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Figure Drawing - Posing the Figure

The human figure is an expressive form. Often you can tell what people are thinking by how they stand or hold themselves. When doing figure drawings, you will be confronted with the choice of how to pose your figures. This decision can be critical to the success of the drawing. Look at the difference between the stances shown in Figure 5.1. Can you describe the emotion of each figure? The human body has an expressiveness that communicates through an unspoken language often referred to as body language. As an artist, you must learn this language and become as expressive with...

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Figure Drawing - Rabbit, Squirrel, Kangaroo

Rabbit characteristics: Two pairs of upper incisors; second pair small and peg-like, located just behind the front pair. Perforated lace-like texture of bone on side of skull in front of eye socket. (Both features not found in rodents). Long and pointed large ears. Arched upper profile of skull. Strong extension of spine where neck vertebrae meet thoracic vertebrae. Strong extension of middle tail vertebrae, raising tufted tail. Relatively thin, delicate bones. Rear-projecting metacromion from lower end of shoulder blade (for insertion of trapezius and omotransversarius muscles). Long hind limbs with large feet. Sits on sole and heel of foot...

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Figure Drawing - Sea lion, Gorilla, Human

Sea lion characteristics: Webbed flipper-like forefoot and hind foot. Front flipper thicker on front edge. Skin of flipper extends past tips of toe bones, supported by individual cartilages attached to ends of toe bones. Noticeable claws on three middle toes of hind foot; other claws tiny and inconspicuous. Front flipper triangular; hind flipper rectangular. Hind limb can be advanced forward—can walk, but thigh and lower leg encased in skin of abdomen (seals can't walk—their hind limbs permanently extended backward). Elbow also enclosed in body skin, but forearms are free. Body streamlined (torpedo-shaped) for swimming. Thick insulating blubber layer between...

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Figure Drawing - The Human Figure

One of the greatest challenges to confront an artist is drawing the human figure. Our bodies are infinitely complex yet intimately familiar, giving rise to a subject that is difficult to depict accurately yet judged incessantly. The human figure is almost overwhelmingly complex for the artist to draw. The human figure is an organic structure that defies geometric simplification. It is composed of bones, muscles, and organs, all of which are covered by a flexible layer of skin. The body has many moving parts that make it almost impossible to define as a shape. Within its skeleton are more...

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Figure Drawing - Veins

Skulls photographed by Eliot Goldfinger in the collection of the Department of Mammalogy at the American Museum of Natural History, New York: American bison, African buffalo, White-tailed deer, Caribou, Ox (neg. no. 603275); Bighorn sheep (neg. no. 603276); Mountain goat, Elk, Moose (neg. no. 603277). COURTESY AMERICAN MUSEUM OF NATURAL HISTORY LIBRARY

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Figure Drawing Without A Model - Character and Expression

Tài liệu tham khảo bằng tiếng Anh về nghệ thuật hội họa - Figure Drawing Without A Model - Character and Expression

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Figure Drawing Without A Model - Drawing from Life

Tài liệu tham khảo bằng tiếng Anh về nghệ thuật hội họa - Figure Drawing Without A Model - Drawing from Life

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Figure Drawing Without A Model - Drawing on the Inmagination

Tài liệu tham khảo bằng tiếng Anh về nghệ thuật hội họa - Figure Drawing Without A Model - Drawing on the Inmagination

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Figure Drawing - Figure Drawing Without A Model - Graphic Narrative

Tài liệu tham khảo bằng tiếng Anh về nghệ thiật hội họa - Figure Drawing Without A Model - Graphic Narrative

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Figure Drawing Without A Model - Picture Conposition

Tài liệu tham khảo bằng tiếng Anh về nghệ thiật hội họa - Figure Drawing Without A Model - Picture Conposition

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Figure Drawing Without A Model - Practice

Tài liệu tham khảo bằng tiếng Anh về nghệ thiật hội họa - Figure Drawing Without A Model - Practice

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Figure Drawing Without A Model - Structure and Proportion

Tài liệu tham khảo bằng tiếng Anh về nghệ thiật hội họa - Figure Drawing Without A Model - Structure and Proportion

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Figure Drawing Without A Model - The figure in Action

Tài liệu tham khảo bằng tiếng Anh về nghệ thiật hội họa - Figure Drawing Without A Model - The figure in Action

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Fruge drawing - Figure Notation in Deep Space

Shape-mass, on the other hand, demands to be understood as volume structure in three dimensions; this makes it possible to draw the figure in deep space projections, putting the human form into the most inventive and varied conceptions of foreshortening, advancing and receding in space. Conceiving the figure as shape-mass permits the artist to manipulate the figure creatively, part by part, making changes according to his desire.

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How to draw Manga Hands and Feet - Kỹ thuật vẽ tay và chân

This first step is important to understanding how the hand is constructed and were the pivot points are. Once you are comfortable with the proportions of the hand it will be easier to draw it in different positions. For now let's concentrate on the basic Spread Fingered hand. Follow along and study your own hand as you go. Hands : Step 1- the oval Draw an oval. Much like the one you see to the left. Designate a point on the lower center line of the oval. This is the anchor point we'll use for our fingers. ...

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Understanding Talent

Tài liệu tham khảo tiếng Anh về hội họa - Understanding Talent

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GETTING STARTED - Bắt đầu những bước cơ bản

With so many different products available, it's easy to feel overwhelmed. Actually, you need very little to get started! This article offers practical guidance for buying drawing materials. This article discusses the following: DRAWING BOOKS AND PAPERS: Experiment with a broad range of different types of sketch books and drawing papers. PENCILS AND OTHER DRAWING MEDIA: Some types of drawing media are very similar and others are quite unique. SOME OTHER MEDIA TO CONSIDER: As your skills improve, you may want to add to your selection of drawing materials. PORTFOLIO CASE: You need a hard-sided case to keep your...

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Creating Your Own Drawing Space - Tạo không gian Vẽ riêng của bạn

Tài liệu tham khảo tiếng Anh về hội họa - Creating Your Own Drawing Space - Tạo không gian Vẽ riêng của bạn

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Making a Portfolio

Tài liệu tham khảo tiếng Anh về hội họa - Making a Portfolio

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Making and Using a Viewfinder Frame - Lập và Sử dụng một khung ngắm

Tài liệu tham khảo tiếng Anh về hội họa - Making and Using a Viewfinder Frame - Lập và Sử dụng một khung ngắm

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ANIMAL ANATOMY BASIC BODY PLAN

Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Sao Paulo Shanghai Taipei Tokyo Toronto Copyright © 2004 by Eliot Goldfinger Published by Oxford University Press, Inc. 198 Madison Avenue, New York, NY 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University...

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Animation Writing and Development

Debra Kaufman, Series Editor Animation Writing and Development From Script Development to Pitch Jean Ann Wright 3D for the Web Interactive 3D Animation Using 3ds max, Flash and Director Carol MacGillivray Anthony Head Character Animation in 3D Steve Roberts Stop Motion: Craft Skills for Model Animation Susannah Shaw Producing Independent 2D Animation: Making & Selling a Short Film Mark Simon Essential CG Lighting Techniques Darren Brooker A Guide to Computer Animation: for TV, Games, Multimedia & Web Marcia Kuperberg Animation in the Home Digital Studio: Creation to Distribution Steven Subotnick Digital Compositing for Film and Video Steve Wright Producing...

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