By Robert Beverly Hale
A ebook whose revenues haven't decreased yet really elevated dramatically due to the fact its book forty five years in the past, this bestselling vintage is the final word guide of drawing taught through the overdue Robert Beverly Hale, who’s famed lectures and periods at big apple City’s artwork scholar League captivated artists and paintings educators from round the world.Faithfully generating and methodically interpreting a hundred grasp drawings—including works of Michelangelo, Leonardo da Vinci, Rodin, Goya, and Rembrandt between others—Hale indicates how those artists tackled easy difficulties resembling line, gentle and planes, mass, place and thrust, and anatomy. With precise analytical captions and diagrams, each lesson is obviously delineated and illustrated. all through, additionally, is remark that sheds gentle at the artistic technique of drawing and provides deep perception into the unsurpassed achievements of the masters.
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Extra info for Drawing Lessons from the Great Masters (Practical Art Books)
Blending the Features Because a minotaur is half bull and half man, it’s important that the different features blend cohesively; otherwise your creature will look like he’s been cut and pasted. One trick I like to use is placing the eyes closer together on the head instead of placing them far apart as you’d see on a cow; this makes the face appear more human. I also draw the lips so they’re fuller and more fleshy, making them look capable of speech and expression. Adding long hair on the head can help too.
With softer 2B and 3B pencils, I layer smoother strokes and hatching to build up some darker shadows. I make the clothes slightly darker than the skin, and I make the veins of the wings even darker. I keep the shading on the skin as smooth as possible, and I use rough hatching on the wings and clothes to add texture. Step 8 I use a 4B pencil to build up the darkest shadows, and then I blend them into the highlights with the HB pencil. Using a kneaded eraser, I lift out highlights and gradually lighten the wing farthest from the body from base to tip (atmospheric perspective again).
Step 2 Once I’m happy with the pose and placement of my dragon, I start developing the figure with basic shapes: ovals and circles for the cranium and ribcage, cylinders for the limbs, and triangular wedges for the feet. ” Note that my lines are very sketchy and loose at this stage. Step 3 Now I start building up specific muscle masses and adding a little more detail, still drawing very loose sketch lines with the HB pencil. At this stage, I start to flesh out the wings, adding more definition to the joints and sketching the wing membrane, making the edges curve between the “fingers” of the wing to suggest tension.