🎾 The Toàn Tập Book Of Poses For Artists A Comprehensive Photographic And Illustrated Reference Book For Learning To Draw More Than 500 Poses¶
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Tóm tắt nội dung (trích từ tài liệu gốc): The COMPLETE BOOK OF POSES for ARTISTS Ken Goldman & Stephanie Goldman Quarto is the authority on a wide range of topics. Quarto educates, entertains, and enriches the lives of our readers-- enthusiasts and lovers of hands-on living. www.quartoknows.com � 2017 Quarto Publishing Group USA Inc. 4 Published by Walter Foster Publishing, a division of Quarto Publishing Group USA Inc. All rights reserved. Walter Foster is a registered trademark. All artwork � 2017 Ken Goldman and Stephanie Goldman, except pages 8-9, 12-13, 14-17, 18 ("Placement"), 20-21, 40-41, 108, 142, 152-153, 176 � WFP; pages 18
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The COMPLETE
BOOK OF
POSES
for ARTISTS
Ken Goldman & Stephanie Goldman
Quarto is the authority on a wide range of topics.
Quarto educates, entertains, and enriches the lives of our readers--
enthusiasts and lovers of hands-on living.
www.quartoknows.com
� 2017 Quarto Publishing Group USA Inc.
4 Published by Walter Foster Publishing,
a division of Quarto Publishing Group USA Inc.
All rights reserved. Walter Foster is a registered trademark.
All artwork � 2017 Ken Goldman and Stephanie Goldman, except pages 8-9, 12-13, 14-17,
18 ("Placement"), 20-21, 40-41, 108, 142, 152-153, 176 � WFP; pages 18 ("Lighting the Model"),
33 (bottom) � 2008 Lance Richlin; pages 19 � William F. Powell; pages 22-32, 33 (top), 34-35 � 2004,
2005, 2011, 2016 Ken Goldman; pages 36-39, 57 ("Drawing from a Different Angle"), 64 ("Rendering
Hair: Creating Ringlets"), 73 ("Toddlers' Limbs"), 90 ("Differences in Male and Female Hands" and
"Young Female Feet"), 106 ("Rendering Hair"), page 129 ("Rendering Fabrics"), 143, 177, 206 ("Creating
Drama") � 2006 Debra Kauffman Yaun; page 48 ("Creating a Reference Point") � 2015 Jennifer
Gennari; pages 111 (pencil strokes), 189 ("Accessories"), 197 ("Effects of Aging"), 198-199, 212-217,
236-239 � 2006, 2009, 2011, 2015 Diane Cardaci; pages 123, 136 ("Working with Erasers" and "Drawing
with an Eraser"), 147 ("Using a Kneaded Eraser"), 182 ("Working in Cont� Crayon"), 205 � 2014
Elizabeth T. Gilbert; page 159 � 2011 Nathan Rohlander.
All photographs � Shutterstock.
Editorial Project Manager & Content Editor: Elizabeth T. Gilbert
Digital edition: 978-1-63322-3-738
Hardcover edition: 978-1-63322-1-376
All rights reserved. No part of this book may be reproduced in any form without written permission
of the copyright owners. All images in this book have been reproduced with the knowledge and prior
consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer
for any infringement of copyright or otherwise, arising from the contents of this publication. Every
effort has been made to ensure that credits accurately comply with information supplied. We apologize
for any inaccuracies that may have occurred and will resolve inaccurate or missing information in a
subsequent reprinting of the book.
6 Orchard Road, Suite 100
Lake Forest, CA 92630
quartoknows.com
Visit our blogs at quartoknows.com
This book has been produced to aid the aspiring artist. Reproduction of work for study or finished art is
permissible. Any art produced or photomechanically reproduced from this publication for commercial
purposes is forbidden without written consent from the publisher, Walter Foster Publishing.
