Download Fifty Figure Drawings by George B. Bridgman PDF

By George B. Bridgman

Crafted by means of major scholars from the best American artwork colleges of the early 20th century, those black-and-white illustrations symbolize a large choice of existence drawing kinds. the unique renderings—in crayon, charcoal, pencil, and ink—are superbly reproduced right here, with devoted recognition to each shadow and nuance.

George B. Bridgman, an established teacher at New York's paintings scholars League and a in demand instructor of determine drawing, chosen those fifty drawings as examples of differing types, ideas, and varieties of creative expression. Bridgman intentionally declined to accompany the drawings with serious textual content, within the expectation that the illustrations could communicate for themselves. Inspiring for college students and beneficial for teachers, this assortment bargains a wealth of expressive probabilities.

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Extra resources for Fifty Figure Drawings

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The political left, conversely, admires individual autonomy and promotes change, even radical change. At their extremes, the political right is fascist, the political left is anarchist. In the context of cultural customs, the place of honor at a formal dinner is on the host’s right-hand side. The groom stands on the right in the marriage ceremony, the bride on the left—a non36 the new drawing on the right side of the brain verbal message of the relative status of the two participants. We shake hands with our right hands; it seems somehow wrong to shake hands with our left hands.

The drawing exercises: one step at a time 21 On a sheet of paper, right in the middle of the sheet, write your own name the way you usually sign your name. Next, regard your signature from the following point of view: you are looking at a drawing which is your original creation—shaped, it is true, by the cultural influences of your life, but aren’t the creations of every artist shaped by such influences? Every time you write your name, you have expressed yourself through the use of line. Your signature, “drawn” many times over, is expressive of you, just as Picasso’s line is expressive of him.

Of course, if driving condi­ tions are difficult, if we are late or if someone sharing the ride talks with us, the shift to the alternative state doesn’t occur. The reasons for this we’ll take up in Chapter Three. The key to learning to draw, therefore, is to set up conditions that cause you to make a mental shift to a different mode of infor­ mation processing—the slightly altered state of consciousness— that enables you to see well. In this drawing mode, you will be able to draw your perceptions even though you may never have studied drawing.

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