Force dynamic life drawing for animators second edition free download
As a cartoonist, I have often struggled with trying to get a grip on drawing a human quickly and effortlessly. Amazon Renewed Like-new products you can trust. Two-point perspective has the cube converge in perspective on one plane of existence.
[FORCE: Dynamic Life Drawing: 10th Anniversary Edition Download ( Pages)
September 22, Print length. See all details. Next page. Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1.
Mike Mattesi. Figure Drawing: Design and Invention. Michael Hampton. George B. Michel Lauricella. How to Draw: drawing and sketching objects and environments from your imagination.
Scott Robertson. Review ‘For animators or anyone exploring life drawing, this book is an inspirational choice. It is informative, concise, and packed full of inspirational illustrations Force is not just another ‘anatomy for animators’ book – it assumes that the reader has experience of figure drawing.
The focus here is to build on that knowledge and to use straight and curved lines to show the direction of force in the body. Every point in the text is thoroughly demonstrated with the help of superb, dynamically drawn examples.
Animators and artists will discover and master the difficult techniques of rhythmic drawing – bringing their work to life! Read more. Brief content visible, double tap to read full content. Full content visible, double tap to read brief content.
Page 1 of 1 Start Over Page 1 of 1. Videos for this product Click to play video. Customer Review: Useful for animators and life drawing. About the author Follow authors to get new release updates, plus improved recommendations. Michael D. Read more Read less. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
Learn more how customers reviews work on Amazon. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Really enjoyed it! Verified Purchase. Came awesomely. Had sum help but my fault I did have great help.
Love this. Once we sweep into the hips, force divides down each leg. See the importance of the knees as a place for the transfer of force between the upper and lower leg. Seeing Life 33 This drawing shows a clear asymmetry from the left shoulder to the right hip. All of this happens for the body to stay in balance. This applied force obliquely crosses over the line of balance, equalizing force and weight on both sides of the body.
Notice the line of balance. It is a guide of equalization of force and weight of the model. This is a great example of pairing. Notice again how applied force moves across the line of balance of the figure.
Seeing Life 37 Look at the next few drawings and find the vertical line of balance. In order to see balance, look at these drawings and understand how the model would fall without the rope he is holding onto.
The top drawing shows the center of gravity in his chest way past the platform of his feet. The rope in his hands pulls back over his body to balance his weight. Instead he stands flat-footed since the rope is used like a pendulum. The head is extremely important because it usually establishes the direction the body is going to move in, like the engine of a train. If you turn, your head initiates that movement.
You never turn your body first. Seeing Life 39 The head must always coincide with the nature of the back. Many students forget to notice how the head projects out of the ribcage and that the neck does that job. See the opposing force of the neck relative to the back. The sterno-cleido-mastoid shows this with subtlety.
I drew a couple of diagrams showing the wrong and right way to handle this relationship. The bottom drawing demonstrates a straight tubular neck with no relationship to the back. The top is correct with its opposing force. Look at the beautiful rhythms. The westward lunge of the back against the eastward projection of the head and legs creates an aggressive angle of balance. Look at the road of rhythm. First we have an elongated stretch of the abdomen all the way up to the pit of her neck and down to her hips.
All of the weight of the torso that is being suspended by the cradle of the clavicle drives upward from the hands into the shoulders. This is the reason for the stretch. Notice the transfer of force in the elbow. The opposing force of the ribcage is her upper back, which then rhythmically connects us with her neck through the sterno. Seeing Life 41 Notice the spatial quality of the long ride of rhythm. We then travel through the body to 2. After the hairpin curve, we shoot down to the hand.
Long fluid lines help describe these ideas. With three extra minutes, you can see how the top drawing has more mass and description of anatomy. Seeing Life 43 The model did a great job of giving me something new and exciting to understand.
See the majority of the weight of her body draped over his right shoulder and how he uses the pole as assistance to his balance. Notice the broad base he created with his stance. It is the beginning of something greater. I suggest to students that they think of themselves as being one inch high. This empowers them to envision the figure as gargantuan.
This again will help you get closer to the top of the pyramid. Beware of drawing the spaghetti line we discussed earlier in the chapter.
You now connect the directional forces to one another and how they are applied. The road of rhythm becomes seamless. To create this seamlessness, you NEED to travel around the forms of the figure. Next, find the largest moment of force on the roller coaster and hop on.
