Artists have long attempted to capture the essence the world around him. Drawing is often the art of choice when presenting the artists view to the world. It requires technique and practice to accomplish this goal.
Instruction often starts by reading and practicing thru the use of text books or classes. Classes offer a limited view and we realize you don't have time to take all the classes you'd like to. But, you can!
This is a supberb offering of 9 documents on CD. Each is related to the art of drawing the human head and figure.
We've also included simple instruction for basic drawing techniques that will complete the package. This is a must have for any budding artist and, indeed, the professional or seasoned artist as well.
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200 GROTESQUES CARICATURES ART BY GUSTAVE DORE
This is an amazing document filled with sketches (grotesques or caricatures) from Gustave Dore,' a 19th century French artist, engraver, and illustrator. Dore' worked mainly in wood engraving, of which he remains the most popular master. Any budding artist or professional illustrator would appreciate these wonderful sketches. The technique and humor is stunning. The entire document can be printed, frame your favorites or practice drawing them yourself.
From the document: Among the many drawings by Gustave Dore' which have of late been published in England and elsewhere, comparatively few represent the artist in the direction in which his real strength is generally confessed to lie. "as a grotesque designer," says one of the principal London literary journals, "he has no living rival, and few equals in former times; "but the works "with illustrations by Dore'" put forth to show his excellence not unfrequently present him in that phase in which his peculiar talent is not exhibited to advantage.
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GROTESQUE SKETCHES
PICTURES OF LIFE IN THE COUNTRY
LIFE IN THE PROVINCES
LIFE IN A LITTEL PROVINCIAL TOWN
DAY SCHOOLS AND BOARDERS
NEW YEARS DAY
AT THE EXHIBITION OF PAINTINGS
PEOPLE WHO "GIVE THEMSELVES AIRS IN SOCIETY"
THE RACES
CONSEQUENCES OF THE LONDON EXHIBITION OF 1832
SKETCHES IN PARIS
PROPHECIES CONCERNING THE FUTURE OF THE FRENCH PEOPLE
PARIS OUT OF DOORS
SCENES IN THE CHAMPS ELEYSEES
GROTESQUE SKETCHES
THE TUILERIES GARDENS
THE ENGLISH IN PARIS
EXTRACTS FROM CELEBRATED AUTHORS
A SALE BY AUCTION
SCRAPS
THINGS WE SEE AND HEAR
THINGS THAT ARE AGREEABLE
SAYINGS AND DOINGS
THE COLLEGIANS AGAIN
THE WATERS OF BADEN
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COSTUME DESIGN ILLUSTRATION FASHION ARTISTS INSTRUCTION
Costume design and costume illustration are not always looked at as distinctly different branches of what is termed "fashion work". In truth, there is a marked difference between them.
Designing requires the judging of color, relation of spaces, proper proportions, etc. The illustrator represents the garment after it has been designed.
This lovely document from the early 1900's teaches the principles and practice of illustrating and designing costumes (garments).
It has some very detailed information about sketching the human figure from models and without. Also covers a wide variety of information in regards to the drawing of garments on the human form.
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Chapter I - Sketching
Chapter II - Drawing Without Models
Chapter III - Methods
Chapter IV - Color
Chapter V - Design
Chapter VI - The Fashion Silhouette
Chapter VII - Period Fabric Design
Chapter VIII - Outline Of Historic Costume
Chapter X - Artists Whose Work Has Bearing On Period Fabrics Or Costume
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DRAWING SIMPLIFIED A SELF INSTRUCTION GUIDE FOR ARTISTS
For the novice, learning how to draw can seem to be a complicated and difficult task. It doesn't have to be. This vintage text from the early 1900's is proof.
It was written in order to make teaching and learning how to draw an easy thing. The entire document is set out in such a way that either teacher or student (or self-instructing artist) can follow along and learn.
This digital document is a very good source of instruction for the individual with the desire to draw. It is fully illustrated and the text clearly describes and details all of the elements necessary.
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Chapter I - The Cube
1. The horizontal line
2. Drawing the cube
Chapter II - The Cylinder
1. The vertical cylinder
2. The horizontal cylinder
3. The receding cylinder
4. Drawing the cylinder
5. The sphere
6. The cube and cylinder
Chapter III - The Triangular Prism
1. The vertical prism
2. Vanishing points
3. The horizontal prism
4. The receding prism
5. Drawing the prism
6. They pyramid
7. The cone
8. The cube and prism
9. Vanishing points
Chapter IV - Unity
Chapter V - Light, Shade & Shadow
Chapter VI - Reflections
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PRIMARY INSTRUCTION FOR DRAWING ~LEARN HOW TO DRAW~
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A basic introduction into the world of drawing. Includes instructions for those that may have not had any previous experience in the art of drawing.Most classes won't come close to covering even these simple concepts in a full semester. Having this document in your digital art library will help you get started on the way towards the direction you'd like to take your artistic talents.