Printed in China
1 3 5 7 9 10 8 6 4 2
The COMPLETE
BOOK OF
POSES
for ARTISTS
Table of
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Tools & Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Part I: Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Basic Drawing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Form & Value. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
People in Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Portraiture Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Learning to "See" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Basic Anatomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Adult Head & Facial Anatomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Adult Facial Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Child Head & Facial Proportions. . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Child Body Proportions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Part II: Basic Poses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Standing Poses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Casual Standing Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Sitting Poses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Posing Children. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Using Hands to Express Mood . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Reclining Poses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Taking Artistic Liberties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
4 | The Complete Book of Poses for Artists
Part III: Dynamic Poses . . . . . . . . . . . . . . . . . . . .141
Introduction to Movement & Balance . . . . . . . . . . . . . . . .142
Bodies in Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Sports Figures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150
Children in Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170
Part IV: Expressive Poses . . . . . . . . . . . . . . . . . . .181
Capturing the Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182
Rendering Mood & Emotion . . . . . . . . . . . . . . . . . . . . . . . 202
Part V: Compositions . . . . . . . . . . . . . . . . . . . . . 219
Composing with Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . 220
About the Artists . . . . . . . . . . . . . . . . . . . . . . . .240
The Complete Book of Poses for Artists | 5
Introduction
Perhaps there is no other subject in art that is more intimate or rewarding
than figure drawing. From the earliest cave paintings to stunning artwork
by Michelangelo, the human fascination with capturing our likeness in two-
dimensional form spans thousands and thousands of years. Today, it remains one
of the most popular subjects in art education.
The Complete Book of Poses for Artists offers everything you need to begin
or further your journey in drawing people. Featuring artwork and instruction
from renowned artists Ken and Stephanie Goldman, this book provides a strong
foundation for figure drawing by first discussing anatomy and human proportions
in great detail. Tips, exercises, and example drawings are then offered, covering
topics such as suggesting movement, rendering age, conveying emotion, and
creating engaging compositions. Featuring more than 150 photo references
showcasing a wide variety of poses--from traditional stances to figures in action
and children at play--you can develop your skills for hours upon hours with no
need for a model. Practice is the key to success, and with The Complete Book
of Poses for Artists, you'll have more than enough material to master the art of
drawing people.
The Complete Book of Poses for Artists | 7
Tools &
Materials
Drawing Paper Drawing Sketch Pads Sketch pads come in
paper is available in many shapes and sizes. Although
a range of surface most are not designed for finished
textures (called "tooth"), artwork, they are useful for working
including smooth grain out your ideas.
(plate finish and hot
pressed), medium grain
(cold pressed), and
rough to very rough.
Cold-pressed paper is
the most versatile and
is great for a variety of
drawing techniques. For
finished works of art,
using single sheets of
drawing paper is best.
Erasers There are several types of art erasers. Tortillons These paper "stumps" can be used to
Plastic erasers are useful for removing hard pencil blend and soften small areas when your finger or a
marks and large areas. Kneaded erasers (a must) cloth is too large. You also can use the sides to blend
can be molded into different shapes and used to large areas quickly. Once the tortillons become dirty,
dab at an area, gently lifting tone from the paper. simply rub them on a cloth, and they're ready to go
again.
8 | The Complete Book of Poses for Artists
Drawing Implements
Drawing pencils, the most common drawing tool and the focus of this book, contain a graphite center. They
are categorized by hardness, or grade, from very soft (9B) to very hard (9H). A good starter set includes
a 6B, 4B, 2B, HB, B, 2H, 4H, and 6H. The chart below shows a variety of drawing tools and the kinds of
strokes you can achieve with each one.
HB sharp point 4B charcoal
HB round point Vine charcoal
HB An HB with a sharp point produces crisp lines and White charcoal
offers good control. A round point produces slightly
thicker lines and is useful for shading small areas. Charcoal 4B charcoal is soft and produces dark marks.
Natural charcoal vines are even softer and leave a more
4B flat point crumbly residue on the paper. White charcoal pencils are
useful for blending and lightening areas.
Flat sketching
Cont� crayon
Flat For wider strokes, use a 4B with a flat point. A large,
flat sketch pencil is great for shading bigger areas. Cont� pencil
Cont� Crayon or Pencil Cont� crayon is made from very
fine Kaolin clay and is available in a wide range of colors.
Because it's water soluble, it can be blended with a wet
brush or cloth.
Sharpening Your Pencils
A Utility Knife Use this tool to form a variety of points A Sandpaper Block This tool will quickly hone the lead into
(chiseled, blunt, or flat). Hold the knife at a slight angle to the any shape you wish. The finer the grit of the paper, the more
pencil shaft, and always sharpen away from you, taking off a controllable the point. Roll the pencil in your fingers when
little wood and graphite at a time. sharpening to keep its shape even.
The Complete Book of Poses for Artists | 9
PART 1:
Techniques
The Complete Book of Poses for Artists | 11
Techniques
Basic Drawing Techniques
You can create a variety of effects, lines, and strokes with pencil simply by alternating hand positions
and shading techniques. Many artists use two main hand positions for drawing. The writing position is
good for detailed work that requires hand control. The underhand position allows for a freer stroke with
arm movement and motion that is similar to painting.
