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Richard G.Hatton

Figure Drawing

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One of the few available guidebooks of its kind, this manual approaches figure drawing from the draftsman's point of view. With a clear focus on surface lines and prominences, step-by-step instructions and over 300 illustrations guide artists in accurately sketching all aspects of the human form in lively action and repose.Beginning with method and proportion, the author discusses the drawing of lines, contours, planes, masses, and rounded forms. Moving on to the individual parts of the body, simple principles of anatomy are applied to demonstrate techniques for sketching the head and neck, the trunk, the upper and lower limbs, and the digits. Expertly rendered figures are shown in various positions and movements, and from all angles, for the most thorough, concise instruction. Brimming with the basic elements necessary for creating quality works of art, Figure Drawing also includes guidance for drawing drapery, revealing the main points of support on the body and the proper way to sketch the folds and forms of garments. Immensely practical and highly readable, it is a manual that artists of every level will turn to again and again.
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646 páginas impresas
Año de publicación
2012
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Citas

  • Julie Van de Schoorcompartió una citahace 8 años
    T seems very formal, very didactic, to say that the representation of solid forms in line is based upon the drawing of the cube and the cylinder, and the statement is certainly an exaggeration, but as a practical rule the assertion is true enough. The principle involved is seen in Fig. 1, and briefly is—that a cylinder seen in a foreshortened position is expressed by a curved line, an oval, at either end, and that a cubic form is represented by two lines at an angle, also at either end of it. It will be clear to any one without further explanation that modifications in the form will be followed by modifications in the degree, and kind, of curvature, or angle. However varied the form may be, its expression by line will depend upon the simple law thus indicated. From this law of foreshortening we deduce this axiom—that where two similar lines, as A and B in Fig. 2, occur one beyond the other, the inference is that the smaller (according to perspective) is the more remote and that the surface from A to B recedes. Such a shape as C, if symmetrical side for side, may be a plane receding upwards, or may be a shape seen in its true form, without foreshortening. An addition at the side, as at D, suggests that the form is receding, but only if the bottom line of the addition, d, slopes down. Of course where such is the case the form EF is truer, because the side FF would become shorter than EE. It would often be impossible to tell which end was the nearer without an edge, or side, as shown at H. This edge (H) at once indicates that the smaller end is really the nearer, and that we are looking up at the object. This edge belongs to the cube form—it is the return, or third side, and indicates the nearer end.

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