Page 1. CONSTRUCTIVE. ANATOMY by. GEORGE B. BRIDGMAN. FIFTEEN SHILLINGS NET. Page 2. Page 3. Page 4. Page 5. Page 6. Page 7. Page 8. Constructive anatomy and millions of other books are available for site Kindle. Constructive Anatomy (Dover Anatomy for Artists) Paperback – June 1, This item:Constructive Anatomy (Dover Anatomy for Artists) by George B. Bridgman Paperback $ Constructive anatomy. byBridgman, George Brant, Publication date c Topics Anatomy, Artistic. PublisherPelham, N.Y.: Edward C. Bridgman BOOK COVER IMAGE download · download 1 file.
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This public document was automatically mirrored from aracer.mobial filename: Bridgman - Complete Guide to Drawing from aracer.mobi URL. Constructive Anatomy book. Read 21 reviews from the world's largest community for readers. Excellent. The most valuable, detailed anatomical studies (wh. Like the copy of the copy was copied and then pasted in this book. The quality of the drawings are not great - there are a dozen other artist anatomy/ life drawing.
Generations of students have learned the principles of anatomy and figure drawing from his books, which rank among Dover's most popular art instruction texts.
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Compra verificada. I totally agree with one reviewer that if you were an amatuer photos would be much more appreciated. However for those who have had enough practices in model drawings, photos will not suffice.
One would turn to a tutorial on specific subjects such as this book for further inspirations. Learning the structure of figures becomes far more important than knowing about understanding the mere display of body fat and collapses of muscles, until you finally hit the level when you have mastered all but fat and veins So, on that basis, for me and people like me, this book is the BEST if you ever wanna cry over your sketchbook on that hideous pair of hands attached to some pretty neat arms.
For those who knows lower arms well, there should be no difficulty figuring out what the poses are.
Bridgman is a master and this book, coming with more drawings than instructions, is just a piece of eye candy. A hundred hands may not seem to be many drawings, but this book is so carefully knit that every single pose is challenging and inspiring.
The instructions are, despite being so little, the best written words on hand structures I've read so far. Mind you, I have around ten books on body structures now, yet none achieves the same clarity and informative level as this one does.
One final advice though, don't use this handbook as a go-to reference. Nobody has that perfect hand, and there are thousands of hand poses out there so don't expect to find the pose as exactly what you need. This book is a tutorial, not a reference book.
Google photos if you must. Better luck going to an actual book store. The drawings are blotched and unclear, looking more like xerox copies of copies of copies, with a lot of smudges and pixelation.
The layout is odd and unplanned- some of the pages are blank for no reason, and others have the type stop in the middle of the page and continue onto the next page, leaving large blank gaps with no purpose. The overall lack of quality distract from the actual content, what little of it there is.
I think the problem likely lies with the manufacturer, and that this is actually a knock-off as opposed to it being a fault with the author and artist. As much as I wanted to like this book, it made me think about someone old with a shaky hand in a hurry trying to show me how to draw and then decided to turn it into a book. All of the hands look quickly rushed and sloppy and in a lot of poses, you can't even figure out what's going on anatomy-wise.
Avoid this book. There isn't much to learn from it, it's just plastered with ugly drawings of the same hand. The drawings inside the book look a lot more terrible than the ones in the cover. Bought this, hoping to improve the hands in my paintings, but am quite disappointed. Hand illustrations seem like they're from years ago.
They're small, kind of hard to see because they're printed rather lightly. They're also only passably well drawn and not terribly relevant for drawing from today. Hands are chubby and stubby.
Every muscle on the right side must be paired with one on the left; for every flexor on the front there must be its corresponding extensor on the back.
Muscles express also laws of leverage; they are large in proportion to the length of the lever they move. Those of the individual fingers are small and can fit in between the bones of the hand. They grow larger as we ascend the arm, the leverage being longer and the weight greater. The muscles of the forearm are larger than those of the fingers; those of the arm larger than those ot the forearm, while the muscles of the shoulder are larger still.
Masses and Movements of the Body The masses of the head, chest and pelvis are unchanging. Whatever their surface form or markings, they are as masses to be conceived as blocks. The conception of the figure must begin with the thought of these blocks in their relation to each other.
They are to be thought of first as one thinks of the body of a wasp, with only one line connecting them, or without reference at all to connecting portions. Ideally, in reference to gravitation, these blocks would be balanced symmetrically over each other. But rarely in fact, and in Action never, is this the case. In their relations to each other they are limited to the three possible planes of movement. That is, they may be bent forward and back in the sagittal plane, twisted in the horizontal plane, or tilted in the transverse plane.
Almost invariably, in fact, all three movements are present, to different degrees.
In these various movements, the limit is the limitation to movement of the spine. The spine is the structure that connects one part of the body with another.
It is a strong column occupying almost the centre or axis of the body, of alternating discs of bone and very elastic cartilage.