The tracks are smooth and graceful. Feel how they project you through space, over high peaks and low gullies, through fast straight-aways and G-force-filled turns, spiraling along loop-to-loops, and pretzel-like structures. Then time is up, you get off the ride, the model changes positions, and a new and exciting ride is yours to experience. You have to give yourself the right to draw through the figure.
Those of you who are uptight have to loosen up in this exercise. Drawing through the figure will dramatically help you see long and begin to understand space, dimensionality, and structure. You can see drawings of his in some of the older Disney books. Students seem to think that they always have to draw an enclosed figure. This is just another habit to hurdle. For now, you want your attention to be on rhythm.
Remember it is the essence or main idea that you want to achieve. Fluidity, continuity, action to reaction, and all of the theories I have given you are ways to think about this concept. Use whatever it takes for you to understand this principle.
Remember, if you can find but one place in the figure where you feel you understand the forces shown, they will lead you throughout the rest of the pose on the road of rhythm. Notice that I draw through the right leg to get to the buttocks and the shoot up to the hip.
Also see me draw through the right shoulder and over the top of the back to create the rhythm between the upper back and neck. Seeing Life 47 Here is another drawing that shows force directing itself through the entire body. These drawings show the first steps to drawing force and the most important ones. Line skates the page and moves force. Notice how we can travel from the hand through the entire body to the foot on one connected path.
Look at how much is said about it with long ideas. Then we swing our way up the thigh and over into the hip where we make our final ascent up into the back, over the shoulder, and down into his extended arm. The relationship of the left arm and right foot helps encircle the idea of this pose. Seeing Life 49 I love this drawing. The thumbnail on the right shows my initial idea. Look at the long connection of her head and elbow down through the hips, up through the thigh to the knee.
Finally, after that long and elegant journey we have a change in tempo but for a moment, found in the knee. Off we embark down the calf for a fast and graceful curve to her ankle where it repeats the tempo of the knee. Look also at how effectively mass is described with few lines. The upward sweep of the back is where we will begin.
This directs us across the body where we travel down to the crotch and sweep up through the left hip at 2. We then pick up speed again and shoot down the thighs through the knees and to the different endings in his feet. Seeing Life 51 See here how at 1. I address the largest idea, the connection between ribcage and hips.
Then, to push the ride, we can sweep into the arms at 2. We also can glide into the legs at 3. This drawing was started by Chuck and then completed by Barrett. Barrett unknowingly succeeded in producing a drawing with a very long idea.
Remember: Everything in Chapter 1 works together. At times you will see applied force, and sometimes you will see the chance to go long, all within the same pose. Either way, you want your drawing to be a rich experience of the humanity that was in front of you, a loud drawing of your understanding.
Skate the page. You are performing your best routine. As you skate, feel the fluidity and speed of your movement. Notice how the blades cut into the ice as you move through tight and open curves. Your marks should indicate the change in force and pressure that your body would feel on the ice. Find the ribcage to hip relationship first. Keep seeing how their relationship is asymmetrical and falls into one of the four previously discussed scenarios.
Start with the biggest ideas of the pose and work down to the small detail. Close your eyes and feel your body in that pose. Notice the stretches, torques, pressures, and gravity on yourself. Then push the pose and feel where it wants to go.
Put those experiences into your drawing. Watch the model move into a pose. Look at the directions their body swept into to take the pose. There lies answers to force. Draw with a clear directional force for each part of the figure. Be passionate about the aliveness of the model and the pose. Draw your excitement. Write what you are achieving in a drawing. Bring a thesaurus to increase your vocabulary about your ideas.
Write verb first then noun it affects. Pay attention to your internal dialog. Get out of your own way. Always have something to say. Draw to feel what the model is feeling. One part is knowledge about technique.
That is perspective, anatomy, force, and shape. The other side of drawing is honest observation, being able to draw what you see. When the two combine, you can draw! You draw what you see and understand it at the same time. You can assess your own experiences and see where you need more technique or more honest observation. Is the drawing generic? Look more. Is it specific but flat, dead, and poorly designed? Use technique. Every chapter of this book is designed in a hierarchy.
We go from big ideas first and then to specifics. In this chapter I will cover many techniques about forceful form. This will lead us to observation of specifics. Their observations helped them create dimensional thoughts upon a flat surface. You are affected by this every day of your life. Recognize that the chair you occupy and the space you live in were conceived by an artist with the capacity to draw form.
