Life Drawing in Charcoal: With 221 Illustrations

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Overview

"The guidance to be found within these covers reflects the author's inspired ability as a teacher and artist of the highest magnitude. It is probably the finest book on the subject of drawing the human form that I have ever seen."—Irving Shapiro, A.W.S., Director, American Academy of Art
This unique guide offers a bold, innovative approach to drawing from life. Instead of teaching the traditional method of building up a drawing from lines, leaving mass and tone till later, noted art instructor Douglas R. Graves ...

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Life Drawing in Charcoal

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Overview

"The guidance to be found within these covers reflects the author's inspired ability as a teacher and artist of the highest magnitude. It is probably the finest book on the subject of drawing the human form that I have ever seen."—Irving Shapiro, A.W.S., Director, American Academy of Art
This unique guide offers a bold, innovative approach to drawing from life. Instead of teaching the traditional method of building up a drawing from lines, leaving mass and tone till later, noted art instructor Douglas R. Graves takes precisely the opposite tack. The student is encouraged to begin seeing and thinking in terms of tonal masses immediately. This approach enables students to draw quickly and accurately without the need for a line drawing first. The author compares it to learning to "paint" with charcoal.
Step-by-step demonstrations and over 200 of the author's own drawings offer inspiration and practical guidance in the technique. You'll learn how to "see" tonal quality, how to key a drawing, how to translate color into black and white, and valuable techniques for keeping the figure from looking "stiff." Other topics include the role of alignment in achieving proper proportions, foreshortening, male and female figure distinctions, the use of modeling to achieve added dimension, drawing the face, positioning the figure, and many other aspects of life drawing.
For students of drawing—beginner to expert—this book is an invaluable guide not just to drawing from life but to the essential principles of observation, composition, and draftsmanship that underlie all successful drawing and painting. It belongs in the library of every artist. For this edition, the author has revised previous chapters and added a new one on "Different Modes of Charcoal."
Revised and enlarged Dover (1994) republication of the work published by Watson-Guptill Publications, New York, 1971.

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Product Details

  • ISBN-13: 9780486282688
  • Publisher: Dover Publications
  • Publication date: 11/4/1994
  • Series: Dover Art Instruction Series
  • Edition description: ENL
  • Edition number: 2
  • Pages: 176
  • Sales rank: 632,548
  • Product dimensions: 8.33 (w) x 10.99 (h) x 0.46 (d)

Table of Contents

Acknowledgments
Introduction
PROJECT 1. Materials and Exercises
  Charcoal
  Erasers
  Blenders
  Paper
  Fixative
  Exercises
PROJECT 2. Seeing Tonal Quality
  Single Light Effect
  Tones and Their Relationships
  Learning to See the Tonal World
PROJECT 3. The Difference Between Lines and Edges
  A New Way to Observe
  Defining Terms
  Using the Middle Tone
PROJECT 4. Objects As They Are
  Lifting Out Lights
  Thinking About What You See
  The Mind's Influence on the Eye
PROJECT 5. The Traditional Use of Plaster Cast Figures
  Charcoal as a Study Medium
  Squinting to Compare Tones
PROJECT 6. Keying A Drawing
  The Value Scale
  Value Keys
  Interpreting Tones and Their Values
PROJECT 7. Translating Color to Black and White
  Judging Color Intensity and Tone
  Light and Shadow with Color
PROJECT 8. Some Basic Figure Proportions
  Two Goals of Life Study
  Establishing Proportions
  Staying Loose and Free
"PROJECT 9. Keeping The Figure From Looking "Stiff"
  Examining Parts of the Body
  "Movements of the Spine, Shoulders, and Hips"
  The Expression of Action
PROJECT 10. Seeing Large Tonal Masses
  Mass Versus Detail
  Simple Statements in Tone
  Staying Within the Large Tone
PROJECT 11. Allignments: Constructive Aids to Correct Proportions
  Checking Relationships by Alignment
  Aligning by Triangulation
  Using Lines for Construction
  Estimating Contour Angles
PROJECT 12. The Recling Figure
  Using a Measuring Device
  Proportioning Problems
PROJECT 13. Foreshortening
  Foreshortening as Body Perspective
  "Drawing What You "See"
PROJECT 14. Idealization or Interpretation
  Copying the Figure
  Two Creative Directions
PROJECT 15. Why Study Anatomy?
  The Burden of Anatomical Study
  "Seeing" First - Anatomy Second"
PROJECT 16. Male and Female Figure Distinctions
  Comparison of Anatomical Differences
  Some Standard Proportions
  "Fat Deposits, Subcuaneous Prominences, and Hair"
PROJECT 17. Negative Shapes
  Seeing Negative Shapes
  Using the Grid
  Tone Mosaics
PROJECT 18. Two Sources of Light
  Values and Secondary Lights
  Reflected Light and Double Contrast
  Geometric Poses
PROJECT 19. A Tour of the Life Class
  Working over the Whole Figure
  Seeing Larger Tone Masses
  Preconceptions and Figure Distortions
  Preoccupation with Detail
  Self-Concepts and Figure Relationships
PROJECT 20. Controlling Edges
  Textural Qualities of Edges
  Making Hard and Soft Edges
"PROJECT 21. Scupturing, Modeling, and Rhythm"
  Modeling for Added Dimension
  Rhythm and Composition
  Constant and Progressive Rhythms
PROJECT 22. Movement and Muscles
  Controlled Falling
  The Moving Figure
  Arm and Leg Movements
"PROJECT 23. Drawing the Face, Head, and Hands"
  Placement of Facial Details
PROJECT 24. Different Modes of Charcoal Rendering
PROJECT 25. Composing a Figure On a Page
PROJECT 26. Mass Drawing in Fast Action Poses
  Warming-up with Quick Sketches
  Contour and Gesture Sketches
  Making Lines with Tonal Media
PROJECT 27. Line Drawing: A Bonus from the Mass Approach
  Expressing Light and Shadow in Line
  Tonal Drawing as a Step to Line
A Final Word
Index
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    Posted January 4, 2014

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    Snowfall

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