- Paperback: 176 pages
- Publisher: Watson-Guptill; New edition edition (August 1, 1996)
- Language: English
- ISBN-10: 0823015777
- ISBN-13: 978-0823015771
- Product Dimensions: 8.5 x 0.5 x 11 inches
- Shipping Weight: 1.2 pounds (View shipping rates and policies)
- Average Customer Review: 4.5 out of 5 stars See all reviews (145 customer reviews)
- Amazon Best Sellers Rank: #68,449 in Books (See Top 100 in Books)
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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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Top Customer Reviews
Are there better guides? probably, But for what ever reason, the writing style and illustrations in this book "click" with me. I can now invent figures from imagination with little problem. I still need to practice, no book is a replacement for practice... but it's helped me a lot. Do not hesitate to buy this for a beginner. Even pros can learn a few things from this.
This book is so valuable to me, I'm thinking of getting a second just in case anything happens to the first. Possibly as a loaner copy.
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.
In no other book I have seen the body masses so clearly and simply presented that with just one look you 'understand' the form and add it to your repertoire. Just like that.
One striking difference we notice is the three dimensional presentation of the drawings using probably charcoal or a very soft pencil, how else will we understand that form if its not rendered in three dimensions?! Yet so many books exist, even the ones from great such as Loomis, where you would see a more finished figure, where the contours take over, making the student wonder 'why is a line in front of the other?' etc. Hogarth aims as dispensing such doubts and to get rid of the guesswork from the minds of the artist.
He talks about 'inventing' the figure, and about a notation of representig the figure in deep space, meaning three dimesnions.
As the masters such as Vilppu would say, drawing is all about learning how to represent the form in two dimensional paper, and about knowing the form one wants to draw. We do get both in this book by Hogarth. more actually on the forms of the figure. more than half the book presents the figure, the varous parts, the torso, the limbs and the head in great detail using simple three dimensional forms. and the remainder of the book deals with how one would approach or rather go about drawing the figure.
An interesting approach here is to begin with the torso, and not with the head. torso, legs, arms and then comes the head, and surprise surprise, this is such an effective way of setting up the figure in the desired gesture. Vilppu would talk about a Ball and a box in a sock to study the torso. Bridgman would also talk in detail about these two forms, Hogarth lays down explicitly the order, and importance. This approach must be tried before understanding its effectiveness.
This is overall a great book for the figurative art student. I found it most effective, because every single picture in this book teaches me something that I can apply directly. The rendering of the forms make it so easy to understand them and cast to memory not only the form but its relations to the other forms in context as well as what happens when they twist and turn and go about doing whatever a figure would do.
This book stays right at the top along with Kimon Nicholaides and Glenn Vilppu and Bridgman.
Most Recent Customer Reviews
As a long time amateur, but reasonably good, artist, I had Dynamic Figure Drawing on my shelf for many...Read more