Perspective is not difficult, it just takes some time to understand what you are seeing and know that you are capable of representing depth on the page. This happens after understanding the traditional ways of drawing it. The cube or box is the beginning of understanding structure in space. One of the major uses of perspective is to show you what angles to draw objects at.
These angles give you the sense of vanishing that occurs in our world. It is limited. Its main use is to draw flat planes in depth. In the box on the left, one point shows its limitations. When looking at a box, as soon as we face it from any direction besides head on, we are dealing with two points or more of perspective. We cannot see another side of this box until we have two points as reference.
The box in the bottom left corner is an example of what I receive from students when I ask them to draw a box in perspective. This is the nemesis of perspective. I know we are taught this, but if you look at the box, notice how the front face has right corners all around. We are looking directly at the front face, so how would it be possible for us to see any of the other sides? It is as if we took the back plane of the box and slid it, in a parallel manner, away from its actual structural orientation with the front of the box.
Two-point perspective has the cube converge in perspective on one plane of existence. Notice how the vertical lines in the box are parallel and the others are not. Here our cube is affected only on a horizontal plane.
The horizontal lines of the cube are being squeezed into perspective by the vanishing points. As soon as we are above or below the box, which means we should see three of its planes, we must have three points of perspective. In three points, the box is affected by perspective on two planes, vertical and horizontal. Number 1 and 2 are the horizontal points and number 3 is our one vertical point. We could have two points on a vertical line and one on the horizontal. We seem to be floating above it looking down.
The vertical lines that create the box are converging downward towards the third point. An easy way to find out how many points a box is affected by is that to find out how many planes you see. They will be the same amount.
Some simple rules to help you become aware of perspective: 1. The left point on the horizon line affects the left plane of the box. The right point affects the right plane. This is inverted when you are inside the box.
This comes into play when you do a room interior. When an object is below your eye line, the verticals are affected by the point below your eye line. When the object is above your eye line, the verticals are affected by the point above your eye line.
The head is the most block-like structure of the body. Some artists like to construct the head from a ball; I prefer the cube. It is more definitive. Use the angles of the cube to help define the angles of the facial features.
Just as curves defined force in Chapter 1, straight lines evoke structure and perspective. This drawing is a profile or one-point perspective. We have the front and side of his head visible to us. The edge of those two planes is at the peak of his right eyebrow. That edge defines the forehead and temple planes. The drawing itself is solid. Look at the bottom of the nose and his upper lip. We see three planes of perspective in these features, but the head itself is not in three points.
Also notice the slight pinching effect of the projection lines of the eyes nose and mouth. The glasses are obvious evidence of the two planes of perspective. Mike did an excellent job. Forceful Form 59 Here is a drawing of my wife Ellen. You can immediately tell that I was above her when it was produced. See the clear three planes of her head. Notice how her facial features block one another because of the perspective. An example would be her nose blocking her mouth.
Know how to draw the right angles of a box in space and then how to squeeze those angles to give your drawings even more depth. Pay attention to the vertical and horizontal lines and how they need to converge to suggest a plane progressing back into space. You must be able to draw a cube from any perspective out of your head. This is a definite requirement of drawing well.
In my classes, for homework, students draw five heads a week. The way I have them do this is to first find a victim. Then they are to see their relationship to that person to figure out the cube of perspective the head is in and draw it.
Lastly, the head should be drawn with surface lines to show structure. Later in the year, they move on to hands and feet with the same disciplines in mind. Above is an example of Mike D. Four-point perspective So here it is, four-point perspective in all its glory.
It reminds me of looking out a window in New York City. If you were at the height of about the thirteenth floor and the buildings around you were thirty floors, this is what you would see.
We have squeezed depth on both the vertical and horizontal planes with each having two points of convergence. This is the world of perspective we live in. The closer something gets to your eye, the more of a fisheye lens effect you will see. The centre of the object will emerge closer to you while its perimeters will squeeze away back into space.
Forceful Form 61 The problem is, we are not normally close enough to objects to be aware of heightened perspective and not around the middle of objects that are large enough to look up and down. What you see in the side-view mirror of a car is what you want to be aware of all around you every day. In production art, you will sometimes see this in camera tilts for storyboards or a layout.
Here is an example of how four-point perspective affects the model. The first thing I try to make students aware of in learning to apply perspective to their drawings is having an awareness of their eye level and location in reference to the model. In the drawing I have done, the eye level or horizon line is at mid-thigh. I have chosen these next four figure drawings for you to see the reaction of four-point perspective. The way to do this is to see where the body seems to go flat for a moment, a place that you cannot see above or beneath, where you are looking head on at the model.
