Henry Yan Figure Drawing Pdf Free 28
How to Draw the Human Figure - The Figure Drawings of Grace A. YoungThis ebook was inspired by the figure drawing notebook of Grace Young a student at the Philadelphia School of Art in 1927 and 1928. The school was the first among a group of women's design schools found in the 1800s. The drawings show the work of a confident and talented artist who was studying a new course of drawing from the figure.
Figure Drawing By Richard G. Hatton This is an unusually complete book on drawing the figure from the beginning of the last century. In his time he was one of the most prolific authorities on the art of drawing.
Elements of Drawing - Drawing From the Life - 2 hard to find portfolios of techniques and methods of drawing the human figure by Professor Edward Stiefel of Switzerland. The Human Body and Parts of The Human Body. From the Introduction "The qualification needed for drawing from the life are: artistic sensibility as to the human figure and intense interest in the rhythm of its movements. The remarks accompanying these 12 plates are intended to suggest to the beginner the most elimentary conceptions and methods, so that he may be enabled to develop an individual use of them. " -
Figure drawing for ChildrenAn excellent introductory book about drawing the young figure. It is written for young artistsbut contains a wealth of information and useful diagrams which should interest any beginningartist.
Figure Drawings by Canadian Artist Cedric Fleetwood WeaverThis ebook is a collection of colored pencil figure drawings by a twentieth century Canadian artist, Cedric Fleetwood Weaver. When I saw the drawings I was impressed by the confident line and interesting use of color. In many he achieved the effect with just black and red. Included is a section step by step figure drawing instruction in color and another section of color figure drawings by me that were inspired by Mr. Weaver's work.
In RPG Maker MV, tilesets are used for mapping purposes. Tileset A is used for drawing land while Tilesets B through E are used to add doodads. But in RPG Maker MV, doodads added by Tilesets B through E are locked to the grid and add a rather unnatural feel to it. This plugin will allow you to break free of the grid and add doodads unbound by the grid. Doodads can come in all forms, from large to small, static and animated, you name it!
The next drawing is a simple study of a basic walking movement. I based this study on a video, pressing the pause button at sequential stages and drawing the figure from these key frames. I roughed in the figures using a basic manikin structure, then replayed the video, adding more visual information.
The next drawing, Female Figure Jogging, is a sequential study showing the placement of the basic anatomical forms as the figure runs. As the right foot lands, the outer quadriceps muscle (vastus lateralis) becomes more tense. As the right lower leg stretches in the toe-off stage, the calf muscle (gastrocnemius) becomes more compact.
There are many ways to study sequential movement. Approaches to drawing a moving figure, summarized in the sidebar below, range from using very raw, gesture-like lines to constructing manikins with geometric shapes to following a more anatomical approach in which you observe and draw the muscular forms changing shape in each key position.
For the study Soccer Player Changing Directions Mid-Stride, below, I quickly drew a manikin of each position with graphite pencil and then later emphasized the anatomical contours with ballpoint pen for the lines and a warm gray marker for the tones. Since I wanted the drawing to be a simple study of the basic structure and anatomical forms, I drew the figure without clothes even though the player was wearing a typical soccer uniform.
Study of a Basketball Player Slam-Dunking a Ball Through a Hoop, opposite, combines actions: a horizontal running action and then a vertical jumping action. The figures were first drawn as basic manikins, and the last five drawings were fleshed out with anatomical forms.
In this exercise, you superimpose the key positions of the action over one another. You can work from a model, from a video that you freeze-frame, or from sequential photographs. When working from a live model, have the model perform a very simple movement with one or both feet anchored in place. For example, the model could stand with feet planted on the floor, then slowly bend from the waist. Ask the model to execute the pose in three or four stages and to hold each position for thirty seconds to a minute. Instead of doing separate studies of each movement, superimpose your drawing of each successive key position on top of the first drawing. This exercise works best if you limit the layers to three or four. The superimposed layers can be drawn very lightly so that the overall drawing does not get cluttered with too many dark lines and tones. If you would like to embellish the layers, you can ask the model to repeat the same action again.
If a live model is not available, choose a video of a figure that remains standing or sitting while part of the body is moving. Freeze-frame the action at intervals, as you did in exercise #1. First draw the original pose, then superimpose each key position of the movement on top of it. You may watch the sequence a few times for additional information, should you need it. Or you may enhance the drawings from memory.
In this exercise, you draw from a live model who is executing a series of continuous movements on the model stand or on the floor, moving from one location to another. These movements should be performed in ultra-slow motion and in an improvisational, free-form fashion rather than according to a planned or choreographed sequence. Because the model does not pause, you should sketch each position for only a few seconds, continuously moving the drawing tool without lifting it from the surface of the page. You can connect the different stages of the movement with flowing lines or a series of rapid, angular strokes.
This exercise requires that you work from a live model. Ask the model to perform a continuous action (such as swinging a baseball bat) and then to break it down into three to five basic positions. Then the model should take those positions sequentially, holding each for two to five minutes while you draw. (Alternately, you can take photos of the key positions and practice drawing them after the session.) Since the action is planned, or choreographed, the positions may appear slightly stiff because they are all in the safety zone of equilibrium. To counter this stiffness, try slightly exaggerating the joint movements or applying a continuous tone in the background, connecting the figures together. 2b1af7f3a8