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Art Models 2: Life Nude Photos for the Visual Arts (Book & CD-ROM) (No. 2) Hardcover – April 27, 2007
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"Larger images, full natural color and the greater range of models make this very close to the drawing lab experience." Robert Rhoades, professor of fine arts, College of the Redwoods
"Will be extremely useful to a wide range of artists: painters, sculptors and digital animators." Virginia Maksymowicz, associate professor of art, Franklin & Marshall College
"An artist wishing to paint the human body in its entirety would be well served by [this] book." Jeriah Hildwine, painter, MFA, Hoffberger School of Painting, Maryland Institute College of Art
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In Art Models 2, the authors focus on classically inspired poses and cite their reference (i.e., "The Implorer" Rodin, 1900, On Disk: mandy017; and "Torso with a Twist," A Red Ink study by Michelangelo, circa 1510 Metropolitan Museum of Art, New York, On Disk: jim013. Etc.).
In Art Models 3 and 4, the authors: include props (invaluable when an artist has to be sensitive to and understand the dynamics of the slightest muscle shift and its effect on the fulcrum; one grid page and one non-grid page with the same pose (an important aid when something about the image just doesn't look right); 24 angles of the same pose for 360 degree views; and two-model poses which aids in spatial relationships.
The series serves exactly what the authors intended; that is, a reference to work from, independently creating (drawing, painting, sculpting) from the suggested poses in the books/CDs. My first choice will always be to work from a live model because cameras lie and distort by reinterpreting what our eyes see. Photographers reinterpret what the camera sees. And the inks necessary for printed publications, again, reinterpret the image tones. As an example, in terms of inches, our feet are larger than our heads. The camera doesn't see this and the feet look suspiciously too small; all the figures are imbued with a luscious warm body tone which in reality our shadow areas, at the turning point, shifts into a slightly cool range. To have everything in a warm tone tends to flatten the image. These are camera and printer's ink issues; but, this knowledge is important when planning to please a client.
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