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• Description: Vintage Art Book "Drawing the Figure" by Russell Tredell Art c.1950 XL Size
EXCELLENT ARTWORK WHICH COULD EASILY BE FRAMED TO PRODUCE HIGH END ART FOR YOUR HOME
Drawing is fun. If you like to draw there is no reason why you shouldn't. Paper and pencil and the desire are all you need to start. The fun is in the doing. Inspiration is purpose with sleeves rolled up. You may be born with talent but it is nothing until you use it. Draw what you like, figs or figures, bugs or bodies, a still life of books, bowls and flowers, a landscope of trees, houses and water, or the living animal; all are good subjects.
The human body is one of the most perfect forms in nature. Its beautiful proportions, functional grace, and never-ending variety have intrigued artists of all time. Perhaps because it is our own, we like to draw it. Pictorially, the nude can have charm, and need not shock any one. The nude can also have power in its conception and form,
This book is designed to stimulate your interest in drawing the figure and, within its limits, will concentrate upon the female of the species (intending no slight to the other half of the "form divine"). There are no set rules or standards for art or for beauty. They are matters of choice and opinion.
Drawing, as structure, is the very foundation of the graphic and plastic arts. Drawing, as a sketch or study, is a kind of pictorial shorthand by which you express your ideas in line and tone and texture about three dimensional things in this space-active world. The marks made on paper are signs or symbols for things, as words are the symbols of a writer. The drawing urge starts early-even before we leam to talk. Given poper and pencil small children gleefully make marks. They are really drawing. Tell them to make the sun, and the result will be a circle with lines radiating from it. It is such a successful sign for light, that it fairly glares at you. Drawing, in its own right, can also be Art, as great as any other.
What you have to say in drawing will have to be said in two dimensions. You can't dig into your paper-can't draw all sides as o sculptor can. To suggest depth with these limitations, it will be necessary to use the symbols of drawing with purpose and intelligence.
Objects seem to diminish in size the further they are from the eye. Primitive man simply drew distant objects smaller. The artists of the Orient do not use perspective as we know it, nor do they use shadows in their design, as we do. The Chinese artist designs his landscape to be viewed, unlike our landscopes, from the bottom up. The lower part con foins the nearest objects above that, the middle distance, and at the top, distant things.
Occidental perspective and shadows are quite a shock to the Orien tal artist, whose art is traditionally interpretive, rather than grophic. Draw the way you feel. It is a matter of choice-your choice.
You need not know perspective to draw the figure unless you want it in elaborately furnished compositions. You can suggest that a figure is standing, sitting, or reclining without a rug, chair, or couch. Unless the addition of background and furniture helps your composition, leave them out, or select only what you feel is necessary to tell your story. The "ultra-modem school" confuses those who want their pictures factual. Artists are forever searching for new ways of saying the same thing. If it pleases on artist to be non-objective or to distort natire for purposes of emphosis or design-why not? "Madem" is a degree of time, not of method. We can learn from every sincere offert
What others have accomplished is an open book. "There is nothing new under the sun-only the quality of its statement. Borrow, copy whatever is useful in your progress. If you make use of photographs as a subsitute for life, remember that the camera has but one eye and can't think. Copy, if you learn something by it, especially the work of the masters. Their studies are often more revealing than their finished works. Books containing these drawings are available in libraries and book and art material stores.
Art supply stores and many stationery stores carry art material. To begin, you really need only paper and pencil. But get charcoal and a very useful eraser, variously called "kneaded," "plastic" or "moulded" rubber. It absorbs and picks up the charcoal. It does not leave crumbs that smudge when you brush them away and does not mar or scratch the surface of your paper. You can mould it to a point and even draw with it-see opposite page). There are three types of pencils: graphite (ordinary lead pencil), carbon (Conte type), and the crayon or lithograph (with grease base). They are not necessarily compatible. The graphite and crayon won't mix with pastel or water color. The most useful pencils are black, sanguine (brick red) and sepia (dark brown). The same colors in pastel sticks are good to have handy. Learn to work with your fingers. Don't try to keep them clean. They wont wear out and can think and feel for you. There are, perhaps, as many ways to interpret form as there are forms to interpret. Here is but one way to get something down
Scratch some pastel on a piece of cardboard-(this is your palette). Pick up some of the powder on your thumb and apply it, as you would with a brush, on your paper (see opposite page). It is a quick way to cover or furnish an area. Use the pencil point when you want a line or a sharp edge. You can combine the red and black on your palette, or superimpose each separately on your drawing.
You will find a drawing board about 20 inches wide very useful. Steel clips or thumb tacks will hold your paper. If you like to work standing, you will need an easel but there is no rule against sitting. Any straight-backed chair without arms will hold your board and will slant it just about right. Tie a cord across the bottom of the board and behind the chair back. Now the board can't slip and you have the chair sear handy to hold your palette and materials.
Put your whole mind and body into every line and smudge you make. Get excited. It's fun. Don't just copy-interpret. Don't depend upon color to snap things up. You can make a sketch in the time it takes to find a certain shade of color. Decide on what you are going to use, and put the rest out of reach.
Enroll in an art school or sketch class, if possible. You will gain much by comparison and association with other students-Art isn't taught not creative ort. It is lived and practiced. The best instructors stimulate their students to think and da for themselves. They con introduce you to the tools and methods, to the theories and history of art. The rest
is up to you, A professional model is best, of course, but anyone in a modern. bathing suit does very well for study.
Pure drawing is a handsome language. What you don't de can count for as much as what you do. A verse of four fines is better thou one of eight if it expresses as much. In a fine drawing lines are like o melody and in counterpoint: tone the accompaniment, and color the full orchestration. The drawing's the thing.
Starting this book was as easy as starting a drawing. To fill in poges I needed to remind myself that there were some who knew less than I about the subject. A good craftsman is a better o
Artist. Time will determine the artists.
Good drawing to you.
Russell Tredell
• Dimensions: Please see photos
• Condition: Good considering this book is around 60+ years old - The photos are of the Actual item so please study carefully before buying and if you have any questions it's easier for both yourself and me if you please ask before receiving the item & having to return it
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