Drawing Lessons From the Great Masters
Robert Beverly Hale: Drawing Lessons From the Great Masters. 2009
Format: PDF - 59,5 Mb
Faithfully producing and methodically analyzing 100 master drawings—including works of Michelangelo, Leonardo da Vinci, Rodin, Goya, and Rembrandt among others—Hale shows how these artists tackled basic problems such as line, light and planes, mass, position and thrust, and anatomy. With detailed analytical captions and diagrams, every lesson is clearly delineated and illustrated. Throughout, also, is commentary that sheds light on the creative process of drawing and offers deep insight into the unsurpassed achievements of the masters.
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Drawing topics.
1 Basic construction of objects. Composition of wireframe objects
2 Basic construction of objects. Composition of revolved objects
3 Light, shadows, materials l. Composition of objects
4 Light, shadows, materials ll. Composition of objects (continue)
5 Architectural drawing. Low-storey house.
6 Architectural drawing. Secondary street.
7 Architectural drawing. Semi-interior space. Gallery.
8 Architectural drawing. Monument of architecture.
9 Architectural drawing. Classical building.
10 Architectural drawing. Street perspective.
11 Architectural drawing. Multi-layered composition.
12 City atmosphere. Market.
13 City atmosphere. Park, playground.
14 City atmosphere. Cafe/bar.
2 Basic construction of objects. Composition of revolved objects
3 Light, shadows, materials l. Composition of objects
4 Light, shadows, materials ll. Composition of objects (continue)
5 Architectural drawing. Low-storey house.
6 Architectural drawing. Secondary street.
7 Architectural drawing. Semi-interior space. Gallery.
8 Architectural drawing. Monument of architecture.
9 Architectural drawing. Classical building.
10 Architectural drawing. Street perspective.
11 Architectural drawing. Multi-layered composition.
12 City atmosphere. Market.
13 City atmosphere. Park, playground.
14 City atmosphere. Cafe/bar.
Dissolving the image.
Aim of the work:
Understanding and comparison of different forms and rules of organization the composition of the artistic drawing and its connection with the image, plot, expression and drawing media.
Work contents:
Students are asked to make analysis of a realistic artistic work, find the connection between its idea and the graphic and composition means used by author. Composition and graphic analysis is done by consequent exclusion from the drawing color, tone, minor details, textures etc. with the constant evaluation of its role in the composition and its influence to the representing the plot of the drawing. In the process of decomposition all elements of the drawing can be abstractized (must not be recognized as subjects of the plot) and the drawing itself can lose the logic of composition relations and connections. At the end the drawing should become a formal skeleton, constructive and graphical diagram with minimum of elements, reminding about the initial work.
At the last stage students are asked to create the formal composition, which will represent the specific of the emotional perception of the basic conflict of the drawing. The composition must be abstract and not have any associations with real objects.
Requirements:
1. The chosen drawing must have complicated content and must have conflict in plot.
2. The composition and graphic analysis must be done by stages, with using tracing paper for each step. At the each step students must write a paragraph describing relation between each graphical mean and the whole perception of the image.
Submission contents:
1. Drawing analysis: album format A3:
1.1. Title page
1.2. Written analysis of the image describing short history of the image, plot, steps of analysis with the influence of each step to the basic conflict perception.
1.3. Basic image (A3 color print)
1.4. Exclusion of color. (A3 tracing paper, pencil drawing)
1.5. Exclusion of tone. Use just 3 tones: white, grey, black.(A3 tracing paper, ink drawing)
1.6. Exclusion of secondary details. Generalization of shapes. 3 tones.(A3 tracing paper, ink drawing)
1.7. Decomposition: image grid. (A3 tracing paper, ink drawing)
1.8. Decomposition: black and white shapes, using the grid. (A3 tracing paper, ink drawing)
2. Formal composition, showing the emotional perception and basic conflict of drawing. (50x34 cm wooden frame, pencil, ink or aquarelle)
Understanding and comparison of different forms and rules of organization the composition of the artistic drawing and its connection with the image, plot, expression and drawing media.
Work contents:
Students are asked to make analysis of a realistic artistic work, find the connection between its idea and the graphic and composition means used by author. Composition and graphic analysis is done by consequent exclusion from the drawing color, tone, minor details, textures etc. with the constant evaluation of its role in the composition and its influence to the representing the plot of the drawing. In the process of decomposition all elements of the drawing can be abstractized (must not be recognized as subjects of the plot) and the drawing itself can lose the logic of composition relations and connections. At the end the drawing should become a formal skeleton, constructive and graphical diagram with minimum of elements, reminding about the initial work.
At the last stage students are asked to create the formal composition, which will represent the specific of the emotional perception of the basic conflict of the drawing. The composition must be abstract and not have any associations with real objects.
Requirements:
1. The chosen drawing must have complicated content and must have conflict in plot.
2. The composition and graphic analysis must be done by stages, with using tracing paper for each step. At the each step students must write a paragraph describing relation between each graphical mean and the whole perception of the image.
Submission contents:
1. Drawing analysis: album format A3:
1.1. Title page
1.2. Written analysis of the image describing short history of the image, plot, steps of analysis with the influence of each step to the basic conflict perception.
1.3. Basic image (A3 color print)
1.4. Exclusion of color. (A3 tracing paper, pencil drawing)
1.5. Exclusion of tone. Use just 3 tones: white, grey, black.(A3 tracing paper, ink drawing)
1.6. Exclusion of secondary details. Generalization of shapes. 3 tones.(A3 tracing paper, ink drawing)
1.7. Decomposition: image grid. (A3 tracing paper, ink drawing)
1.8. Decomposition: black and white shapes, using the grid. (A3 tracing paper, ink drawing)
2. Formal composition, showing the emotional perception and basic conflict of drawing. (50x34 cm wooden frame, pencil, ink or aquarelle)