The Writing Position The writing position provides the The Underhand Position Place your hand over the
most control in which to produce accurate, precise lines pencil and grasp it between the thumb and index finger.
for rendering fine details and accents. Allow your other fingers to rest alongside the pencil. This
position is great for creating beautiful shading effects and
long, sweeping lines.
Shading Techniques
The shading techniques below can help you learn to render everything from a smooth complexion
and straight hair to shadowed features and simple backgrounds. Whatever techniques you use, always
remember to shade evenly.
Hatching This basic method of Crosshatching For darker shading, Gradating To create graduated
shading involves filling an area with place layers of parallel strokes on values (from dark to light), apply
a series of parallel strokes. The closer top of one another at varying angles. heavy pressure with the side of your
the strokes, the darker the tone. Again, make darker values by placing pencil.
the strokes closer together.
Shading Darkly By applying heavy Shading with Texture For a mottled Blending To smooth out the
pressure to the pencil, you can create texture, use the side of the pencil tip transitions between strokes, gently
dark, linear areas of shading. to apply small, uneven strokes. rub the lines with a tortillon or tissue.
12 | The Complete Book of Poses for Artists
Practicing Lines
When drawing lines, it is not necessary to always use a sharp point. In fact, sometimes a blunt point
may create a more desirable effect. When using larger lead diameters, the effect of a blunt point is
even more evident. Play around with your pencils to familiarize yourself with the different types of lines
they can create.
Drawing with a Sharp Point
The lines at left were drawn
with a sharp point. Draw
parallel, curved, wavy, and spiral
lines; then practice varying the
weight of the lines as you draw.
Os, Vs, and Us are some of the
most common alphabet shapes
used in drawing.
Drawing with a Blunt Point
The shapes at left were drawn
using a blunt point. Note how
the blunt point produced
different images. You can
create a blunt point by
rubbing the tip of the pencil
on a sandpaper block or on a
rough piece of paper.
The Complete Book of Poses for Artists | 13
Techniques
Other Pencil Techniques
Below are a few more techniques for experimenting in graphite. For these exercises, you will need hard
and soft pencils, as well as a water-soluble pencil.
Creating a Graphite Lifting Out Blend a
Wash Shade an area soft pencil on smooth
with water-soluble paper, and then lift out
pencil and blend the the desired area with a
strokes with a wet kneaded eraser. You can
brush. Always use create highlights and
water-soluble pencil other interesting effects
on thick paper, such with this technique.
as vellum board, and
avoid using too much
water on the brush.
Rubbing Place paper Producing Indented Lines
over an object and rub "Draw" a pattern or design
the side of your pencil with a sharp, non-marking
lead over the paper. object such as a knitting
The strokes of your needle or stylus. Next,
pencil will pick up the shade over the area with
pattern underneath the side of your pencil to
and replicate it on reveal the pattern.
the paper. Try using a
soft pencil on smooth
paper, and choose an
object with a strong
textural pattern, such
as a wire grid, as
shown at left.
Smudging
Smudging is an important technique for creating shading and gradients. Use a tortillon or chamois
cloth to blend your strokes. It is important that you do not use your finger; your hands produce
natural oils that can damage your artwork.
Smudging on Smudging
Rough Surfaces on Smooth
For a granular Surfaces Use
effect, use a 6B a 4B pencil
pencil on vellum- on plate-finish
finish Bristol Bristol board.
board. Stroke Stroke with
with the side of the side of the
the pencil; then pencil; then
blend with a blend with a
tortillon. tortillon.
14 | The Complete Book of Poses for Artists
Form & Value
Drawing consists of three main elements: line, shape, and form. The shape of an object can be described with
a simple one-dimensional line. The three-dimensional version of the shape is known as the object's form. In
pencil drawing, variations in value (the relative lightness or darkness of black or a color) describe form, giving
an object the illusion of depth. Values range from black (the darkest value) through different shades of gray to
white (the lightest value). To make a two-dimensional object appear three-dimensional, you must pay attention
to the values of the highlights and shadows. When shading a subject, consider the light source, as this is what
determines where highlights and shadows will be.
Rectangle Cylinder Circle Sphere Triangle Cone Square Cube
Moving from Shape to Form The first step in creating an object is establishing a line drawing or outline to delineate the
flat area that the object takes up. This is known as the "shape" of the object. The four basic shapes--the rectangle, circle,
triangle, and square--can appear to be three-dimensional by adding a few carefully placed lines that suggest additional
planes. By adding ellipses to the rectangle, circle, and triangle, you've given the shapes dimension and have begun to
produce a form within space. Now the shapes are a cylinder, sphere, and cone. Add a second square above and to the side
of the first square; then connect them with parallel lines, and you have a cube.
