelms ar-
tween their points of attachment. For these muscles we use a simple
gues [28], the ellipsoid is a natural and convenient primitive for
model with relatively few parameters, called the fusiform muscle
representing muscle bellies because it can be scaled along its three
model. This model provides a convenient mechanism for locating
major axes to simulate bulging. We automatically adjust the dimen-
muscle bellies relative to underlying skeletal bones. Specifically,
sions of the muscle belly when its extremities are moved further
since muscles attach to different bones, the origin may be given in
apart or when they are brought closer together. These adjustments
the local coordinate system of the bone where the muscle originates.
not only preserve the ratio of the belly s height to its width, but also
Similarly, the insertion may be given in the local coordinate system
the volume of the muscle belly an approach justified by consid-
of the bone where the muscle inserts. Muscles with tendons may be
ering the anatomical structure of muscles and their behavior during
defined by giving two additional points, as illustrated in Figure 6.
isotonic contraction.
The model takes care of transforming all the points to a common
Let E be an ellipsoid whose principal axes have lengths 2a, 2b,
coordinate system.
and 2c, respectively, and let l = 2c denote the length of a muscle
Like the joint types in Section 3.1, the fusiform muscle model is
4 abc
belly to be represented. Given the required volume v = and
implemented in a class. We use two class parameters to define the
3
a
the ratio of the width and height r = of the muscle belly, isotonic
volume v and ratio r of the muscle in its natural state, and a number
b
muscle contraction can be simulated by adjusting a and b when the
of instance parameters to specify the location and orientation of the
length of the muscle belly changes. Since a = br,
muscle.
Figure 7 shows a few frames of an animation sequence to illus-
4 rb2 c 3v
trate the operation of the fusiform muscle model. Two fusiform
v = = b2 = :
3 4 rc
muscles of the same volume are modeled, but only one has ten-
dons. Notice the effect of the tendons on the perceived bulging of
Letting l0 denote the new length of the muscle belly, we have
the muscle belly on the right. Notice also that the tendons retain
their lengths, an important attribute of tendons which is not incor-
l0
c0 = (1)
porated in Wilhelms modeling of animal muscles [28].
2
r
1
3v Empirical evidence shows a value of k = 2:56 provides reasonable
b0 = (2)
bulging for acceptable visual representation.
4 rc0
4
To appear in the SIGGRAPH 97 conference proceedings
tendon with no on
origin space curve
origin origin = o-belly origin dimensions
on-1
Origin tendon
on-2
oj-1 oj+1
o3
o-belly o-belly
o2
o2
oj
Muscle belly
o1
o1
Insertion
tendon
i-belly i-belly i-belly
insertion insertion insertion
i1
i1 i2
i3
ij
i
n-2
i
n-1
i
n
Figure 6: Parameters of the fusiform muscle model.
insertion space curve
positioning orienting
Figure 8: Locating and orienting muscle bellies in the multi-belly
muscle model.
by specifying a different belly count before instantiating the mus-
cle.
Figure 7: Operation of the fusiform muscle model with and without
tendons.
4.4 Muscles that bend
The general muscle model allows muscles with complex shapes to
4.3 Multi-belly muscles
be modeled. It is useful for representing muscles that bend around
underlying anatomical structures.
Wide muscles with complex shapes cannot be modeled with the
same ease as straight fusiform muscles. Although one could use
multiple instances of fusiform muscles to approximate the shape of
Motivation
a complex muscle, a better alternative would be to use a genera-
The fusiform and multi-belly muscle models can be used to rep-
tive approach in which any number of muscle bellies may be posi-
resent most skeletal muscles in the human body. Exceptions are
tioned automatically. The multi-belly muscle model accomplishes
muscles for which the simplifying assumptions of these models are
this task.
unreasonable. Specifically, some muscles bend around underlying
In order to locate and orient a number of muscle bellies automat-
anatomical structures, others cannot be represented accurately by
ically, we need to define the origin and insertion of the muscle to
one or more straight muscle bellies, and yet others attach via wide,
be represented. Spline curves [5] provide a convenient alternative
flat tendons to the underlying skeletal bones. Also, using many
to merely enumerating the individual origin and insertion points.
independent muscle bellies to approximate a single muscle with
Relatively few control points are needed to define these curves, and
a complex shape is not always anatomically appropriate the real
by using a parametric formulation of the spline curve, points along
muscle may not even have muscle bellies that can be individually
the curve can be sampled simply and efficiently. Thus, instead of
differentiated.
origin and insertion points, the multi-belly muscle model requires
that origin and insertion curves be specified.
