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- Herausgeber: WS
- Kategorie: Bildung
- Serie: Figure Drawing
- Sprache: Englisch
Learn to Draw the Figure with Ease
Figure Drawing Workbook: Rhythm and Language of the Human Form
Volume 2
Discover the Power of Figure Drawing
Teach Yourself to Draw the Figure with this Drawing Exercise Book
Teach Yourself to Draw the Figure with this drawing exercise book. It is the accompanying volume to the first book in this series. The joy of drawing the figure emerges through continual practice and application.
The exercises in this book aim to increase your drawing skills, no matter at what level you start. Drawing exercises range from masses and forms, anatomy, composition, perspective, and many more. Exponentially improve your figure drawing skills with exercise that cover:
Correct proportions
Interesting and captivating compositions
Abstracting forms
Depth and volume rendering
Drawing in perspective
Foreshortened forms made easy
Exercises for your busy schedule.
An expanded bonus section on settings and materials
Helpful resources and references
And much more...
Enjoy and practice drawing exercises for the topics explored in Volume 1. Learn to draw the figure with ease with these exercises. Discover the joy of drawing the figure. Take advantage of this invaluable resource and unlock your full potential as an artist. Don't miss out on this opportunity to enhance your figure drawing skills. Get your copy of this book now and see the amazing results for yourself!
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Seitenzahl: 74
Veröffentlichungsjahr: 2024
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Figure Drawing Workbook
Rhythm and Language of the Human Form, Volume 2
Gabrielle Dahms
Copyright © Booksmart Press LLC 2024
All materials, including the original drawings by Gabrielle Dahms, are copyrighted.
All opinions and remaining spelling or grammatical mistakes are those of the author.
This is a non-fiction work.
All rights reserved.
This book or any portion of it may not be reproduced or used in any manner whatsoever without the express prior written permission of the publisher except for use of brief quotations in a book review. For permission requests, email the author at [email protected].
Book Cover by 100Covers
Images by the author and Pixabay.
Published by Booksmart Press LLC
ISBN 13: 979-8-9853675-4-6 (paperback)
ISBN 13: 979-8-9853675-5-3 (ebook)
Publisher’s Cataloging-in-Publication Data
Names:Dahms, Gabrielle, author.
Title:Figure drawing workbook: rhythm and language of the human form / Gabrielle Dahms.
Description:Includes bibliographical references and index. | Cheyenne, WY: Booksmart Press,2024.
Identifiers:LCCN: 2024919961 | ISBN: 979-8-9853675-4-6 (paperback) | 979-8-9853675-5-3(ebook)Subjects: LCSH Human figure in art--Problems, exercises, etc. |Drawing--Technique. | BISAC ART/ Subjects & Themes / Human Figure | ART/Techniques / Drawing | ART/ Techniques / Life Drawing | ART / Subjects& Themes / Portraits | ART/ Techniques / Composition Classification: LCC NC765 .D34 2024 | DDC 743/.4--dc23
Dedication
To all outstanding teachers on whose shoulders I stand.
With special acknowledgement to Sharon Pearson and Alan McCorkle.
Contents
Introduction
If you enjoyed Figure Drawing: Rhythm and Language of the Human Form Vol. I, you now hold the book’s accompanying workbook. Used consistently, the exercises in it will propel your artistic skills forward.
The exercises address many of the fundamentals you need to excel in to represent the human figure on a two-dimensional page, realistically, expressively, and imbued with your own artistic vision.
They concern themselves with the many aspects discussed in Volume 1. Some are timed, others are not. Spend at least three to five hours a week on developing your drawing skills, or more if you can.
Reading books about drawing the human figure cannot and will not replace consistent and continual practice.
The drawing exercises develop the perceptual, technical, and expressive skills and syntax that lend life, beauty and communicative tenets to your drawings.
One additional consideration is this one: before drawing anything, walk around the model or object. See them from different angles and different vantage points, then find what interests you. See that in your mind’s eye.
Then use your drawing arm and hand and start drawing the model in the air. You will have drawn the major centers and gestures before you ever commit them to paper. Doing so creates a memory of the pose in your body. Over time, your body memory will serve you well when drawing, though it is important to note that you must learn to trust it.
The first marks you make on your paper are gestural marks. Drawing ability and gesture intimately relate.
Draw the figure as though it were transparent. Capturing the pose’s essence is almost as though there is nothing there. You are drawing energy, not the figure. When you get a feeling for the pose, for your paper and the marks you make, that feeling allows you to drive right through the pose. The figure appears because of drawing its energy.
I know this sounds like magic, but it isn’t.
To capture the complete pose and its attitude, start at the feet─from feet to head─using simple and economical marks. Account for the waist and the tilt of the hips. The energy of the pose springs up out of the floor!
Draw in layers. Extract the gesture and get excited about the action of the pose. Always fortify the action as expressed through its gesture with structure.
Develop x-ray vision and look into the form, into the pose. Move through the form from large to small. Drawing is like life, requires you to start in the center of things to “get it.” Your drawing tool, whether charcoal, pencil, brush or pen, connects to what your eye sees. In fact, you are internalizing what you are about to draw into your hand, meaning that your hand is as much a drawing tool as that which touches your paper and records the marks and lines.
When you see two forms, find out how they relate to one another. Remember that nothing is ever separate. Look at the overlap of forms and also at negative shapes. When moving from one form to another, stay connected always. Every form has its own center, energy, and expression.
The best part of the gesture, the action of the pose, is doing it again and again. It reveals the beauty of something alive. Everything in the body is doing something that is about to move. And everything has a gesture: the head, the nose, the eyes, the hair, the neck, and on and on it goes.
Gestural drawing is your investigation of the pose, no matter how long the pose. Your knowledge of the structure that underlies the figure and the pose allows you to show what is happening in front of you on your two-dimensional paper. All true innovation and invention depends on gestural expression and structural knowledge─yes, on anatomy and myology. You meld art and science in your work, and your artistic expression arises from this.
If you think that’s a lot of work, you are right, but it is so worth it. While intellectually understanding this offers much value, producing art requires constant, regular application. No substitute exists for practice.
The exercises this workbook contains offer practice starting points for you, always ready to use excellent reference materials. I provide you with them in the book this Workbook complements.
Commit to five to seven hours of drawing practice a week. That may sound minimal for an endeavor which demands thousands of hours to excel in it. If you wish to become a master, enjoy this process and set it in motion today.
The secret of getting ahead is getting started.Mark Twain
Drawing Exercises
You are on the right track in your quest to become a skilled artist. Only regular, repeated practice brings you closer and closer to that aim. Practice, combined with careful study of the model, the environment, movement, and easy access to several excellent reference books, is tantamount. No other panacea exists.
Repeat all the exercises in the following sections multiple times. In fact, that is the only way to master them.
Enjoy the process and every improvement, no matter how small!
Instructions for Drawing Exercises
The following applies to all drawing exercises in this booklet.
Allocate 30 to 45 minutes to start. Detailed structural drawings will take longer than this.
Also experiment with varying paper size and scale in these drawings. Work with paper sizes 10x14 or larger, but no larger than 18x24.
In all your drawings, avoid too much detail and focus on simplified forms. For example, when drawing the head and face, the planes of the head and simple shading must be there before drawing the features, such as eyes, the nose, the mouth, etc.
In all drawing exercises, remember that the body comprises many layers and that ALL of them interact with one another.
Sharon Pearson
Anatomy
Building Foundational Skills
These drawing exercises provide you with insight into what lies under a figure's skin. They enable you to penetrate unseen forms that shape what the skin holds.