Highlight Highlight Highlight Highlight
Reflected light
Core Core Core
shadow shadow shadow
Reflected Reflected
light light
Cast shadow Cast shadow Core shadow Cast shadow Cast shadow
Adding Value to Create Form A shape can be further defined by showing how light hits the object to create highlights and
shadows. Note from which direction the source of light is coming; then add the shadows accordingly. The core shadow is
the darkest area on the object and is opposite the light source. The cast shadow is what is thrown onto a nearby surface
by the object. The highlight is the lightest area on the object, where the reflection of light is strongest. Reflected light is the
surrounding light reflected into the shadowed area of an object.
Creating Value Scales Just as a musician uses a musical scale to measure a range of notes, an artist uses a value
scale to measure changes in value. You can refer to the value scale so you'll always know how dark to make your dark
values and how light to make your highlights. The scale also serves as a guide for transitioning from lighter to darker
shades. Making your own value scale will help familiarize you with the different variations in value. Work from light to
dark, adding more and more tone for successively darker values (as shown above left); then create a blended value
scale (as shown above right). You can use a tortillon to smudge and blend each value into its neighboring value from
light to dark to create a gradation.
The Complete Book of Poses for Artists | 15
Techniques
People in Perspective
To practice perspective, try drawing a frontal view of many heads as if they were people sitting in a
theater. Start by establishing your vanishing point at eye level. Draw one large head representing the
person closest to you, and use it as a reference for determining the sizes of the other figures in the
drawing. Keep in mind that a composition also can have two or more vanishing points.
Vanishing point (VP) Horizon line
VP Horizon line
VP Horizon line
Note that
objects appear
smaller and
less detailed
as they recede
into the
distance.
16 | The Complete Book of Poses for Artists
VP
If you're a beginner, you may want to begin with basic one-point perspective. As you progress, attempt
to incorporate two- or three-point perspective.
VP Horizon line
The Complete Book of Poses for Artists | 17
Techniques
Portraiture Basics
The positioning and size of a person on the picture plane is of utmost importance to the composition. The
open or "negative" space around the portrait subject generally should be larger than the area occupied by
the subject. Whether you are drawing only the face, a head-and-shoulders portrait, or a complete figure,
thoughtful positioning will establish a pleasing composition with proper balance.
Placement Too far right
The eyes of the subject are the Good placement Too low
key to placement. The eyes
catch the viewer's attention first,
so they should not be placed on
either the horizontal or vertical
center line of the picture plane;
preferably, the eyes should be
placed above the center line.
Avoid drawing too near the
sides, top, or bottom of the
picture plane, as this gives an
uneasy feeling of imbalance.
Lighting the Model
Whether you're working from life or creating a reference photo, how you light the model will play a
huge role in the mood and overall success of your drawing. Below are two drawings of the same woman
by artist Lance Richlin, which were completed with two different lighting styles. The side lighting (left)
creates a harsher look with distinct shadows and more contrast. The front lighting (right) produces a
more feminine, delicate image.
Side Lighting This Front Lighting
method involves This method
a dark room with involves a well-lit
one light positioned room with one
to the model's light placed in
side. This lighting front of the model.
style creates harsh This lighting style
shadows and lines reduces shadows,
on the face and resulting in more
neck, making the flattering (but less
model look older, dramatic) portraits.
more serious,
and perhaps
more powerful or
distinguished.
18 | The Complete Book of Poses for Artists
---
[Cuối tài liệu]
Compositions
Composing a Dancer
A simple, sleek, and airy composition perfectly suites this ballerina. The
overall shape of her pose, which you can see easily while squinting, is an
elongated triangle, which creates a sense of stability and balance. The
long lines of her dress folds lengthen the appearance of her body to add
flow and elegance.
1 2
Sketch the outlines of
the figure.
Start establishing a base tone for the shadows and
dark values by using the side of a 2B pencil to lay down
a layer of tone in the hair. Then add dark tone to the
eyebrows, lips, and nostrils. Using lighter pressure, add
shading to the delicate shadow areas of the face, neck,
and body. As always, use strokes that follow the form.
Add some light tone to indicate the form of her legs,
which can be partially seen through the transparent
material. Then add some light tone to the dress using
long, vertical strokes.
