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Figure Drawing Workshop, by Allan Kraayvanger
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There is probably no subject more intimidating and complex to artists than the human figure. Even artists who have otherwise mastered their chosen medium are unable to render figures successfully. How can artists develop or apply their drawing skills to portray the figure as animate and made of muscle and bone, but without overpowering form with anatomical detail?
In Figure Drawing Workshop, a veteran artist guides readers through a series of progressive lessons designed to help artists draw the figure with accuracy, simplicity, and skill. Step by step, readers learn how to see and render basic shapes; use line to express energy and movement; depict light and shadow; convey a sense of underlying musculature without overworking a drawing; and draw convincing heads, hands, and feet. Finally, they’ll learn how to liberate themselves from unproductive habits and develop their own creative style.
• Figure and anatomy drawing are perennially popular among artists
• One of the only figure drawing books that offers a series of progressive lessons aimed at beginners
• Presents elegant drawings that reflect all phases of image development
- Sales Rank: #1484078 in Books
- Brand: Brand: Watson-Guptill
- Published on: 2003-05-01
- Released on: 2003-05-01
- Original language: English
- Number of items: 1
- Dimensions: 10.95" h x 1.25" w x 8.45" l, 1.35 pounds
- Binding: Paperback
- 160 pages
- Used Book in Good Condition
About the Author
Allan Kraayvanger is a professional illustrator and graphic designer whose study of the human figure has been a lifelong passion. He lives in Mesquite, TX.
Most helpful customer reviews
7 of 7 people found the following review helpful.
This is definitely a book for beginners - that's NOT a bad thing!
By S. Jenkins
There seems to be a lot of unnecessary hostility towards a book that gives very simple and basic approaches to life and figure drawing. The author's approach was that if you're going to life drawing you're probably not going into the intensive workshops that show bone and muscles, this is your first time and you only get 1-2 hours, so how do you start?
Allan's explanations of how to approach the figure as a beginner are really simple and reasonable. In fact, this book makes me do something other anatomy books haven't done.....RELAX. If you see that a teacher is drawing the figure as an average human being, why shouldn't you? Do you need to draw like Burne Hogarth especially given that the subject matter you're going to be drawing from, are average and natural figures. Everyday people are what you encounter in a life drawing class, so you need to learn how to walk before you start looking for style.
The author is honest about his approach and discusses his weaknesses, and how he approached solutions. That's better than pretending you're a perfect anatomy god. You might think "well, if he's not not an anatomy god, then why should I read this book?" Allan tells you how to start, and how to use basics to start approaching the figure in a life drawing class, what to look for and how to capture information in short amounts of time.
This isn't the end all/be all to figure drawing books, but this is a good book to go back and read when you're stuck sometimes. It gives you the steps to start drawing, not just how to draw better.
Allan is honest, he didn't want to include an anatomy section. He felt that there are better teachers than him in that department. He wanted to get people comfortable drawing what they see in figure drawing classes.
Learning the muscles are for more intermediate students, they're not something you should learn as a beginner, and not something you're actively looking for in the average life drawing class. This is not to say you shouldn't learn anatomy of muscle and skeletal studies because they ARE important as you improve as an artist, but let's look at it like this.
Look at a children's "How to draw dogs" book? Does the author go into detailed anatomy studies when you know a child is just trying to start out? The same goes for life drawing. A person needs to learn how to observe certain basics in life drawing before going in to details. This book is perfect for that.
Studying and making art for many years now, it was refreshing to see a book actually cover the basics in such a relaxed manner, and now it's helping me go back and place a better start on my own studies of the figure, as well as other books that are good at teaching structural anatomy.
5 of 6 people found the following review helpful.
Thoughts on Figure Drawing Workshop
By A Customer
The study of figure drawing can be broken down into two parts: the mechanical and the aesthetic. They cannot be separated in the finished product, but they can, and should be separated during early study. The mechanical part can be analyzed, measured, judged, and taught. The aesthetic part cannot be truly analyzed, measured, or judged, and since there are many legitimate opinions on what constitutes good or bad art, it ultimately comes down to personal taste, and that changes. Because of this, the aesthetic component probably cannot even be taught, only fed and encouraged.
Recognizing this, the author has chosen to stick with the teachable component in this book to avoid the almost insurmountable problems that are caused by exposing embryo artists to the confusing realm of aesthetics before they are ready for it. The early (and often exclusive) focus on style and technique by teachers can interfere with a students ability to see clearly, impartially, and logically. Carried to the extreme, this creates carbon copies of the teacher's own personal preferences and leaves the student without the tools to express their own artistic visions clearly. This is especially true for the many young artists who wish to express themselves realistically. Since the aesthetic component contains your personal style, I believe that it should be left to grow by exposure to other good examples with as little influence from a teacher's personal opinions as possible during the early stages of training.
This view will undoubtedly get this book some lively, if not outright hostile reviews from the more insecure teachers, and, of course there will always be those who feel they can intelligently critique a book without actually reading it, but I stand by it. We have all seen the results of both ways of teaching.
This book is directed mainly at beginners and those who missed getting their true basics earlier. You'll find drawings scanned straight out of the authors sketchbooks, giving an honest example of what to expect as you work under the conditions you find in figure drawing workshops. You will find no brilliant examples of twenty hour drawings, or stylistic, overmuscled anatomical renderings that might confuse the message. You will find it necessary to actually read the text and study the drawings carefully, thoughtfully, and with an open mind if you are to get the most from it.
Unless you are perfectly satisfied with your own work, there will be something here for you, simply read it, and approach it with an open mind.
11 of 12 people found the following review helpful.
Possibly the best book I have ever read on the subject
By B. Leung
It was many long years ago, that I tried my hand at figure drawing without much success. Now over a decade later, I tried my hand at it again and casually pickd up this book to see what it had to offer in terms of advice.
I have to say that this is "hands down" the best book on the subject I have ever read on the subject. It is simple and easy to follow; containing a wealth of information and tips about drawing the figure perfectly from start to finish. It is definietly one of the few books that actually TEACHES you how to draw, in a way that's easy to understand.
Some people have dismissed the book as being too cartoony compared to those of Anthony Ryder and doesn't go nearly as deep when it comes to fine details and anatomy. But I think Kraayvangers drawings flow better and display a variety of style based on the different materials used to draw them.
Others have criticized it for not being as wordy or in depth as the other books. But I believe in the principle that less is more. Not everybody (especially myself) likes to plow through a drawing book like its an academic textbook. I learn better through mimicing and observing and there's even enough information in here to go deeper if necessary.
All in all, this is a great book for beginners and pros alike. Don't let the cover fool you, inside there is a wealth of infomation.
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