By Vladimir Mogilevtsev
The basics of Drawing (1st version released in Russian 2007, provided with Silver and Gold Medals by means of the Academy in 2011) is the 1st and merely instructing reduction on educational drawing in 30 years formally authorized and suggested by way of the Russian Academy of Arts. Readers will take pleasure in this well-illustrated ebook loaded with tables, photographs with anatomical casts, sketches and drawings by way of previous masters that indicates a classical procedure for tutorial drawing whereas illustrating the levels of labor. // nice reference. // vintage "old masters" technique, time-tested tools. // Teaches fundamentals for a robust beginning for destiny artwork. // tutorial textual content, drawing, work and reproductions from outdated masters.
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Additional info for Fundamentals of Drawing (Fundamentals Teaching Aids)
Example text
The form of the foot is better learnt on classical examples. Common mistake: Identically active outlining of the foot. org 59 60 fundamentals of drawing V. Final Phase Summarizing, restoration of tonal relationships, subordination of details In the final phase of work return to the integral perception of the drawing and the model. Restore the tonal relationships which often get broken in the process of accurate penciling of the details. Work over the main details again, more scrupulously to achieve completeness and finality of the drawing.
Parietal tuber 3. Temporal bone 3a. Mastoid process 4. Upper jaw 5. Jugal bone 6. Nasal bones 7. Lower jaw 2. Head Head in the “Figure” task is drawn following the same algorithm as in the “Head” task: eyes, nose, mouth, forehead, analysis on the main intersections of planes, then neck. e. to a live, direct perception. Define the character of the model, his/her proportions, and tonal relationships. Check the binding of the head to the shoulder girdle. It is advisable to pencil the details not mechanically but con affetto.
Only after it get down to work over a detail. To make the drawing look self-contained and finished it is necessary to subordinate the details according to their significance and degree of completeness. The details should not be equally done. Michelangelo’s drawing exemplifies that: the figure has no legs, there are many fragments of details nearby, nevertheless, the drawing looks self-contained and finished because it has the general and the secondary. In Chistyakov’s drawing all the details are carefully penciled but tonal subordination is observed.