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Practical Anatomy for Artists [Paperback]

Peter M. Simpson
5.0 out of 5 stars  See all reviews (1 customer review)
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Book Description

11 Aug 2010
Drawing the human body is a creative process, but one which relies on an accurate rendition of the form. This practical book explains anatomy for the artist. It outlines the skeletal system and how this provides the first lines of construction, and then introduces the superficial muscular system. With this understanding, an artist is empowered with a rigid structure to aid drawing proportions and the muscle shapes to provide the form. In doing so, "Practical Anatomy for Artists" provides a technical foundation that will support the artist's intuitive skills.

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Product details

  • Paperback: 224 pages
  • Publisher: The Crowood Press Ltd (11 Aug 2010)
  • Language: English
  • ISBN-10: 1847971776
  • ISBN-13: 978-1847971777
  • Product Dimensions: 27.7 x 21.5 x 1.3 cm
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 1,042,258 in Books (See Top 100 in Books)

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Product Description

About the Author

Peter Simpson is a practising artist who has worked as a graphic reproductionist, photo-retoucher and illustrator. Resident - Australia

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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Most Helpful Customer Reviews
0 of 1 people found the following review helpful
5.0 out of 5 stars Technically important learning from this book 12 Dec 2010
Format:Paperback
Pretty much my first anatomy book and it's nice to have it, in a style of a figure book.

I am not a big reader and normally I buy books and don't bother readying them (ye pretty stupid, but now I am more rational and motivation has hit. So my other great books are on my list to complete
However, I check this book the other day in Water stones, since I was on the verge for an anatomy book, I could of got the ones everyone has on Amazon but I thought something new and different. I looked at this and another anatomy book and wanted both. Since the first book was an Anatomy for Artist but was a lot deeper in anatomy grounds, but this felt a lot more appealing for me in learning/ teaching grounds and it's still really deep. However I didn't trust Water Stone prices and thought to check online lol. >_> same price ha! But I found some other books and stuff so worth it :D

Here is my first little review. Hope I explain it well enough for a grasp from the content I've only read. (it's 3am, if not D:)
I've read a bout 20 pages from the start and a bout 15 pages from near the back (where u learn the system).

However the first 20 or so pages are filled with special, insightful information. Such as he explains briefly but informative, Anatomy Inside and out approach, who would benefit from his approach, Drawing in a way of thinking rather than doing? He talks about problems with Geometric Methods (Must read though isn't biases) and talks about uses of imagination and references with geometric and his system. Though I was constancy baffled from his information, really awaken my mind from the `logic' and `sense' he was foretelling.
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Amazon.com: 4.0 out of 5 stars  1 review
2 of 3 people found the following review helpful
4.0 out of 5 stars Useful as Reference, Misguided as Process 13 Oct 2013
By Marshall Vandruff - Published on Amazon.com
Format:Paperback|Verified Purchase
This book is a gift to those who want to know how the skeleton affects the fleshed figure, and any artist who cares about making their figure drawings should know how those skeletal landmarks create bumps, press flesh, move according to muscles pulling on them, and stay firm when the soft parts don't. It is very good reference for ranges of motion and gender differences, and for placements of muscle groups. It took a ton of work, and I wouldn't be without it.

My criticism is that it gives students a misguided idea that working from the skeleton out to the flesh is a good practice. It is a very good practice in training, but for life drawing, or even imaginary drawing (the way comic-book artists and animators work) it is not a common practice, and for good reason. It is like diagramming every sentence before speaking. Artists are likely to do a bit of it when they must figure out complex poses, but not as often as this book implies.

But I make this specific criticism because the underlying philosophy about becoming an "anatomically aware" artist is great advice for students who want to be masters.

I recommend that figure drawing students buy this book and spend at least a dozen hours immersed in the charts to develop their x-ray vision. It will help them understand the skeleton - the most basic, non-negotiable anatomical component for artists who want to understand human anatomy - and to see that anatomy is the grammar of figure drawing.
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