Here are 100 books that Figure Drawing for Artists, 1 fans have personally recommended if you like
Figure Drawing for Artists, 1.
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Drawing and painting people has been my passion and my profession for a couple of decades now. Fine art, comic books, animation, illustration – as long as I'm drawing people, I'm happy. I love the challenge of trying to capture (or create) a living, breathing, thinking person on paper. And I love talking about art books with other artists. Which ones are great, which ones miss the mark, which ones have tiny hidden gems in them. This list is a mix of books I love, and books I heartily recommend.
This book really “clicks” with how I imagine the figure and how I draw. There are a hundred ways to learn to draw, and you need to find the one that clicks with how your brain works. But ways that don't click still strengthen you. Even if Hampton's approach isn't the right one for you in the long run, learning it and trying it out will only make you a better artist. There's great stuff here about visualizing form, and simplifying form while keeping everything living and breathing instead of stiff and posed. This is a great book for people who want to draw from imagination as well as from observation.
Figure Drawing: Design and Invention is an instructional figure drawing book geared towards the novice and experienced artist alike. This book emphasizes a simplified understanding of surface anatomy, in order to clarify the mechanics of the figure, facilitate invention, and ultimately create a skill-set that can be successfully applied to other media. In addition, this book focuses very strongly on practical usage, making sure the artist is able to assimilate the steps presented here into a cohesive working process. (Fourth printing, September 2011)
Figure Drawing: Design and Invention is an instructional figure drawing book geared towards the novice and experienced…
Drawing and painting people has been my passion and my profession for a couple of decades now. Fine art, comic books, animation, illustration – as long as I'm drawing people, I'm happy. I love the challenge of trying to capture (or create) a living, breathing, thinking person on paper. And I love talking about art books with other artists. Which ones are great, which ones miss the mark, which ones have tiny hidden gems in them. This list is a mix of books I love, and books I heartily recommend.
You gotta know your sacrum from your humerus, and you've gotta know what your sterno-cleido-mastoid attaches to. Even if you forget the names, you've got to learn the shapes and the jobs. This book is pretty awesome for that. And it's pretty, too. I love the mix of photos and drawings. The transparency overlays of muscle over bone are crazy fun and might be that experience that triggers your flash of insight. This book isn't an art-school classic like, say Fritz Schider's Atlas of Anatomy for Artists, but it's good solid material. Drawing from a live model, with this book on your knee for reference? That's a good time.
Unlock your inner artist and learn how to draw the human body in this beautifully illustrated art book by celebrated artist and teacher Sarah Simblet.
This visually striking guide takes a fresh approach to drawing the human body. A combination of innovative photography and drawings, practical life-drawing lessons, and in-depth explorations of the body's surface and underlying structure are used to reveal and celebrate the human form.
Combining specially-commissioned photographs of models with historical and contemporary works of art and her own dynamic life drawing, Sarah leads us inside the human body to map its skeleton, muscle groups, and body…
Drawing and painting people has been my passion and my profession for a couple of decades now. Fine art, comic books, animation, illustration – as long as I'm drawing people, I'm happy. I love the challenge of trying to capture (or create) a living, breathing, thinking person on paper. And I love talking about art books with other artists. Which ones are great, which ones miss the mark, which ones have tiny hidden gems in them. This list is a mix of books I love, and books I heartily recommend.
This is my list so I wanted to include this book that was so key to me. This is an art book, but it's a very math-y art book with very few illustrations and almost no how-to step-by-step illustrations. It has pages and pages of “to draw a line from 30 degrees above the horizon and 15 degrees to the left of center etc. etc. etc.” text. It's a dense read, but it was the book that solved six-point perspective for me, which was a topic I'd been working feverishly on for a solid year and couldn't quite nail on my own. It really opened up my understanding of perspective, especially curvilinear perspective drawing. I owe this book (and Flocon and Barre) a lot.
Drawing and painting people has been my passion and my profession for a couple of decades now. Fine art, comic books, animation, illustration – as long as I'm drawing people, I'm happy. I love the challenge of trying to capture (or create) a living, breathing, thinking person on paper. And I love talking about art books with other artists. Which ones are great, which ones miss the mark, which ones have tiny hidden gems in them. This list is a mix of books I love, and books I heartily recommend.
