The Practice and Science of Drawing Harold Speed 9781544883779 Books
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Much of the learning to practice as well as to appreciate art is concerned with understanding the basic principles. One of these principles is what Harold Speed calls "dither," the freedom that allows realism and the artistic vision to play against each other. Very important to any artist or work of art, this quality separates the scientifically accurate from the artistically accurate.
The Practice and Science of Drawing Harold Speed 9781544883779 Books
there are no illustrations/plates in this edition (at least the paperback volume i was sent). this makes the book essentially useless. the quality of the free online version illustrations/plates are very low and near useless as well. whatever the historical value of the text it's difficult to practice without the works being discussed.too bad. others seem to find it really great.
i'd go with the bargue book in which the plates are well reproduced, also a good (and popular) book.
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Tags : The Practice and Science of Drawing [Harold Speed] on Amazon.com. *FREE* shipping on qualifying offers. Much of the learning to practice as well as to appreciate art is concerned with understanding the basic principles. One of these principles is what Harold Speed calls dither,Harold Speed,The Practice and Science of Drawing,Createspace Independent Pub,1544883773,General,EDUCATION General,Education
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The Practice and Science of Drawing Harold Speed 9781544883779 Books Reviews
This book is an excellent resource for anyone starting out in teaching themselves to draw. Those who just want a refresher on what drawing should be like in the mind of the artist would benefit. This is a valuable gem showing how the subject should be approached from an acquisition stand point. Guided practice makes perfect. His approach and suggestions for acquiring the skills to draw are isolated as his science by building off the blocks he previously laid down for foundations. These progressive steps should be noted. The theories or plans are presented with pictures of his own design and plates from other artists referred to. He even provides a good selection of reference suggestions that coincide with the discussions and lessons. I would highly recommend this book as one of many for the study without a master, yet a must have even with a teacher. It might open your mind up to the meaning and drive of individual art, or provide a new technique or approach that might have been looked over.
While written quite some time ago, and including some negative criticism of what was then new styles of artistic expression, this work is as valuable to the modern artist as it ever was.
While the title would lead one to expect it to be mostly useful to illustrators, print makers, or other artists who predominantly "draw" rather than other media, the author spends as much time on painting technique as he does drafting, and his commentary on composition, line, and colour is universal to all two dimensional art forms.
I strongly recommend this work, and expect to refer back to it often.
This book is a must have for any serious representational artist. Speed's talent for breaking the artistic process down and putting it into words is unrivaled. His illustrations are perfectly matched to the lesson and his incredible talent as a teacher is apparent in his explanations.
Where the book is most helpful to the artist are the sections on Line Drawing Practical and Mass Drawing Practical. In the chapter on line drawing, Speed sets out, in a succinct style, to explain practical methods of measuring, applying these systems to the figure, the mechanics of light, and foreshortening. He always supplements the technical knowledge he is imparting with a larger aesthetic insight.
The chapter on Mass Drawing Practical is essentially a primer for painting. He simplifies the process by reducing it to drawing with charcoal and using two colors white and raw umber. By isolating the process in this way, he allows the student to focus on brushwork, drawing, and paint quality. The highlight of this chapter is the excellent portrait demonstration where Speed illustrates his methods of drawing in charcoal, massing in the tones, and refining until the portrait is achieved.
The remainder of the book relates more to layout and composition with the exception of the extremely enlightening chapter on portrait drawing. In this chapter, Speed explains what it means to achieve a likeness versus a masterful portrait and details several different approaches in portraiture.
My copy of this book is dog eared, underlined, and worn. I've read it again and again and will continue to read it as I progress as an artist. This book is such a bargain considering the depth of content and quality of instruction. I would not hesitate to recommend this to anyone who truly is seeking to grow as an artist. Buy this book, read it again and again as you draw and paint to benefit from one of the most gifted art teachers in print.
there are no illustrations/plates in this edition (at least the paperback volume i was sent). this makes the book essentially useless. the quality of the free online version illustrations/plates are very low and near useless as well. whatever the historical value of the text it's difficult to practice without the works being discussed.
too bad. others seem to find it really great.
i'd go with the bargue book in which the plates are well reproduced, also a good (and popular) book.
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