See where the closest edge of the box of space that the model occupies is in reference to you. In most standing poses, my eye level hits right around the mid-thigh of a model.
Because they are connected with a line, we are given a direction towards the left vanishing point. From there, you can see how the rest of the body is affected by the guidelines of perspective I have drawn. The closest edge of the box of space she occupies is represented by the contour line running down the right side of her body. Forceful Form 63 See the angles of his feet, knees, hips, and jaw. Here it is the hips that are at my eye level.
Look at the line running over his left shin that defines its form and direction of force. See how the hips do not do the same. The body is complex and can move to present various different perspectives in one pose. You must be aware of your eye line and how the entire pose sits in four dimensions. Forceful Form 65 The steps the model is sitting on are our most obvious clue to the perspective of this drawing.
Look at their angle relative to that of her breasts and shoulders, or the straight line that represents the back of her head. There is a strong sensation of looking upward at her here. Here you can clearly see the perspective angle between the feet. In fact on her right foot, I put the angle of perspective down the back of the heel and the right side of the foot. Her shoulders also angle down away from us.
There are too many books out there about anatomy for me to take up a chapter on this. If you feel uncertain in this area, it helps for you to have a book that shows basic understanding of the placement, relations, connectivity, and workings of the major muscles of the human body. It is informative and the drawings show some of the mechanics of the body.
Drawing through the figure is probably the fastest way to start your journey on forceful form. You will see this in most of the drawings in this entire book. This shows the difference from someone copying the model to someone attempting to understand what they see. Surface lines Many art classes teach students to draw the figure with cubes and cylinders.
I believe that this is a good foundation for artists. It allows you to see the angles and planes of perspective on the body as we just learned them. The human body happens to be a little more complicated than just boxes and cylinders, though. In this part of Chapter 2, I will show you drawings that possess lines that evoke force and describe form.
This will occur with the use of surface lines. Going long in Chapter 1 was the beginning of seeing force wrap around form. Now we will focus on the forms. The cylinder on the left shows lines that adhere to and go around the form. Some of them pull along its surface from end to end. On the right, we see lines that do not explain the surface of the cylinder. They seem to carve into it instead. The box on the bottom shows us how to describe a flat surface with line. You can also describe a change in planes with surface lines.
As with the cylinders, inappropriate lines cut into the surface of the right side of the box. The difference between the two is huge. Blind force is an exercise that persuades you to see force travel through and around the model. It is extremely exciting. The model is hundreds of miles high and wide and has miles of depth. You start drawing along with the movement of your forceful flight.
You fly over mountains, across plains and hills. Your eyes, mind, and hand are all in the same place at the same time.
You must concentrate on being present! Did I mention that you are not looking at the paper? This is similar to the roller coaster with the main difference being blindness. There are other skills we learn through the blind flight. One of the most important is you getting in front of you paper, not behind it. You must move out of your own way to truly see. I remember trying out this exercise myself and after a few poses, the massive weight of responsibility for the appearance of my drawing slid off my shoulders.
The drawing itself is but a by-product of your time with the model. The leap that students take in this process is inspiring! You become aware of how much you lie when you draw and how much more interesting reality is than what your mind can come up with. Boring drawings occur because you have not created a vast enough library of reference from years of drawing from life. Forceful Form 69 Here is a two-minute blind flight drawing. I remember looking at the paper once.
Look at the information of the right knee and left foot. These locations show the beginning of forceful surface lines. Look at the rhythm of the ribcage to hips. Notice all of the form in the left arm, scapulas, butt and feet. Look at the line variety again.
I love the feel of force trying to escape out of the right hip and abdomen and then reconnecting back into the right buttock. Forceful Form 71 With more time, look at what can be accomplished. Mike D. In truth, there is no contour. The edge of the model is coincidence relative to where you sit.
For instance, at the beginning they look down every minute, then thirty seconds, fifteen and finally when they decide to. Here is a drawing of Mike D. Look at the level of specifics with fluidity and form. It feels close to the model. See the interior line work that sculpts the models forms. This leads me to our next topic of forceful form.
Sculpting force Forceful form will help you get away from the edge of the body, or its perimeter. The model takes up space and you want to be able to explain how. You will learn to see force throughout the entire form and this in turn will make you aware of structural and rhythmic connections.
