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Dynamic Figure Drawing Paperback – August 1, 1996
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About the Author
BURNE HOGARTH (1911–1996), hailed as the “Michaelangelo of the comic strip,” was one of the most iconic cartoonists and influential arts educators of the twentieth century and remains so today. After attending the Chicago Art Institute and Academy of Fine Arts at the age of fifteen, Hogarth began an illustrious career in arts education, fine arts, illustration, advertising, and comics, and became recognized as one of the earliest creators of the graphic novel. Best known for his innovative illustrations of the syndicated Sunday Tarzan, Hogarth broke fresh ground in the newspaper comic strip by combining classicism, expressionism, and narrative in
a powerful, new way.
As cofounder of the School of Visual Arts—one of the world’s leading art schools—he brought his unique approach to art into the classroom. His passionate lectures on anatomy and art history formed the foundation for The Burne Hogarth® Dynamic Drawing Series that continues to teach and influence artists and animators worldwide.
Hogarth’s art has been exhibited in many important galleries around the world including the Louvre in the Museé des Arts Décoratifs and Marseilles’ Bibliothèque. He traveled the world throughout his life receiving numerous international awards and accolades.
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The only thing I wish there was more of in many of his books is reference of the female figure, but there's still enough there to get the job done, and enough references in other publications that can help.
Just be sure to learn the fundamentals in "Dynamic Anatomy". Some of it is touched on in this book, but it helps to get full details from the other.
There is a way the body naturally tilts when more weight is put on one leg than the other. Unless I am deeply mistaken, the artist in this book fails to account for the tilt that occurs between the hips and shoulders in response to this weight shift. IE if all your weight is on your right leg, that side of the hip will almost always be higher and the shoulder is normally lower on that same side as the gap between the bottom of the rib cage and the top of the hip closes. As far as I know -- unless I am completely blind --, not a single picture in this book accounts for this. And when it does it is because the body is in an action that requires it. Not to take ANYTHING from this book or this artist, but this seems so bizzare to me that I feel like I must be mistaken here. Every other art book I have accounts for and mentions this, and if you look at any of the 'old masters' drawings you will notice that this sort of position was used quite often in depicting the standing figure. Infact just google the statue of david and you will see what im talking about. Whatever you think of that, this book is still the best book on the issue.