You're drawing, you're painting, you're doing whatever you do – you're making things that weren't there before. You're creating images, you're creating visual stories. Sometimes creation is a thrill, and sometimes it's a bizarre disorienting struggle. Nobody expresses the creative life quite like Mr.Earbrass (and Edward Gorey). Is it a how-to book? No. Is it a how-not-to book? It's not really that either. It's a story about an eccentric novelist crafting his latest book. I give this weird little storybook as a gift to artist and writer friends all the time. Everyone I've given it to just raves about it.
On November 18th of alternate years Mr Earbrass begins writing 'his new novel.' Weeks ago he chose its title at random from a list of them he keeps in a little green note-book. It being tea-time of the 17th, he is alarmed not to have thought of a plot to which The Unstrung Harp might apply, but his mind will keep reverting to the last biscuit on the plate." So begins what the Times Literary Supplement called "a small masterpiece." TUH is a look at the literary life and its "attendant woes: isolation, writer's block, professional jealousy, and plain boredom."…
In the “meme-ification” of the world, the long-form version of learning and practicing skills is getting lost. True discovery happens after a thorough and deep understanding of the subject. Truth is a multilayered, complex exploration that is hard to sum up in a single sentence.
Hale’s book uses master drawings as the basis for his analysis. He shows the critical thinking that went behind the draftsmanship and offers a few choice words on conceiving a solid shape before trying to render it. Style is great but style without understanding is just a bad xerox of an idea. Hale offers a deeper dive into understanding what all those bumps and lumps are and more importantly, the hierarchy to where they sit and what to emphasize. Mindless rendering never helped anyone.
A book whose sales have not diminished but rather increased dramatically since its publication 45 years ago, this bestselling classic is the ultimate manual of drawing taught by the late Robert Beverly Hale, who's famed lectures and classes at New York City's Art Student League captivated artists and art educators from around the world.
Faithfully producing and methodically analyzing 100 master drawings-including works of Michelangelo, Leonardo da Vinci, Rodin, Goya, and Rembrandt among others-Hale shows how these artists tackled basic problems such as line, light and planes, mass, position and thrust, and anatomy. With detailed analytical captions and diagrams, every…
Born at the base of the beautiful Wasatch Mountains, I began exploring and sketching the world—as most children do—at a very early age. I continued to pursue not only my artistic path through traditional schooling, higher education, and endless hours of practice, but also my love of storytelling. Intrigued by Science Fiction and Fantasy, many of my projects reflect elements of the fantastic, but I also appreciate the beauty and elegance in fine art masterpieces. I studied illustration and graphic design at Utah State University and the Academy of Art University in San Francisco. I currently live in Salt Lake City with my beautiful wife and four boys, where I continue to write, paint and draw regularly.
I would call Bridgman’s approach to the figure, contour simplified. Countless artists and students since the 1920s have used this and other books by Bridgman, who taught for nearly 50 years at the Art Students League in New York, for a solid foundation and understanding of human anatomy. I think his unique way of discovering the vitalizing forces in the human form and realizing them in drawing carries the student pleasantly over one of art's most severe hurdles. Bridgman's superb anatomical sketches, of which there are nearly 500 in the book, also bring clearly to fruition his lucid theories of how to draw the human body in its structure and its complex movements. And he simplifies them in a helpful way.
"Excellent. The most valuable, detailed anatomical studies (which are also beautifully drawn) of all parts of the figure." — American Artist "The best book on artist's anatomy available anywhere." — Art Students League News Countless artists and students since the 1920s have used this and other books by George B. Bridgman (for nearly 50 years a teacher at the Art Students League in New York) for a solid foundation and understanding of human anatomy. They have found, and continue to find, that his unique way of discovering the vitalizing forces in the human form and realizing them in drawing carries…
My name is James Gurney and I've been a professional illustrator for National Geographic and Scientific American for over 40 years. Although I went to art school, everything I know about drawing and painting comes from studying art instruction books, and from sketching directly from nature. I'm best known for writing and illustrating the New York Times bestselling Dinotopia book series, published in 32 countries and 18 languages. I designed 15 dinosaur stamps for USPS and a set of five dinosaur stamps for Australia Post. My originals have been shown in over 35 solo museum exhibitions. My book Color and Light has sold over 200k copies and was Amazon's #1 bestselling book on painting for over a year.
Bridgman's legendary figure drawing demonstrations at the Art Students League of New York have inspired generations of artists, from Norman Rockwell to Frank Frazetta. His dynamic, chunky form analysis reminds students of the big shapes and how they interlock with each other, which is easy to overlook when faced with the subtleties of the actual figure.