Remember that the edge of the model exists because of where you are seated relative to the model. If you or the model were to change location or position, the edge would change. Pay attention to the location of the natural centre on the forms you understand. For instance the nose on the face, the centre of the ribcage, or the belly button on the stomach.
For the arms you can use the center of the biceps or deltoid to explain each of those different planes. Going back to hierarchy, think about addressing larger structures first and then smaller ones. Understand the direction and form of the ribcage before you draw the muscles attached to it. Everything is large in comparison to you. It is a new landscape for you to explore.
Hills, valleys, and plateaus will appear on your trip. Ride the rapids of force in the figure. The more you can believe what I tell you, open up your mind, and envelope what you see, the faster you will obtain awareness of space. Another exercise in drawing form is for you to act as if you are sculpting the model with your pencil. Feel the forms in your mind and express them on the page. Sometimes students confuse this exercise with drawing shadows.
We are not looking for shadow; we are looking for form through force. Michelangelo comes to mind when I think about line showing force and form. He was the master at making a complex group of muscles, such as the back, work together as a whole. This is no easy task. The vast sea of bulges and depressions could leave any artist confused and lost. In the beginning of the twentieth century lived a man named Charles Dana Gibson.
Everything occupied space as he illustrated scenes from that time period. Definitely a precious find. Heinrich Kley was an artist I had never heard of until representatives from Disney told me about him. These illustrations are full of life and creativity. He draws everything with solidity in mind and uses line to do it.
He draws centaurs and satyrs, dancing elephants and gators, giants and fairies, all in service of his political opinion. His book is readily available and it costs fewer than ten dollars. This is a worthy investment. A contemporary master at giving line force and form is Frank Frazetta.
Some of you may know him as the great fantasy painter that he is, but his black and white ink work is intelligent and beautiful as well. His brush strokes evoke solidity and force at the same time. Go and see the sculptures of Richard MacDonald to get a sense of what your drawings should evoke.
His sculptures are incredible representations of figures that occupy space through rhythm, form, and poetic power. His work can be seen on his website of the same name. You must rebuild them on the paper. I usually give the students ten-minute poses to actuate these exercises. Also start to consistently draw the hands and feet within each drawing. They add another level of expression to the images you create. So, here we are, the model in perspective and showing form through sculptural lines.
The right leg in relationship to the hip is more severe in perspective. It comes out towards us more rapidly than the hip.
The calf also rapidly descends back into the page. The capacity to create three-dimensionality or a sense of deep paper is a miracle of drawing. The more you do it, the faster you will learn it. Software Images icon An illustration of two photographs. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. Metropolitan Museum Cleveland Museum of Art. Internet Arcade Console Living Room.
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[Force: Dynamic Life Drawing for Animators, 2nd Edition [Book]
Click to play video. Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them. Instead, our system considers things like читать далее recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness. Mike Mattesi is the owner and founder of Entertainment Art Academy www. Previous page.
Publication date. September 22, Print length. See all details. Next page. Customers who viewed this item also viewed. Page 1 of 1 Start over Page 1 of 1. Mike Mattesi. Figure Drawing: Design and Invention. Michael Hampton. George B.
Michel Lauricella. How to Draw: drawing and sketching objects and environments from your imagination. Scott Robertson. Review ‘For animators or anyone exploring life drawing, this book is an inspirational choice.
It is informative, concise, and packed full of inspirational illustrations Force is not just another ‘anatomy for animators’ book – it assumes that the reader has experience of figure drawing. The focus here is to build on that knowledge and to use straight and curved lines to show the direction of force in the body.
Every point in the text is thoroughly demonstrated with the help of superb, dynamically drawn examples. Animators and artists will discover and master the difficult techniques of по этому адресу drawing – bringing their work to life!
Read more. Brief content visible, double tap to read full content. Full content visible, double tap to read brief content. Page 1 of 1 Start Over Page 1 of 1. Videos for this product Click to play video. Customer Review: Useful for animators and life drawing. About the author Follow authors to get new release updates, plus improved recommendations. Michael D.
Read more Read less. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them. Learn more how customers reviews work on Amazon. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try force dynamic life drawing for animators second edition free download later.
Really enjoyed it! Verified Purchase. Came awesomely. Had sum help but my fault I did have great help. Love this. I’m not used to writing reviews, but I didn’t want to miss this opportunity to express how much I enjoyed the book and the one thing I think it could be improved.
