andrew loomis - perspectiva de la figura humana
TRANSCRIPT
/
' :V .. /
'·
•
, .
. . .. ,, : ..
·.~~ · .. ? ;· ' .
\
.~
.
•
. f;; .t' -:: 't $ • •
'~ ;"J ·;v•r •·
' ' ... \i .,. . ' ... ..... , i"-· ., .. ..... . . ' -.
¡
.. • .
/
ALL D RAWING STEMS FROM ONE OR MORE OF THESE FORivfS
' ' ¡ l ¡ i 1
--( '~.
~~ ·------ ·--
L ______________ _ 10
ROUND
SQUARE
CYLINDRI CAL
PYRAMIDAL
1
1 ¡
1
1
1
1
l j ____________________ _¡
The Fundamentals Art is really having its chance. The urge to
draw scems to have tllken hold of many more
thousands today thau ever before. It has spread across the natioo. WhiJe many are interested in
art as a pastime or hobby, othcrs would gladly choose it as a means of livclihood if thcy were convinccd that their ability was ~ufficient to pro
vide any real hope of success. There will always be a certnin amount of
confusion about what is talent or native ability
in drawing and what is knowledge of the craft. Too often, knowledge is construed as talen t. On the othcr hand, drawing th:lt lacks constructivo
knowlcdgc is seldom successful as drawing. The tntth is that we do not see thc talent until the
means of hril\ging it forth has been developed. That means is a reasonably accurate analysis and
undcrstnnding of the laws of nnture as they apply to man' s vision ..
Drawing is vision on papcr. 1\lorc th:m that, it
is individual vision, tied up with individual perception, interest, observation, character, philoso
phy, and a bost of other qualities all coming from one source. It cannot, and to be successful
should not, be anything else. Drawing is very closcly relatcd to the other c•·cativc arts, all of
whicl1 are outcroppings of a dcsirc to cxpress individual emotion, to make the other fellow conscious of our inner feelings. We want him to listen or look, and we want his appreciation of what we have to offer. Pcrhaps wc wish to receive ndmiration for ouc particuhlr acccmpli~hments. Perhaps we have a mcssagc we deem worthy of others' attenlion. Perhnps we see in such nn cffort an enjoyablc men1\S of making oucselves useful, or providing ourselves with the livelíhood that we must achicvc in sorne way.
We who choose art as our mcdium of expres· sion should realize that it has certnin fundamentals from which we progrcss, just as there are fundamentals of literaturc, drama, or music.
11
Unfortuuatcly, the fundnmcntals of an approach
to art havo uot usually bccn so clcarly defined
for practica! study as have those of some other creativo activities. Commcrcial art is a comparativcly ncw profession. Howcvcr, tbe lcadcrs in
tl1e ficld are beginning to contribute time and thought to its teaching.
Succcss in the creativc fl olds is always accompanied by distinctiveness, sometbing that singles
one out usan individual and sets him apart from the crowd. One artist can be as successful as
another in his use of basic knowledge, without rcpcating :tnothcr artist's pcrfonnance. If therc
is any way that one man in the craft can really help nnother, it is by increasing his knowledge
of thc craft itself, not in thc particular qualities of the m:lll's own work. The knowledgc of our
craft must be pooled, as it is in the seienccs and othcr professions, each of us absorbing and in
turn contributing. It is difficult for a man to teach without prescnting his own work as an examplc. But I am ccrtain that ill this book, for
cxamplc, thcre is mucl• material which thc student can apply lo his own work without refcr
cnce lo any particular style or tcchnique of mine. Suppose wc havc two drawings before us. Onc
appeals; the other does not. This one is good, the othcr bad. Why? I bclicvc [ c.'n point out undcrlying rcasons that are perfcctly understaudable. Strangely cnough, the reasons m"e usually not found in art books or taught in classcs. The response to drawing is related to thc cmotions and experient-e of thc individual, and is wholcly apart, so far as 1 know, from thc tcaching of art. Yet J do 110t bclicvc art cnn go ver y far w\less the artist has some sort of an understanding of this response. An artist can go all his life without rcalizing why his work does oot appeal. E ven succcssful a.rtists may not really know why their work does nppeal, though they thank heaven it does.
045.jpg 046.jpg 047.jpg 048.jpg
049.jpg 050.jpg 051.jpg 052.jpg
053.jpg 054.jpg 055.jpg 056.jpg
Page: 1 2 3 4 5 6 7
[ Prev ] [ Next ]
PROJECTION OF FIGURES
One of the simplest and yet lcast observed rules of perspectivc is that all figures on the same ground plane must be related in size. To be sure of the correct relation, establish the hcight of a
"key" figure and scale all others from that height. Todo this, draw a line from the feet of one figure under the feet of another to the horizon. Then carry a line back to the first figure.
>-"- FIG lJ R E.J" MAY BE PROJt:CTED O N UN. U PARA LLEL. T0 YI-I'E ~R I :ZON
- . - 1 1 '-111'-"---...
-The Rule for Scaling Figures on the Ground Plane
All figures of the same height, when standing the horizon at the same vertical point on the on the same ground plane, will be crossed by figure.
70