Life Drawing is not so much a unique system of drawing the human form as it is a new way of conceptualizing it. To draw the figure, the artist must "have an idea of what the figure to be drawn is doing" — he must "sense the nature and condition of the action, or inaction." In this book, Mr. Bridgman, who for nearly 50 years lectured and taught at the Art Students League of New York, explains in non-technical terms and illustrations in hundreds of finely rendered anatomical drawings how best to find the vitalizing forces in human forms and…
Born at the base of the beautiful Wasatch Mountains, I began exploring and sketching the world—as most children do—at a very early age. I continued to pursue not only my artistic path through traditional schooling, higher education, and endless hours of practice, but also my love of storytelling. Intrigued by Science Fiction and Fantasy, many of my projects reflect elements of the fantastic, but I also appreciate the beauty and elegance in fine art masterpieces. I studied illustration and graphic design at Utah State University and the Academy of Art University in San Francisco. I currently live in Salt Lake City with my beautiful wife and four boys, where I continue to write, paint and draw regularly.
This figure drawing guide is a classic, and for good reason. Artist Andrew Loomis wrote this book for those who have graduated from the fundamentals of drawing and are ready to embark on their artistic careers. The focus is on aesthetic as well as practical, and leans toward a more commercial approach rather than fine art, but will be helpful to both disciplines. Loomis includes chapters on anatomy, planes and lighting, drawing from living models, the figure in action, and costume, among others. He discusses idealization and other tricks of the trade to help the reader produce superior work. Explanatory sketches and examples of some of his own best sketches appear on almost every page. Originally published in 1943 this book continues as a solid reference for artists struggling to perfect their own skills.
The illustrator Andrew Loomis (1892-1959) is revered amongst artists - including comics superstar Alex Ross - for his mastery of figure drawing and his clean, realist style. His hugely influential series of art instruction books have never been bettered, and "Figure Drawing" is the first in Titan's programme of facsimile editions, returning these classic titles to print for the first time in decades.
I have been continuously studying, practicing, and/or teaching architecture since 1984, and my particular focus has been on drawing–why we draw and how we can develop our own practices for drawing, whether it’s related to architecture or not. Even more particular is my focus on drawing by hand–a practice that has had a major resurgence after the initial wave of fascination for digital drawing tools has waned. I am passionate about drawing and want to share that passion with others, partially by recommending books that have been of significant use to me over the years.
This book, from one of the great masters of architectural sketching and rendering, was created at a time when the craft was at its peak in the 1920s. The writing can feel a bit dated–although it’s still excellent and extremely thorough–but the techniques and examples are absolutely wonderful.
I can’t describe all I’ve learned from this book over the years, but of particular note are the shading techniques and the ways of seeing and thinking about light and dark. These ways of seeing and thinking have helped me immensely in other media, especially watercolor.
This classic guide offers clear, concise instruction in the basics as well as the finer points of pencil drawing. Appropriate for beginning and intermediate students, it features sixty-six well-chosen illustrations that encompass a wide range of subjects — mainly architectural, but also people, animals, and landscapes — and demonstrate a tremendous variety of techniques. An architect, painter, art director, and teacher, Arthur L. Guptill wrote several popular books on drawing. He begins this two-part treatment, aimed at architects, artists, and students, with discussions of drawing objects in outline and in light and shade, the principles of freehand perspective, methods of…
In the “meme-ification” of the world, the long-form version of learning and practicing skills is getting lost. True discovery happens after a thorough and deep understanding of the subject. Truth is a multilayered, complex exploration that is hard to sum up in a single sentence.
Vanderpoel was JC Leyendecker‘s teacher in Chicago. You can’t go wrong by going back to the source. Underneath JC’s style, is rock solid form and structure. With slightly archaic language that takes a while to understand, this book offers huge insight into the structural thinking of how to draw and interpret the human figure.
This great classic is still unrivalled for its clear, detailed presentation of thousands of fundamental features of the human figure. Every element of the body (such as the overhang of the upper lip; the puckering at the corners of the mouth; the characteristic proportions of the head, trunk, limbs, etc.; the tension between connected portions of the body; etc.) is carefully and concisely pointed out in the text. Even more helpful are the 430 pencil and charcoal drawings that illustrate each feature so that you are, in effect, shown what to look for by a master teacher. The result is…