236 | The Complete Book of Poses for Artists
3
4
Return to the hair, stroking with the dull point of Carefully shade her facial features with curved
a 4B pencil in the direction of hair growth. Add strokes that follow her form. Do the same
more tone to the shadow side of the face using around the neck area, shading the forms that
a 2B, noting that the light falls most directly on indicate the underlying muscles of the neck.
the side. Work around the body, adding more Continue to work around her arms and chest,
tone to areas where the forms turn away from and begin to shade her hands. As you work
the main light source. Add more shading to the on her hands, remain aware of the small forms
upper part of the dress, again using strokes that and shade delicately.
follow the form of the body. Loosely add more
long lines to indicate the folds of the dress.
The Complete Book of Poses for Artists | 237
Compositions
5 Return to working on her hair using the side
of a 4B to achieve deeper tones, working
softly around the hairline. Then use a sharp
2B to add a few lines for additional texture.
Use the HB to delicately shade the flowers
in her hair.
6
Focus on the folds of the dress and
deepen the shading with long, vertical
strokes. You don't have to draw each
fold exactly; instead, work loosely and
quickly to suggest texture.
238 | The Complete Book of Poses for Artists
Secrets to Creativity Speed Sketching
The fastest way to improve your drawing skills and stretch your So often, we feel that we don't
"creativity muscles" is to develop two essential habits: have the time to take out our
sketchbooks to draw. But even
1 if you only have five minutes,
you can benefit from "speed
Sketch Every Day Sketching sketching." The idea is to quickly
not only develops your hand- put down the big shapes, lines,
eye coordination, but it's also a and angles of your subject, which
wonderful way to connect with are the armature of any drawing.
the visual world around you. Carry By frequently practicing speed
your sketchbook around with you sketching, you will find yourself
everywhere, and draw as many learning to ignore detail (because
different types of subjects in as there is no time for detail in five
many different poses as possible. minutes!) and to look at the main
You will soon find yourself getting large shapes and angles.
inspired and will have many
ideas for drawings from your
sketchbooks.
2 Sketch from Old Masters' Work The Old Masters were
thoroughly trained in their craft, and their drawings contain
knowledge that can be absorbed when you copy them. It is
great to do quick sketches of their work to get a sense of
their compositions. And don't be afraid to use one of their
compositional ideas--great artists have copied compositions
from other great artists for centuries!
The Complete Book of Poses for Artists | 239
About the Artists
Ken Goldman is an internationally known artist, author, teacher, and art
juror. A recipient of numerous awards, Goldman has exhibited widely
in various group shows and solo exhibitions in the Netherlands, France,
Mexico, China, Italy, Greece, New York, Boston, and Washington, D.C.
Goldman's work is included in the permanent collections of the San Diego
Museum of Art, North Carolina's Hickory Museum of Art, the San Diego
Natural History Museum, the San Diego Watercolor Society, and the Zuo
Wen Museum in Qingdao, China. Ken is the author of seven Walter Foster
books on pastels, acrylics, charcoal, and artistic anatomy and has been
featured in many magazines, including The Art of Watercolour, Southwest
Art, International Artist, Watercolor Magic, Splash 12, Splash 13, and The
Artist's Magazine. Ken teaches figure painting, artistic anatomy, and plein air
landscape at the Athenaeum School of the Arts in La Jolla and in workshops
across the country and is currently serving as president of the National
Watercolor Society. Ken's education includes the National Academy of
Design, Art Students League and the New York Studio School. For more
information, visit www.goldmanfineart.com, CaliforniaWatercolor.com, or
Facebook1kengoldman.
Stephanie Goldman is known for her richly colored figures, insightful
portraits, boldly painted miniatures, and dynamic charcoal, pencil, and
ink drawings. She imbues all of her work with focused creativity and
experimentation that intrigue collectors and critics alike. Some of her
exhibitions include fifteen unique portraits of children entitled "I Am A Child
at The Riverside Art Museum," "Bearing Exquisite Witness" at the Joan B.
Kroc Institute for Peace and Justice, a special portrait unveiling of director
Erika Torrey commissioned by the Board of Trustees for the Athenaeum in La
Jolla, and many group exhibitions including the San Diego Museum of Art,
Gotthelf Gallery-La Jolla, San Diego Art Institute, San Diego Natural History
Museum, Hyde Art Gallery-Grossmont College, Boehm Gallery-Palomar
College, and the Earl & Birdie Taylor Library in San Diego. A selection of
her work has been reproduced by Frontlines Publishing, Ramprod, and East
Meets West Co. Stephanie teaches figure painting and portraiture at the
Athenaeum School of the Arts in La Jolla and has worked with artist Ken
Goldman for over two decades collaborating on large and small public and
private art projects. For more information, visit www.goldmanfineart.com or
Facebook1stephaniegoldman.
240 | The Complete Book of Poses for Artists