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Introduction
"Anyone who can learn to write can learn to draw."
Universal Utility of a Capacity For Drawing
Ease with which it may be acquired
Requirement of a more general appreciation of the advantages to be derived from its cultivation
Primary Instructions in Drawing
Facility of hand one of the first requisites in drawing
Means by which it may be acquired
Of straight lines
Importance of early instruction
Drawing copy-books for schools, etc.
Of rectangular forms
Practical hints with regard to producing tints, etc., by lines
Importance of clearness and decision of line
Of curved lines
The black-board
Giotto
Inclination in young persons for design should be encouraged
Of figures formed by curved lines
An equal degree of excellence can not be reasonably expected in all who attempt to learn to draw
Drawing from nature
Affection of manner to be avoided
Drawing materials
The pen
Ink
Sepia
Pencils, etc.
Crayons
Advice to learners
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PRIMARY INSTRUCTION IN DRAWING PART II WRITING & COMPOS
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Lettering and writing in the form of signs and other types of advertisement, etc. was once the only way to prepare such things.
The skillful artist could easily adapt to a different font style or size of lettering if he or she understood the styles and strokes required to create them.
This is an awesome resource for the sign painter of today or anyone interested in creating lettering in their artwork by hand.
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Rudiments of Drawing (writing in drawing)
Contents
Rudaments of Drawing - of Method or Manner
Sketches
Imitating the work of others
Sketching nature - trees and foliage
Not suitable subjects of imitation for beginners
Practicing straight lines using lined paper
Practicing curved lines using lined paper
Practicing line combinations (forming letters)
Practicing small hand - without lines on the paper
Drawing letters in a single faint line
Any writing master may be an efficient teacher of drawing
Of penmanship
Drawing and writing should be taught together
A progressive course of study most advantageous
Personal exertion on the part of the learner requisite for success
Inexpediency of coertion
Privileges and enjoyments of the art student
Conclusion
Composition
Its general application
General principles
Exemplification both applicable and requisite in all subjects
Of portraiture
Landscape
Compositions should be consistent with nature
Classification of styles
Their application
Of the shapes of pictures
Difficulty of classifying many compositions
Study of approved works recommended
Of books and theories - self reliance
Practial methods and expedients usually employed in the execution of original compostions
0f the sketch
Changes and experiments
Of method, etc.
The model and appropriation of study of nature expedients
Practial difficulties in working from a model
Means of obviating them
Misleading tendencies experienced by beginners particularly in regard to color
Of cartoons for oil pictures
Of artificial models
No one method available in all cases
Of style and manner
The practices of the masters in art
Their appropriations of the excellence of others
Importance of a good beginning
Their biographies afford useful suggestions to the student
Advice to the american art student
To teachers
Conclusion
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PRINCIPLES OF LINE & FORM - LESSONS FOR SERIOUS ARTIST
The principles line and form are some of the very basics that an artist in any medium should have a grasp on.
This document, which was originally published in 1900, details these rules in a very consice way.
You will find inside, a plethera of illustrations and descriptive text to guide you thru.
Whether you're an experienced artist or a novice, you will surely find an amazing resource for how-to-do-it when it comes to the proper combinations of line and form.
An artist friend agrees and says he wishes he'd found this document years ago. It'll make an amazing addition to your digital art library.
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Chapter I
Origin and function of outline
Silhouette
Definition of boundaries by power of characterization
Definition of boundaries by formation of letters
Methods of drawing in line
The progressive method
The calligraphic method
The tenative method
The Japanese direct brush method
The oval method
The rectangular method
Quality of line
Linear expression of movement
Textures
Emotion
Scale of linear expression
Chapter II
The language of line
Dialects
Comparison of the style of various artists in line
Scale of degrees in line
Picture writing
RElation of line to form
Two paths
The graphic purpose
Aspect
The ornamental purpose
Typical treatment or convention
Rhythm
LInear plans in pattern designing
Wallpaper design
Controlling forms
Memory
Evolution in design
Variety in unity
Counter-balance
Linear logic
Recurring line and form
Principle of radiation
Range and use of line
Chapter III
Of the choice and use of line
Degree and emphasis
Influence of the photograph
The value of emphasis
The technical influenc
The artistic purpose
Influence of material and tools
Brush-work
Charcoal
Pencil
Pen
Chapter IV
Of the choice of form
Elementrary forms
Space filling
Grouping
Analogies of form
Typical forms of ornament
Ornamental units
Equivalents in form
Quantities in design
Contrast
Value of variations of similar or allied forms
Use of the human figure and animal forms in ornamental design
Chapter V
Of the influence of controlling lines, boundaries, spaces, and plans in designing
Origin of geometric decorative spaces and panels in architecture
Value of recurring line