What this book IS: The book is a comprehensive guide on how to approach the human figure in a different way. Focusing on motion and how to create a more dynamic and forceful drawing.
It deals with line, perspective applied to the figure and even a little bit of clothing and folds. It doesn’t deal with the classical figure height measured in heads and neither force dynamic life drawing for animators second edition free download a book to learn anatomy at all. The binding, sadly, is another deal. You have to handle this book with a lot of care if you want it to last. I’m not used to leaving books laying around but I certainly would like being able to have it opened close to me while drawing to better apply some of it’s concepts.
This is not possible, as you can hear the binding slowly “cracking” and after little use I had to use a bit of glue to prevent some pages from detaching. Overall, an amazing and unique book продолжить чтение would seriously force dynamic life drawing for animators second edition free download from a better binding, which is the only reason why I didn’t give it five stars.
Parka Top Contributor: Coloring. The media could not be loaded. This book definitely is an off-shoot of James McMullan’s High Focus approach to drawing, although Mattesi discusses many of his own concepts as well.
It is similar to High Focus in that it teaches its readers: to see the figure as being made up of three dimensional forms, to use the all important hierarchical approach, NOT to just copy the figure using measurements and negative space estimations, to feel the forms as they are being drawn, and view drawing as force dynamic life drawing for animators second edition free download very interactive experience.
It is different from McMullan’s approach in that Mattesi strongly emphasizes the importance of finding directional and applied “forces” hence the name throughout the figure. This becomes a very important concept for animators because of the nature of animating. In the figure drawings, the forces, the squashes, and the stretches are all exagerated, just as an animator has to exagerate his or her key drawings in this manner.
Also, the drawings in the book tend to reflect Mattesi’s background in animation, whereas McMullan’s drawings are more realistic.
Battlefield bad company no cd download believe this book is written specifically for animators. However, the classically trained artist has much to learn from this book as well. Force: Character Design from Life Drawing I immediately applied some of the major principles highlighted in this superb book on approaching the task of life drawing in a different way.
As a cartoonist, I have often struggled with trying to get a grip on drawing a human quickly and effortlessly. Sure, I have all the other books, but I came across this one accidently while browsing at my local bookstore.
On a whim and to see if I had grasped the major concepts correctly, Force dynamic life drawing for animators second edition free download used a book on dinosaurs and an advert I received in the mail as a starting point. I drew my rectangles and used a pyramid as the main body and I instantly saw an improvement in my drawing quailty and characterization with a more forceful feeling.
One person found this helpful. It explores areas of figure drawing that essential This download payday the demo pc is awesome! It explores areas of figure drawing that essential in creating dynamic, interesting forms.
Perhaps a book more for beginners to moderately experienced artist. The author has an easy style of writing and explaining his force dynamic life drawing for animators second edition free download, though some of his ideas are a bit high concept which I find to be a good thing.
My drawing has jumped up a few extra levels since I’ve started reading, I’m a little more than halfway through at the moment. The book has been so good thus far that I went ahead and ordered his book on animal drawing. Overall, a great book with much wisdom and technique. Easy to read, challenging to master.
Essential for any artist looking for guidance on how to draw the human figure effortlessly and with appeal. See all reviews. Top reviews from other countries.
A truly great book, full of new material, clearly written and wonderfully illustrated. A book to treasure, and to refer to constantly. But the whole effect has been ruined by the use of cheap perfect binding by Focal Press, part of the Taylor and Francis publishing group so that my new copy is already falling to bits. Somebody ought to tell them that smudges of glue at the back of a large sheaf of A4 pages – what looks like a new glue-saving technique of only glueing half the sheet to a thin card cover – is not going to be be sufficient for purpose.
When i took the book out of its wrapper two pages fell адрес страницы. I glued them back in with household glue, but now have resorted to holding the whole publication together with a bulldog clip. Don’t be put off by the cover. This is a serious book which stands out from the crowd and more than lives up to its expectation. I have bought a number of so called ‘expressive’ life drawing books where the authors’ drawing skills leave much to be desired, with gimmicky effects used to disguise a singular lack of talent.
Mike Mattesi breaks this mould and provides real inspiration. Brilliant book, before my drawings were anatomically correct but fairly dull and static. Really источник статьи my figure sketches come to life. Author makes use of lots of diagrams and uses familiar concepts to make learning the principles of drawing force and easy process.
I have many books on life drawing.