Figure 8 illustrates the procedure for locating and orienting n
Representation and parameters
muscle bellies between pairs of spline curves. Locating each mus-
cle involves finding two points of attachment on each curve for ev-
To model muscles with complex shapes, we use tubularly-shaped
ery muscle belly, a task easily accomplished by sampling the curves
bicubic patch meshes capped with elliptic hemispheres at either
and pairing-off corresponding sample points. Orientation of indi-
end. Figure 9 illustrates the construction of such a patch mesh. It is
vidual muscle bellies requires finding a reference vector to indicate
defined by sweeping an ellipse along the path defined by the control
the up-direction of a muscle belly. As illustrated in Figure 8, the
points oc, ov , iv , and ic. During the sweep, the lengths of the ma-
reference vector for each pair of points oj; ij is the normal vector
jor axes of the ellipse are adjusted to create fusiform-like profiles in
of the plane through three sample points, specifically:
directions orthogonal to the path. In Figure 9, this fusiform profile
is easily observed in the rendered side view of the muscle2.
oj; oj+1 ; ij if j =1;
Parameters that control the shape of general muscles are given in
oj, 1 ; oj+1 ; ij if 1 j n; and
Table 1. As before, class parameters are used to define the shape
of the muscle in its natural state, while the location, direction, and
oj, 1 ; oj; ij if j = n:
orientation of the muscle are specified before the muscle is instan-
The implementation of the multi-belly muscle model resembles tiated.
that of the fusiform muscle model. The origin of each multi-belly
Two points o1 and o2 specify the origin of the muscle. The mid-
muscle is represented by a list of control points defining the origin
point oc of o1 and o2 is where the path originates. Together with
curve. Another list defines the insertion curve in a similar way. As
another parameter, ov , point oc determines the general direction of
before, the origin and insertion curves may be defined in whichever
the muscle near its origin. The points o1 , o2 , and ov are all given
local coordinate system necessary; the class transforms the control
2
points (and hence, the curves) into world coordinates prior to stor-
A similar (but less conspicuous) profile is present in the rendered front
ing them. By default, ten muscle bellies are created between the view; however, the bend in the muscle and the eccentricity of the ellipse
origin and insertion curves. This default behavior can be changed tend to disguise the profile.
5
To appear in the SIGGRAPH 97 conference proceedings
o1 oc
o2
l = | o v - o |
o c origin
section
ov
l = | i - o | + l o + l i
v v
mid-section
iv
i2
front view side view
l = | i - i |
i v c
ic insertion
section
Figure 10: Operation of the general muscle model.
i1
,! ,! ,! ,!
Figure 9: The general muscle model: contruction of a bicubic patch
defined by i1 ic and iup = ic iv i1 ic, with lengths ai = j ic , i1 j
hi
mesh by sweeping a varying ellipse along a cubic Bezier curve. For
and bi = , respectively.
2
simplicity of illustration, the Bezier curve is defined in the plane of
To determine the lengths a and b of the major axes of the ellipses
the page.
at ov and iv, we use the volume of the muscle and the height-to-
width ratio of the muscle s bulge at ov and iv . First, consider the
muscle s volume, V. Since the area of an ellipse with major axes x
Parameters Comment
and y is xy, the volume of the muscle may be approximated4 by
Class parameters defines natural state of muscle
V muscle volume
aobo + ab
r height-to-width ratio of muscle s bulge V = lo +
2
Other parameters locates, directs, and orients muscle
ab + ab ab + aibi
o1 , o2 defines origin of muscle l , lo , li + li
2 2
ov directs origin section of muscle
i1 , i2 defines insertion of muscle
= loaobo + 2l , lo , li ab + liaibi
2
iv directs insertion section of muscle
ho, hi height of muscle at origin and insertion
= C + Lab ; (5)
2
c depth of capping elliptic hemisphere
where
Table 1: Parameters of the general muscle model.
