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Drawing from Life

ISBN-10: 0534613535
ISBN-13: 9780534613532
Edition: 3rd 2004 (Revised)
List price: $258.95 Buy it from $78.01
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Description: The leading textbook for college figure-drawing classes, DRAWING FROM LIFE provides a clear, comprehensive, and thought-provoking guide to drawing the human form for anyone interested in exploring this time-honored artistic tradition. For centuries,  More...

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Book details

List price: $258.95
Edition: 3rd
Copyright year: 2004
Publisher: Wadsworth
Publication date: 7/7/2003
Binding: Paperback
Pages: 272
Size: 7.95" wide x 9.96" long x 0.63" tall
Weight: 1.628
Language: English

The leading textbook for college figure-drawing classes, DRAWING FROM LIFE provides a clear, comprehensive, and thought-provoking guide to drawing the human form for anyone interested in exploring this time-honored artistic tradition. For centuries, drawing the human figure has given artists the tools and vocabulary for creating paintings, sculpture, drawings, or prints?from Renaissance classical to contemporary expression. In addition to working from the model, the figure-drawing student needs instruction in anatomy, history, and conceptual approaches to drawing the human form; such instruction is often missing from life drawing classes due to time constraints. DRAWING FROM LIFE offers these elements, along with a tremendous selection of drawings that represent the broad range of approaches, techniques, and media for drawing from life. The chapters follow the natural development of a student's growth, from fundamental sketching and gesture drawing to creative expression and exploration. An entire chapter on drawing the figure in perspective offers information that is not available in comparable textbooks. Students begin with quick sketches and gesture drawings, giving them a non-threatening introduction on a level they can readily understand and master. The cohesive presentation of anatomy, including a chapter on the human head, helps students understand the human structure and its impact on visible form. The final section brings the concepts, vocabulary, and history presented in the earlier chapters to bear on contemporary use of the figure in art.

Cheryl McLeandiscovered many of the Oregon's lesser-known attractions during travels with her husband and daughter. She lives in Corvallis, Oregon.

The Fundamentals
Learning to See
An Important Tradition
The Mind's Eye
The Right Frame of Mind
A Sketch to Build On
The Drawing Process
Learning from the Old Masters
The Sketch as Part of the Creative Process
The Figure's Gesture, The Artist's Hand
Expressing Volume, Weight, and Mass
The Schematic Sketch
The Compositional Sketch: Figure-Frame Relationship
The Expressive Content of a Sketch
In the Studio
Proportions, Perception, and Perspective
The Search for a Standard of Proportions
The Eight-Heads-High Standard of Proportions
Sight Measuring Proportions
Plotting the Body's Proportions
Learning to See: Beyond Preperception
Perspective and Its Influence on Proportions
The Development of Linear Perspective
Structural and Planar Analysis
In the Studio
The Magic of Line
The Function of Line
The Phrasing of Line
In the Studio
Value as Light and Form
Rendering Light and Modeling Form
Continuous Tone
Hatch and Cross-hatch
Integrating Value Techniques
Toned Paper and Color Media
In the Studio
Anatomy
Foundations of the Human Structure
A Brief History of Artistic Anatomy
Learning from the Masters
Anatomy as a Whole
Anatomy of the Torso
Articulation of the Limbs and Trunk
Anatomical Differences Between Male and Female Figures
In the Studio
Anatomy of the Limbs
The Leg
The Arm
The Hands
The Feet
In the Studio
Heads and Portraits
The Proportions of the Head
The Anatomy of the Head
Variations in Orientation of the Head
Age and Gender Differences
Portrait Variations
Self-Portraits
In the Studio
Composition and Expression
Composition and the Figurative Formalist
A Figurative-Formalist Bias
Composition
Breaking Up the Pictorial Space
The Abstract Concerns of the New Realist
Light as Structure: The Camera's Influence
Toward Expression
In the Studio
Expression and the Figurative Humanist
Expressing Empathy
Expressing Social Concerns
Self-Expression
Expressing Sensuality: Nude versus Naked
Expressing Cultural Identity
Expressing Subconscious Reality
Expression and Composition
In the Studio
Becoming Your Own Best Critic
Drawing Tools and Materials
Endnotes
Glossary
Index
Useful Websites

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