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High-Focus Drawing is an exciting and challenging new approach to figure drawing from one of America's most celebrated illustrators. Designed for students who are already comfortable with the fundamentals of figure drawing, this book focuses on the essential question of life drawing: how does one capture the natural rhythms and energies of the human form?
Inside, you'll find page after page of inspiring instruction as well as dozens of examples from master artists. Particularly useful are insightful critiques of unfinished works by the author and his students.
High-Focus Drawing presents a unique aesthetic and perspective. Truly a one-of-a-kind art book, it is sure to inspire and delight students for years to come.
James McMullan, one of America's foremost illustrators, is best known for his many acclaimed theater posters for Lincoln Center. His 1976 New York magazine cover and interior illustrations inspired the imagery of the film Saturday Night Fever. He is the author of four books.
- Sales Rank: #2129468 in Books
- Published on: 1995-11-01
- Original language: English
- Number of items: 1
- Dimensions: .41" h x 8.49" w x 11.48" l, 1.40 pounds
- Binding: Paperback
- 158 pages
Most helpful customer reviews
0 of 0 people found the following review helpful.
Five Stars
By HN
Great book, very helpful for anyone looking to improve their life drawing skills
9 of 10 people found the following review helpful.
Only For Advanced Students - Not Basic Instruction
By Stephen Tashiro
The book "High-Focus Drawing" does not teach the basics of figure drawing. It is oriented toward advanced students who already have basic competence. The purpose of the book is to convey author James McMullan's aesthetic standards for drawings and instruct advanced students how to attain them.
I won't presume to summarize his aesthetic philosophy, which is explained throughout the text. To give an idea of the level of abstraction, he talks about "energy" and "rhythm" in drawings. He talks about "trajectory lines". Such ideas will only be useful to a person who isn't struggling with the more elementary matters of getting the proportions of a figure correct or showing the effects of perspective.
For example, on page 72, in a critique of a student's drawing, James writes:
"Although both students read the rhythms of the light leg fairly well, giving a certain emphasis to the outside edge of the calf and making it clear that the model's left leg is a secondary player, the rhythms in the left hip in John's drawing falter. They don't manage to carry the energy of the right leg successfully up into the torso; we feel an indeterminate quality around the waist in the figure as though the lines hint at the change in direction but can't quite make up their mind."
As to the concrete properties of the book, the pages are about 8 1/4 inches wide by 11 1/2 inches tall. They are of somewhat glossy paper. Many contain nude photographs of male or female models that are roughly 2 inches wide by 4 inches talls. Drawings by the author and his students are shown on full or half pages The author gives critiques of the student drawings. There are 158 numbered pages.
The book contains sketches, not finished works of art. These are line drawings and have hardly any shading. I estimate each drawing took about 20 minutes to complete. They are still at the stage where the edge of a shape might be indicated by several lines instead of one. The viewpoint is that of a traditional figure drawing class. The artist is far enough away from the model so that there is no exaggerated perspective. (It isn't like comic book art where a figure's dramatically large hand may reach toward the viewer.)
For teaching the basics of figure drawing this book would rate 1 star out of 5 because it gives no information whatsoever on that subject -"revolutionary" or otherwise. Misleading product descriptions are almost a tradition for non-fiction publications, so I rate the book for its intended purpose. I give it 4 stars out of 5 to indicate it is a good presentation of author's aesthetic views and how students can implement them.
(I'm not rating this book as a financial deal. At the time of this writing, the computer algorithms that set the book's prices are producing strange results!)
7 of 8 people found the following review helpful.
The Book Is great....
By Assmonkey
as a companion to McMullans class at SVA, which I have done. It is also a great tool on the proper way to draw figure. The book instructs the reader how to see the life flowing through the pose...as much as yoda as that sounds. Starting with a shoe and then a plant. It also instructs how the artist should sit and view the model. Rember there is no real subsitute for the actual class and no book is going to make you great.
Personally I have had my differences with Mr McMullan and could go as far as sayign no I don't like him BUT the book is a great tool, as "a reader" stated. One last thing if Mr. Gargan feels that "I doubt if any artist would find this of much value" then please explain why the classes at The School Of Visual Arts in NYC are always packed and turn out people who en up working for disney?
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