C = loaobo + liaibi and L =2l , lo , li 0:
Next, let the height-to-width ratio of the muscle s bulge at ov and
in the local coordinate system of the bone where the muscle orig-
a
iv be r = , then Equation 5 becomes
inates. Similarly, the points i1 and i2 specify the insertion of the
b
muscle, and ic and iv determine the general direction of the mus-
,
cle near its insertion. These points are given in the local coordinate
V = C + Lb2 r :
2
system of the bone where the muscle inserts. The points oc, ov ,
iv, andic determine three lengths which are used in calculating the
Equations expressing the lengths a and b of the major axes of the
muscle s volume:
ellipses at ov and iv may now be stated:
r
the length of the origin section, lo = j ov , ocj,
2V , C
b = (6)
the length of the insertion section, li = j iv , icj, and
Lr
a = br: (7)
the overall length of the muscle, l = j ov , iv j + lo + li.
The parameters ho and hi determine the height of the muscle at Implementation
each of its extremities, and c gives the undetermined radius of the
As before, we implement the general muscle model in a class with
capping hemispheres. The remaining parameters specify the vol-
two class parameters corresponding to V and r in Table 1. Be-
ume of the muscle in its natural state, and the height-to-width ratio
fore instantiating a muscle of this class, the origin and insertion
of the bulge of the muscle s mid-section.
should be specified. Two lists of the form (o1, o2, ov) and
(i1, i2, iv) should be used. The class transforms these points
Construction
to world coordinates before storing them. Figure 10 shows the gen-
eral muscle model in action. The figure illustrates how a general
The path along which the varying ellipse is swept is a cubic Bezier
muscle deforms when the relative locations of its extremities are
curve3 defined by the control points oc, ov, iv, and ic. At oc the
ho changed. Notice how the curvature of the muscle is maintained,
ellipse has major axes with lengths ao = j oc , o1 j and bo = ,
2
and how the muscle deforms automatically when its extremities are
respectively. The major axes themselves are easily determined: the
,! moved closer together.
first is defined by the vector o1 oc, and the second by the vector
,! ,! ,!
4
oup = ocov o1 oc. Similarly, the ellipse at ic has major axes The volumes of the capping hemispheres, which are small relative to
the volume enclosed by the patch mesh, are ignored; also, the volume en-
3
A cubic Bezier curve is used for the natural way in which it allows closed by the patch mesh is approximated by summing the volumes of three
the direction of the path, and therefore the way the muscle bends, to be truncated elliptic cones, one for each section of the patch mesh, as annotated
controlled. in Figure 9.
6
To appear in the SIGGRAPH 97 conference proceedings
(define (the-arm-skeleton)
O
(lambda
(reference-skeleton)
Tendons
(model "clavicle" (ElevateDepress ProtractRetract)
(SC-joint (ElevateDepress) (ProtractRetract))
(clavicle)
Short
Long
muscle belly
muscle belly (separator
(AC-joint (ElevateDepress) (ProtractRetract))
(scapula)
Tendons
I
(biceps-brachii-origin))
(model "humerus" (AbductAdduct FlexExtend Rotate)
(SH-joint (AbductAdduct) (FlexExtend) (Rotate))
Figure 11: Front view of the biceps brachii and its behavior when
(humerus)
the forearm is flexed at the elbow joint.
(model "ulna" (ElbowFlexExtend)
(EL-joint (ElbowFlexExtend))
(ulna)
(model "radius" (PronateSupinate)
(RU-joint (PronateSupinate))
(radius)
(biceps-brachii-insertion)
(model "hand" (FlexDorsiflex RabductUabduct)
(WR-joint (FlexDorsiflex) (RabductUabduct))
(hand))))))
(biceps-brachii)
))
Figure 13: AL function defining the arm skeleton and the multi-
Figure 12: Behavior of the biceps brachii when the forearm is
joint biceps brachii muscle.
pronated while the elbow joint is flexed to 90.
4.5 Muscles of the arm and torso
To illustrate the application of the muscle models, we consider three
typical muscles of the arm and torso:
O
1. The biceps brachii, the familiar muscle on the upper arm that
I
flexes and supinates the forearm;
2. The pectoralis major, a large, fan-shaped muscle on the upper
front part of the chest; and
3. The brachioradialis, a muscle that twists around the elbow
joint and assists in flexing the forearm.
