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Kamal Polyakov
Kamal Polyakov

The Artist's Complete Guide To Drawing The Head



Unlike artists like Andrew Loomis who have passed away more than half a century ago, Mike Mattesi is still actively drawing and has published this hour-long guide on his ideas and philosophies on drawing:




The Artist's Complete Guide to Drawing the Head



This instructive book presents excellent annotated line drawings of anatomical structure for the beginning artist. Explaining the subject in simple terms and with an extensive series of dynamic illustrations, the author identifies parts of the body and demonstrates a wide array of physical activities through his sketches. Following notes on proportion and drawing, chapters cover the human skeleton, head and neck, torso, arm, hand, leg, foot, and musculature. Numerous illustrations depict various views of these structures, movements of the human figure, as well as changes in the relative proportions of features at different ages. One of the best books in its field, Anatomy and Drawing helps demystify a complex subject by enabling students to visualize the muscles and bones under the skin, and covers just about everything a beginner needs to know about drawing the human anatomy.


Unique in its presentation, Basic Drawing teaches by example. Through a profusion of self-explanatory drawings, simple rules of procedure are expertly illustrated for artists, enabling them to build a solid foundation in all aspects of art composition.Presenting informative facts rather than ideology, the author begins with perspective and progresses to the figure in movement; light and shade; and detailed anatomy such as the head, neck, facial features, back, hips, legs, feet, arms, and hands. Using hundreds of masterful illustrations from his own portfolio, Priscilla continues with drapery, composition, and trees and landscape, including outdoor sketching. A truly all-in-one manual that belongs on every artist's bookshelf, Basic Drawing outlines the fundamental skills of drawing with an effective and powerful simplicity.


In this essential guide to the basic principles of drawing the human figure, Pogany--one of the leaders of the Golden Age of Illustration--shows readers the path to artistic mastery. With a warm and supportive tone, he seamlessly blends instruction and insight with 375 masterful illustrations. The aim: to build a foundation for those who wish to draw skillfully and easily.Beginning with the humble dot and moving forward to perspective, anatomy, shading, portraiture, balance, motion, and more, this step-by-step resource is a genuine inspiration. Details of the human head, eyes, ears, and feet add depth to the instruction, followed by simple demonstrations that clearly illustrate how fundamental techniques are put into practice. Easy to follow and concise, this guide has long been considered an important resource for artists of all abilities.


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.


At Van der Weele's I saw an excellent sketch of Breitner's, an unfinished drawing - perhaps it cannot be finished; it represents officers in front of an open window, bent over and deliberating about some map or battle plan. Breitner really has got a job at the high school in Rotterdam - a lucky thing for him. But l think after all it is preferable if one can manage to do without such jobs and give all one's time to one's work. There seems to be something fatal in occupying such positions; perhaps it is the very cares, the very dark, shadowy side of an artist's life which is the best of it. It is risky to say so, and there are moments when one speaks differently; many are drowned by too heavy cares, but those who struggle through will profit by it later.


Whether I personally have to work on a large or a small scale is immaterial to me, but what the illustrations demand is only part of what I ask of myself. Of myself I decidedly demand that I can draw the figure of a size such that head, hands and feet do not become too small and the details remain distinct. I cannot do this nearly as well as I have set myself to do it, and for that very reason I must not relax on this point. If I exact this, I demand no more of myself than many others do. So, for instance, about that series of drawings I am now working on, I do not know what the definite form or size will be. After long reflection I decided on the size of that little old man with his head in his hands, but when it comes to printing, I can of course reduce the size of these cartoons.


And the practical reason for drawing the figures on a rather large scale is proved, for instance, by the Exercices au Fusain, de Modèles d'après les Maîtres, published by Goupil and Co. I started with them, and up to now I have found no better guide to studies from the living model. This publication was intended to bring healthy ideas about study into the schools as well as and especially into the studio. I have listened to what Bargue says in his examples; though my work is far from being as beautiful as his, I believe the examples indicate a straight road in keeping with what other artists, including Leonardo da Vinci, have taught before. At all events, it gave a certain method to my ideas about drawing, which makes the work more systematic than it would be if one put no method into one's work. You see, this is a thing which I may not let go of, but I repeat, I can reduce the size of any figure among my studies if it's desirable.


Before you follow any step-by-step drawing tutorials, determine the breed or combination of breeds you want to draw. A dachshund has quite different dimensions from a husky or golden retriever and all of those have completely different faces from a pug or Boston terrier. Study examples of the breed in photos, noting the distinctive characteristics. Key differences tend to show up in the following areas: 041b061a72


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