Risk management in project management
At the beginning of the s, on the ruins of the USSR, in the newly formed Latvian nation, a young person, named Uldis Zarins, full of ideals and hopes, dreamed of becoming a sculptor. In , he was accepted to the Art College of Riga.
Studies were difficult and competition was fierce, but they resulted in satisfaction. Every day he replicated famous classical Greek portraits, busts, and figures in clay. The outlook prevailed, that frequent replication of antique sculptures would facilitate the understanding of form creation.
After only half a year, Uldis understood that eyes, of course, adapt, and hands become more agile; however, understanding of the form did not materialize. One day, when replicating the head of the Amazon portrait of famous sculptor Polykleitos, he ran into a problem: How to construct a cheek? It was clear that the form was not just a sphere, but several complicated forms combined.
All of its muscles were in place, however, the sculpture looked bad. The main thing was that his understanding of the form had not increased one bit! In the place of the form, he had studied muscles. In digging through a mountain of anatomy books, Uldis realized that they were all meant for painters and drawers.
He found that all of these books were equally boring, with scant, chaotic drawings. There, same as in college, emphasis was placed on exercises, not on the understanding of how to create the form.
Each time Uldis created a new sculpture, he made preparations, not only to arrange the frame and the edge, but also drew a small paper sketch where he could analyze the form in an understandable way. Over the course of several years, drawings, sketches, anatomy books and successful photographs were accrued. Uldis began to notice, that the sketches he had created, as well as images, were in high demand among colleagues. He often heard the suggestion that he should collect them all and publish a book, which would be a composite of form analysis, as well as fundamental information about anatomy that sculptors would need to know.
This was how Uldis came up with the idea for the creation of the book. Search Ebook here:. Category: Anatomy. Description Description High Hopes At the beginning of the s, on the ruins of the USSR, in the newly formed Latvian nation, a young person, named Uldis Zarins, full of ideals and hopes, dreamed of becoming a sculptor.
The Cheek of the Amazon One day, when replicating the head of the Amazon portrait of famous sculptor Polykleitos, he ran into a problem: How to construct a cheek? Do you like this book? Please share with your friends, let's read it!! Download here. Read Now.
Understanding operating systems 8th edition
When it comes to learning how to draw people successfully, knowing human anatomy is key. Drawing anatomy for beginners can feel overwhelming at first because there are so many muscles on the body. When you first approach figure drawing, you need to start out with establishing the basic volumes of the figure using spheres, boxes and cylinders. An artist needs to think about the 3D shape of the muscles to give the figure an illusion of volume.
Draw them as sculpted spheres, boxes and cylinders. When artists first start paying closer attention to adding anatomy to their drawings they often have a tendency to overemphasize the anatomy. The figures often end up looking like they have no skin. A gesture drawing serves as a blueprint for the action. Everything that comes after is to help clarify and enhance that action.
A good example of this is comic book characters that have exaggerated anatomy to convey their strength. The volumes of the muscles are designed to lead the eye through the body toward a point of action.
Notice how the muscles in the figure on the right reflect the gesture drawing on the left. When artists start using basic shapes to develop figures they often start to fall into a pattern of using the same shapes to build every figure. You have to look at your subject and figure out what simple shapes are the best tools to develop your figure. For example, some people have very squarish heads which needs to be constructed from box shapes while others have a more roundish appearance that should be built from spheres.
These two figures are in the same pose but are built from different shapes. The figure on the right is built from more block shapes and it gives the figure a sturdier feeling. Instead, observe and adapt your shapes to fit your subject.
If you only copy what you see you will never create what you imagine. I never saw the point of replicating a photo in a drawing beyond being an exercise to build observational skills. Why duplicate what already exists when you can interpret and adapt as you see fit? Observational skills are important but not just for copying what you see. You start by capturing its movement in a gesture, rebuild the figure three-dimensionally using basic spheres, boxes and cylinders, and then sculpt those simple shapes into anatomical forms.
This is a very different process than just replicating what you see. This will not only help you to develop drawing that have a sense of mass but also will allow you to adapt and modify the figure to create something new.
This is just a fun drawing to help illustrate that you need to understand the 3D shapes of a figure and then you can reassemble them on the page. This is a different way of thinking than just copying the contours you see.
It is to interpret what he or she understands. When drawing a figure, you bring in your knowledge of anatomy and volume to draw a figure rather than just copying contours and values. This comes from both studying anatomy and having good observational skills.
Anatomy and proportion are important. A figure drawing that feels like it has personality or appears dynamic is going to be more interesting than one that it technically correct. Let the anatomy and proportion take a supporting role to the underlying gesture drawing. This figure has exaggerated proportions — similar to those used in fashion drawing.
You can find many examples of artists who distort and exaggerate proportions for stylistic reasons. Drawing great anatomy helps artists create realistic-looking figures that appear to have actual mass and volume.
However, the anatomy needs to add to the sense of movement of the figure and not distract from it. You must have the skill to be able to draw the muscles in 3D in order to modify and adapt the shapes and emphasize the movement and personality of your subjects. You must Register or Login to post a comment. Remember me Log in. Lost your password? Drawing Anatomy for Beginners, Learning the Ins and Outs When it comes to learning how to draw people successfully, knowing human anatomy is key.
Share Pin Creative Breakthroughs!