Figure 14: Front view of the pectoralis major and its behavior when
Two instances of the fusiform muscle model are used to represent
the forearm is abducted at the shoulder joint.
the biceps brachii (see Figure 11). We define two functions for
specifying the muscle s attachments and one for instantiating the
muscle. Notice that the biceps brachii is a multi-joint muscle. It
originates from the scapula, spans over the shoulder, elbow, and ra-
division into two sections, we use two instances of the multi-belly
dioulnar joints, and inserts into the radius bone. Therefore, when
class to represent the muscle. The figure shows the behavior of the
specifying the attachments of the muscle in the hierarchy, the ori-
pectoralis major when the arm is abducted at the shoulder joint. The
gin function must be called just after creating the scapula, and the
model represents the general shape of the muscle quite well, and it
insertion function must be called just after creating the radius. This
even creates the armpit where the muscle bellies overlap near the
ensures that the origin and insertion points will be transformed to-
insertion into the humerus.
gether with their underlying parts; the scapula in case of the origin,
and the radius in case of the insertion. Another action performed We use the general muscle model and a simple tendon
by the biceps brachii is supination of the forearm, an action that model [20] to represent the fleshy and tendinous portions of the
is most powerful when the elbow joint is flexed to 90. In this po- brachioradialis (Figure 15), respectively. Figure 16 shows the be-
sition, if the forearm is pronated and supinated in alternation, the havior of this muscle when the forearm is flexed at the elbow joint.
biceps brachii can be seen to elongate and shorten correspondingly. Notice how the muscle folds quite naturally as the elbow joint ap-
Even though this motion is less dramatic in its effect on the biceps proaches full flexion. This behavior is made possible by allowing
brachii, it nevertheless is important to simulate. Figure 12 shows the two points defining the mid-section of the muscle (ov and iv
the behavior of the biceps brachii when the forearm in pronated in Table 1) to approach each other. Recall that these points are the
with the elbow joint in a state of flexion. Figure 13 repeats the hi- second and third control points of the cubic curve defining the mus-
erarchical definition of the arm skeleton presented earlier, but now cle s axis. As the angle between the origin and insertion section of
it includes calls to the origin, insertion, and instantiation functions the axis becomes more acute, the second and third control points
of the biceps brachii. These function calls appear in italics in the move closer together and the bend in the muscle s mid-section be-
figure. comes more pronounced. Of course, if the fold is not desired, the
The pectoralis major originates from the clavicle and the sternum positions of the second and third control points can be adjusted as
(see Figure 14) and inserts into the humerus. Because of this natural needed.
7
To appear in the SIGGRAPH 97 conference proceedings
O
O
Levator scapulae
Trapezius
I
Deltoid
I
Infraspinatus
Teres minor
Teres major
Rhomboids
front view side view Triceps brachii
Triceps tendon
Latissimus dorsi
Figure 15: Front and side views of the brachioradialis.
Anconeus
Extensor carpi radialis longus
External oblique
Extensor digitorum
Extensor carpi ulnaris
Figure 16: Behavior of the brachioradialis with flexion at the elbow
joint.
Figure 17: Muscles and tendons of the neck, trunk, shoulder, and
4.6 Results and evaluation
upper limb.
We tested the muscle models on a variety of superficial and middle-
layer muscles [8] that are responsible for joint movement in the
upper limb. Figure 17 presents back and side views of some of
texts other than in human figure modeling, such as in 3D character
these muscles. Notice how the general muscle model is used very
animation and the animation of other animals with endoskeletons.
successfully to model large muscles such as the trapezius and the
The muscle models manage the deformation of muscles due to
latissimus dorsi. We also tested the deformation characteristics of
isotonic contraction. These deformations are inherent in the mod-
the muscle models by creating an animation sequence to show how
els, completely automatic, and functionally dependent on the con-
the biceps brachii muscle bulges when the forearm is flexed at the
figuration (or pose) of the underlying articulated skeleton. To allow
elbow joint. Selected frames of the animation sequence are shown
for isometric muscle contraction, we introduced a tension parame-
in Figure 18.
ter to control the ratio of a muscle s height to its width, independent
Figures 17 and 18 show that the muscle models are capable of
of the current pose. The muscle models take the muscle s tension as
representing complex shapes with a high degree of realism, and
an instance parameter and deform the muscle accordingly. By bind-
that natural muscle shape deformation occurs when the underlying
ing the tension of individual muscles to articulation variables, users
skeleton is moved. By implementing the muscle models in classes
have complete control over the deformations of individual muscles.
