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E-raamat: Figure Drawing: A complete guide to drawing the human body

4.38/5 (47 hinnangut Goodreads-ist)
  • Formaat: EPUB+DRM
  • Ilmumisaeg: 29-Jul-2021
  • Kirjastus: Ilex
  • Keel: eng
  • ISBN-13: 9781781578186
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Figure Drawing: A complete guide to drawing the human bodySuurem pilt
  • Formaat: EPUB+DRM
  • Ilmumisaeg: 29-Jul-2021
  • Kirjastus: Ilex
  • Keel: eng
  • ISBN-13: 9781781578186
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*** 'Figure Drawing is structured like an art school course and is every bit as rewarding.' Artists and Illustrators



Informative and instructive, this comprehensive guide will give you all the tools you need to draw the human figure, from life and from a screen. While many books focus on just one aspect of figure drawing, this manual unites the skills of observation, expression and understanding in one coherent approach. Beginning with the key principles of observation, Figure Drawing will help you to build a strong foundation of skills to make well-observed, proportionally accurate drawings. As the book progresses you will explore processes and exercises that move beyond the purely observed to express the gesture, form and substance of your model.

Photographic and illustrative examples throughout the book support your learning at every step.

Clear step-by-step tutorials provide a practical understanding of the key materials, skills and ideas in figure drawing.

A comprehensive anatomical reference section, broken down into manageable zones, deepens your knowledge of the human form.

The book is a Swiss-bound paperback, designed to lie flat when open and in use.
Foreword - The life room 6(4)
Introduction
Learning to draw the figure
10(2)
Towards better drawing
12(2)
The skills of drawing
14(2)
Using this book
16(1)
In the life class
17(3)
Learning to draw figures at home
20(2)
Exercises - Freeing up
22(4)
1 Materials
Setting up
26(2)
Supports
28(2)
Media - Graphite
30(1)
Media - Charcoal
31(1)
Media - Ink
32(1)
Media - Paint
33(1)
Media - Pastels
34(1)
Media - Coloured pencils
35(1)
Media - Other media
35(1)
Tools - Sharpeners
36(1)
Tools - Erasers
37(1)
Tools - Blenders
37(3)
2 Learning to see
Looking to draw; drawing to look
40(2)
Exercise - A visual exploration
42(2)
Mark-making - Line
44(2)
Shape - Seeing edges
46(2)
Process - Contour drawing
48(2)
Exercise - Negative spaces
50(2)
Shape - Trapped & open negative space
52(2)
Shape - Blocking out
54(2)
Process - Sculpted drawing
56(2)
In context: Egon Schiele
58(2)
Tools - Observational measuring tools
60(2)
Shape - Visual measuring
62(2)
Shape - Points & relationships
64(2)
Shape - Horizontals, verticals & diagonals
66(2)
Process - Measured study
68(2)
In context: Euan Uglow
70(2)
Exercise - Dark scanner
72(2)
Tone - Perceiving value
74(2)
Tone - Tonal shapes & edges
76(2)
Exercise - Grouped values
78(2)
Tone - Local tone vs light & shadow
80(2)
Tone - Light & shadow
82(2)
Process - A tonal mosaic
84(2)
Tone - Interpreting tonal shapes
86(2)
Mark-making - Hatching & cross-hatching
88(2)
Mark-making - Block
90(2)
Mark-making - Smudging, blending & erasing
92(2)
Exercise - Drawing light
94(2)
Mark-making - Wash
96(2)
Exercise - Aux trois crayons
98(2)
In context: Kathe Kollwitz
100(2)
Summary - Learning to see
102(4)
3 Beyond looking
Responding to feeling
106(2)
Exercise - Felt gesture
108(2)
Gesture - Lines of action
110(2)
Exercise - Performing gesture
112(2)
Gesture - Balance
114(2)
Gesture - Representing movement
116(2)
Exercise - The moving model
118(2)
Gesture - Stillness vs dynamism
120(2)
In context: Alan McGowan
122(2)
Exercise - Alphabetic form
124(2)
Exercise - The body as a vessel
126(2)
Mark-making - Cross-contours
128(2)
Form - Perceiving volume
130(2)
Mark-making - Visualizing weight
132(2)
Mark-making - Modelling
134(2)
Process - Wire gesture, clay form
136(2)
In context: Anita Taylor
138(2)
Surface - Surface qualities
140(2)
Exercise - Haptic self-portrait
142(2)
Mark-making - Textural marks
144(2)
In context: Ishbel Myerscough
146(2)
Surface - Tactile anatomy
148(2)
In context: Roy Eastland
150(2)
Summary - Beyond looking
152(4)
4 Representation
Design & decision-making in figure drawing
156(2)
Exercises - The figure in context
158(4)
Composition - Principles of composition
162(6)
Composition - Narrative & design
168(4)
Depth - The illusion of depth
172(2)
Depth - Convergence
174(4)
Depth - Foreshortening
178(2)
In context: Edward Hopper
180(2)
Exercise - Drawing from an artwork
182(2)
Summary - Representation
184(4)
5 Construction
Anatomy & construction
188(2)
Variation & identity
190(2)
Overview - Bone
192(2)
Overview - Muscle
194(2)
Overview - Fat
196(2)
Overview - Skin
198(2)
Overview - Surface reference
200(2)
Overview - Hair
202(2)
Overview - Landmarks
204(2)
Overview - Malleable volumes
206(2)
Process - Observational scaffolding
208(2)
In context: Emma Hopkins
210(2)
Exercise: Making studies
212(2)
Exercise: Seeing through
214(2)
Overview: Zones of the body
216(2)
Zone A The head & neck
218(22)
A1 Structure - The face
220(2)
A1 Structure - Facial features
222(2)
A1 Structure - Eyes
224(1)
A1 Structure - Nose
225(1)
A1 Structure - Mouth
226(1)
A1 Structure - Ears
227(1)
A2 Structure - The cranium
228(2)
Zone A Variations - Hair
230(2)
A3 Structure - The neck
232(2)
Zone A variations - Turns of the head
234(2)
Zone A variations - Tilts of the head
236(2)
Zone A variations - Fat
238(1)
Zone A variations - Age
239(1)
Zone B The torso
240(10)
B1 Structure - The chest
242(2)
B2 Structure - The abdomen
244(2)
Zone B variations - Fat & skin folds
246(2)
Zone B variations - Bends & tilts
248(2)
Zone C The legs
250(20)
C1 Structure - The hips
252(2)
C1 Variations - The genitals
254(2)
C2 Structure - The upper leg
256(2)
C2 Structure - The knee
258(2)
C3 Structure - The lower leg
260(2)
C4 Structure - The foot
262(2)
C4 Variations - Planes of the feet
264(2)
Zone C variations - Fat & muscle
266(2)
Zone C variations - Poses of the legs
268(2)
Zone D The arms
270(14)
D1 Structure - The upper arm
272(2)
D2 Structure - The lower arm
274(2)
D3 Structure - The hands
276(2)
D3 Process - Drawing the hands
278(2)
D3 Structure - Fingers
280(2)
Zone D variations - Poses of the arms
282(2)
Index 284(2)
Acknowledgements 286
Jake Spicer is a passionate advocate of drawing as a tool for social change, communication & investigation and promotes wider visual literacy through his works as an artist, author & tutor. He lives in North Wales and works as head tutor of the independent drawing school Draw Brighton, Co-Director of the Drawing Circus and as a visiting tutor at galleries & institutions across the UK, including the National Portrait Gallery, Camden Arts Centre, V&A and Brighton University.

www.jakespicerart.co.uk @jakespicerart
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