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To draw or paint human figures truly, an artist must have as much understanding of bones and muscles as of form. This beautiful guide by a respected artist and teacher provides that knowledge. Realistic plates of bones and muscles show form and function, while full-color images make graphic distinctions between bone, muscle, and tendon. Drawings throughout the book emphasize fundamentals of anatomy and show simple methods of building the forms. Author Charles Earl Bradbury (1888-1967) takes a two-part approach in this book. The first part features a self-contained treatment of the bones of the skeleton and how they relate to the body's outline and muscle masses. The second focuses on muscles and their actions, showing how they are constructed and how they look in the human form. Male and female structures are compared and contrasted throughout the text. Designed specifically for classroom use, this volume is also a priceless reference.
"From previous attempts you may have concluded that drawing the figure is difficult. This book will show you how to reduce complex figures into a variety of basic shapes that are easy to master, helping you to reach your goal of producing lifelike drawings. Tested through years of classroom use, the principles stressed here bring clear insights into drawing the human form. You'll find a logical, step-by-step method for mastering the construction and proportions of all figure types. First the basic forms are analyzed - the proportions of the various parts and their relations to the total figure. You'll then learn how these parts are connected and how they move and find exercises in drawing the complete figure in any position, engaged in a variety of activities. Also included are detailed studies of anatomy - examining bone and muscle structure - plus special instructions for drawing such intricate parts of the body as the head, hands and feet."--Publisher description.
The book provides an account of English inversion, a construction that displays perplexing idiosyncrasies at the level of semantics, phonology, syntax, and pragmatics. Basing his central argument on the claim that inversion is a linguistic representation of a Ground-before-Figure model, the author develops an elegant solution to a hitherto unsolved multidimensional linguistic puzzle and, in the process, supports the theoretical position that a cognitive approach best suits the multidimensionality of language itself. Engagingly written, the book will appeal to linguists of all persuasions and to any reader curious about the relationship between language and cognition.
"Drawing the Human Body: The Art of Figure Construction" is a book that no artist should be without. It touches a very important note in the art of figure drawing, basing the reason for its method of instruction on the idea that the beginner should be instructed in drawing the figure as a whole before studying detached parts; that the time employed in making strokes should be limited; that it is easier to draw the figure in action than half action; and that the action of the body may be expressed in nearly every instance by two main lines. "This book is intensely interesting, full of splendid illustrations, and is designed primarily for high schools and colleges, but is also invaluable to students studying from the model in the life class." - School Arts Magazine
Well-crafted and class-tested, this guide by a noted instructor features more text than typical art instruction books. Ample illustrations accompany 30 detailed lessons that particularly stress the depiction of the figure in action.
• How to mix every color you need from a basic palette • Pages of detailed at-a-glance color charts • Mixing with both dry and water-soluble pencils • Ideas for mixing a wide range of greens • The best mixture for deep, rich colors • Useful techniques for blending and overlaying • Technical information on pigments