with well-defined interfaces, the instantiation of individual muscles
We used a procedural modeling language to describe all our
is greatly simplified. Also, integrating the muscle layer into the
anatomy-based models. A language-based definition of complex
hierarchical definition of the skeleton is straightforward. Origin,
hierarchical models is elegant and intuitive, and affords the creation
insertion, and instantiation functions for each muscle may be in-
of functional dependencies between different components. Interac-
voked at appropriate points in the hierarchy, allowing muscles that
tive control is supported through the use of articulation variables,
span over one or more joints to be defined with the same ease as the
which may be used either directly, or in expressions, to modify
underlying bones in the skeleton.
components of the hierarchical model. Cooperating tools can be
made available to give nontechnical users interactive control over
the complex models.
5 CONCLUSION
We adopted an approach to modeling which parallels the one
This paper has presented a number of anatomy-based muscle mod- taken in the discipline of artistic anatomy. By analyzing the rela-
els appropriate for simulating the behavior of skeletal muscles in tionship between exterior form and the structures responsible for
humans. Each muscle model allows the extremities of muscles to creating it, surface form and shape change may be understood best.
be specified relative to different underlying bones, whether adja- We identified three general anatomical structures responsible for
cent or not, and automatically adjusts the dimensions of the muscle creating surface form and described one of these, the musculature,
when the extremities are moved closer together or further apart. in some detail. Application of knowledge of the human anatomy to
The models are implemented in classes with consistent interfaces, the development of human figure models is necessary if we hope to
thereby creating reusable components which may be used in con- achieve a high degree of realism.
8
To appear in the SIGGRAPH 97 conference proceedings
Figure 19: Application of a skin and fatty tissue model to muscles
Figure 18: Behavior of the various muscle models with flexion at
of the upper arm and torso.
the elbow joint isotonic and isometric contraction of the biceps
muscle is simulated.
[2] CHADWICK, J. E., HAUMANN, D. R., AND PARENT, R. E.
Layered construction for deformable animated characters.
We are currently investigating anatomy-based models for gener-
Computer Graphics (SIGGRAPH 89 Conference Proceed-
ating skin surfaces based on the influence of underlying deformable
ings) 23, 3 (July 1989), 243 252.
structures. The capability of implicit functions to blend individ-
ual primitives together is exploited in the generation of surfaces to
[3] CHEN, D. T., AND ZELTZER, D. Pump it up: Computer
represent the skin. Initial results look promising (see Figure 19).
animation of a biomechanically based model of muscle using
Implicit versions of the simple geometric modeling primitives are
the finite element method. Computer Graphics (SIGGRAPH
used to adjust the control points of bicubic patch meshes represent-
92 Conference Proceedings) 26, 2 (July 1992), 89 98.
ing the skin. This technique also allows us to model fatty tissue
between the muscles and the skin adjusting the radius of influ-
[4] DAWSON, H. L. Basic Human Anatomy, 2nd ed. Appleton-
ence of the implicit functions allows different thicknesses of fatty
Century-Crofts, New York, 1974.
tissue deposits to be modeled.
Future research could analyze the structure and function of mus-
[5] DUFF, T. Splines in animation and modeling. In SIGGRAPH
cles further to enable a more automated approach to their creation
1986 Course Notes. ACM SIGGRAPH, Aug. 1986.
than the one used here. If the origin, insertion, volume, and gen-
eral shape of a muscle could be determined heuristically, perhaps
[6] GASCUEL, M.-P. Welding and pinching spline surfaces: New
based on the type of joint(s) being acted upon, or the desired action
methods for interactive creation of complex objects and auto-
of the muscle, the creation of human figure models may be greatly
matic fleshing of skeletons. In Graphics Interface 89 Pro-
simplified. Used in conjunction with a method for generating artic-
ceedings (June 1989), pp. 20 27.
ulated skeletons automatically, this approach has great potential in
creating new or fictional articulated figures for 3D animation appli-
[7] GAUDIN, A. J., AND JONES, K. C. Human Anatomy and
cations.
Physiology. Harcourt Brace Jovanovich, San Diego, 1989.
[8] GOLDFINGER, E. Human Anatomy for Artists: The Elements
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10
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