Tradition
Extension
Adaptablitiy
Geometric structural plans
Frieze and field
Ceiling decoration
Co-operative relation
Chapter VI
Of the fundamental essentials of design: line, form, space
Principles of structural and ornamental line in organic forms
Form and mass in foliage
Roofs
The mediaeval city
Organic and accidental beauty
Composition: formal and informal
Power of linear expression
Relation of masses and lines
Principles of harmonious composition
Chapter VII
Of the relief of form
Three methods
Contrast
Light and shade and modelling
The use of contrast and planes in pattern designing
Decorative relief
Simple linear contrast
Relief by linear shading
Different emphasis in relieving form by shading lines
Relief by means of light and shade alone without outline
Photographic projection
Relief by different planes and contrasts of concave and convex surfaces in architectural mouldings
Modelled relief
Decorative use of light and shade and different planes in modelling and carving
Egyptian system of relief sculpture
Greek and gothic architectural sculpture, influenced by structural and ornamental feeling
Sculptural tombs, medals, coins, gems
Florentine fifteenth-century reliefs
Desiderio di Settignana
Chapter VIII
Of the expression of relief in line-drawing
Graphic aim and ornamental aim
Superficial appearance and constructive reality
Accidents and essentials
Representation and suggestion of natural form in design
The outward vision and the inner vision
Chapter IX
Of the adaptation of line and form in design, in various materials and methods
Mural decoration
Fresco-work of the italian painters
Modern mural work
Mural spacing and patterns plans
Scale
The skirting
The dado
Field of the wall
The Frieze
Paneling
Tapestry
Textile design
Persian carpets
Effect of texture on colour
Prints
Wallpaper
Stained glass
Chapter X
Of the expression and relief of line and form by
Colour
Effect of same colour upon different grounds
Radiation of colour
White outline to clear colours
Quality of tints relieved upon other tints
Complementaries
Harmony
The colour sense
Colour proportions
Importance of pure tints
Tones and planes
The tone of time
Pattern and picture
A pattern not necessarily a picture, but a picture in principle a pattern
Chiaroscuro
Examples of pattern work and picture work
Picture patterns and pattern pictures
Index
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THE ART OF DRAWING THE HUMAN HEAD & FIGURE
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The human head and figure is perhaps the most difficult of all things to draw.
Getting the depth of the parts of the face, the proportion, expression and lighting just right.... there are rules and processes that make it easier.
It's a matter of learning these things and applying them to your work.
A bit of instruction will go a long way. You'll find a great start in this document.
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Introductory observations on drawing the human head
Of the features their proportions, etc.
Of the head in profile
Of the applicability of the oval, etc., as a basis for drawing the head
Importance of anatomical knowledge
Theory and practice should go together
Of the full face
Application of the laws of perspective in drawing the head
Of a three-quarter view of the face
Of the central line
Of general impressions
Study of nature
Introductory observations on drawing the human figure
Of the foot
Study and accuracy more important than expedition or quantity
Practice essential to success
Applicability of general principles to subordinate parts and details
The best models
Of the antique standard of beauty
Of outline, shadows, etc.
The hand
Of the whole figure
Its proportions
The proportions of some of the antique statues
Of the figure from infancy to manhood
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CONFESSIONS OF A CARICATURIST -AN ARTIST SPEAKS VINTAGE
Whether you're a caricaturist or just an appreciator of the art, this document is such a great find!
It was written by Oliver Herford, an American writer, artist and illustrator.
He's been referred to as the "American Oscar Wilde". This document is full of caricatures of famous people from the last century.
With each image is a little poem written by the author that explains why or how the image was done.
It's quite amusing and the primitive caricatures are very interesting indeed.
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William Dean Howells
Napoleon
Dante
Theodore Roosevelt
Rudyard Kipling
Ignace Jan Paderewski
Daniel Frohman
Charles W. Eliot
J. Pierpont Morgan
Gilbert K. Chesterton
Guglielmo Marconi
George Bernard Shaw
Brander Matthews
John S. Sargent
Arnold Bennett
Shakespeare
William Howard Taft
G. K. Chesterton
David Belasco
Henrik Ibsen
J. Forbes-Robertson
John Drew
Israel Zangwill
George Bernard Shaw
Peter Dunne
Saint Paul
John D. Rockefeller
Hiram Maxim
George Ade
Christopher Columbus
F. W. Hohenzollern
Hafiz
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INTRODUCTION TO DRAWING INCLUDES HUMAN HEAD SKETCHING
Have you ever looked at a drawing someone has done and thought that perhaps you could do it too?
You Can, Of Course!
It may take a little instruction and it certainly will take alot of practice, but you have the ability if you believe you do.
This document is a superb way for you to gain some of the foundation knowledge you need to draw.
This document covers just a portion of the art of drawing, but well enough to get you going in the right direction.
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Practice
Line Drawing
The Human Head
Lips
Eyes
Nose
Ears
Profile & Outline
Light & Shade
Perspective
Sketching
Composition
Trees & Flora
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