In the case of the bones, the outsider looks at the integrity of the skeleton, and the inside is always looking at the threads in the joints. 85 centimeters of human skeletal models, which sound like the basics of a teaching device, but everyone who actually did it knows that.——The smaller the percentage, the more the sense of proportionality in your hands.
Artificial bones are the core secret, not in the bones themselves, but in the line through the body. There are three types of wearing material that are common on the market: nylon, stainless steel wire and ballistic rope. The nylon line is so soft and condensable that it suits the need for finely adjusted and loose fingerbone and wristbone; the stainless wire is so strong that it is often used in the spinal column and the main bearing joints that it ensures that the model is in constant shape; and the bulletline is more present in parts of the joints that require a demonstration of activity, such as shoulder and hips, that it simulates muscle tension and allows the upper limbs to remain moderate at the time of reloading.
But a really seasoned teacher never uses only one line. They'll mix three materials on the same skeleton.——The spinal column is secured by a 0.3 mm stainless steel wire, the rib is penetrating natural radians with a nylon line, while the small parts of the palm and gill bones are replaced by a 0.15 mm bullet line. This mix-up has no drawings, it's all hands.
Many people think that the degree of joint flexibility of the skeletal model depends on the precision of the mold, but it's not. The knot that is worn is the key to determining the scope of the whole joint.
The common error is that the knots are too tight, leading to the death of the joints, and then the line collapses with a little force, or the pine, and the model breaks up as soon as it is picked up. It's mature to leave a tiny gap between the joints.——About an A4 paper thickness. This gap allows the two bones to move without wear and tear while they move, without creating a sense of vibration. At the time of the knot, the master would hold the wire with a crotch, circle it in two and a half laps inside the joint, and pull it to the point where a slight "powder" was heard. One more round, and the joints will freeze, and one less round, and it will be loose for six months.
It's not in the right order, and the stability of the whole skeleton will be compromised. The correct sequence starts with the middle axle.——The vertebrae is first worn, a vertebrae is placed in the vertebrae, with stainless steel threads running through the vertebrae, and the physiological curvature is adjusted by section. The vertebrae, the back of the thorax, and the front of the vertebrae are not sustained by the mold itself, but by the different pull at the point of each vertebrae during the line. Overstretched, the cervical vertebrae becomes a straight neck; the pulsation is inadequate, the waist vertebrae collapses, and the pelvis is emptied.
When the middle axle is fixed, then the chest is worn. The ribs are the most cumbersome to wear, and each one needs to be connected to the thorax first and then bend forward to the rib. Here's a little bit of a counterintuitive: the ribs can't be too "sweet." The rib is flexible when the real body breathes, so it is deliberately designed to keep an asymmetric tension between the ribs and the chest, so that the finished product appears to have a living breath rather than a rigid specimen.
Four limb bones were placed at the end because of the need for repeated disassembly tests. The upper limbs have a disassembly structure between the cheekbones, stairbones and gillbones, which are wired with a retort at the joint, which can be removed with a small pull, and where the arm can be removed for instruction. But the button must be hidden inside the joint cavity, completely invisible from the outside.——This is not less than a watchmaker's.
An 85 centimetre skeletal model that requires approximately 200 knots from the beginning to the end. After each line is closed, the extra line is cut with a full surgical cut, and then light-burned with a mini-electric iron to prevent slips. This is the most problematic step: a slightly higher iron-coated iron temperature and a softer liner, which must break in six months; insufficient temperature and a puncture in the hair of the line, which not only scratches hands, but is stuck when the joint moves. A skilled bone-dresser, who alone controls the iron temperature, has to scrap hundreds of bone models.
At the end of the day, the difference between manually worn skeletal models and water flowing line-in-forming is in these invisible knots. Machine-made skeletons, which are either loose or thick; hand-penetrated, with a slightly entangled shoulder bone when carrying an arm, and with a natural tweaking of the cheekbones when kneeling. This delicate dynamic cannot be marked with drawings and can only be trimmed with one hand.
Next time you pick up a skeletal, turn its elbow. If that slides so much as reminds you of your arms, there must be a teacher there for half a day.
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