In my "Creature Suit Analysis" notes on the BFF, I made various charts illustrating ideas being discussed. This page shows you the various charts I made, comments briefly on them, and links to the actual discussions where they were used, if you have interest to read more about them.
The charts at left were used in the Notes, Part 6, Comparative Analysis, where I compared a digital human model to the figure in the film, to evaluate the potential of a human in a suit as compared to the apparent anatomy of the figure in the film.
Notes, Part 6 
The head profile chart at
far left ended up in the discussion of Hip Seams, Notes part 12, when the topic sort of wandered off. The near left chart compares the "Patty" head to a skull of "Zinj", also in the same thread.
Notes, Part 12
The study of the shadow on the back of the neck, and it's apparent raised hair that we refer to as the neck hackle, was described in the notes, Part 8. The charts illustrate why the shadow may be a raised neck hackle, as well as why this poses serious problems for a fur suit, while being more natural on a living mammal.
Notes, Part 8 
The five neck seam charts at left were used in the notes, Part 7, describing how neck seams in fur suits are usually made, and further describing what flaws or indicators are usually seen on such suits, but are not readily apparent on the neck of "Patty".
Four charts illusttrate the various options of where a neck seam could be set up, and the last chart illustrates the actual design components of a good professional seam that should be undetectable, although it would increase the rigidity of that section of the suit, and limit head mobility.    Notes Part 7
In the notes, part 11, I describe a proposed study to help us better determine how much reliable data can actually be extracted from the original PG film. The proposed concept is illustrated so you may see the actual mechanism of the experiment.  The notes describe the process in detail.
Notes, Part 11
The far left chart is from the notes, part 10 "Flab" describing apparent folds in the torso that tend to resemble natural deposits of soft tissue, and the chart studies how they seem to shift in shape over several film frames.
Notes, Part 10
Near left is from the notes, part 12, on Hip Seam Analysis, where I looked at the various curious shadows around the hip area, where many people think they see proof of a suit, and I looked at the inconsistancies of shape across several frames. Suit flaws do tend to have consistant flawed structue if the flaw is apparent, and these shadowed elements are not as consistant as I would expect. The notes describe this in far more detail.
Notes, Part 12
As an artistic exercise, I did a "portrait" of Patty, working from a specific film frame, and using a 3D digital facial and body contour model as a reference for the illustration. The first chart far right shows how the basic head contours were estimated, the second chart shows how the 3D model was constructed, and the third chart shows how the 3D model rendering was then translated into a Photoshop portrait.
It was included in the Notes, Part 5, on reconstructing "Patty" because it is a form of artistic reconstruction, and the set of charts illustrates the method of construction.
So once you go to the Notes, Part 5,
you may have to go into the third or fourth page of the thread to get to this chart group and the notes about them.