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Anatomy for Fantasy Artists: An Illustrator's Guide to by Glenn Fabry

By Glenn Fabry

Right here in one quantity is a realistic, finished education direction for budding illustrators operating to grasp comedian ebook paintings, photo novels, myth posters, sci-fi e-book covers and illustrations, and desktop video games. the writer, a hugely profitable fable artist, teaches the fundamentals of human anatomical drawing and musculature, in addition to standpoint and composition. He then instructs on how you can distort, improve, and remodel the human determine, giving it positive factors that diversity from sizeable or magical to super-agile or better than existence. distinctive artist's references and step by step directions convey tips to construct our bodies that really stretch the imagination--mighty alien warriors, kick-boxing cyber-punks, and mega-muscled superheroes, to call quite a few. artwork scholars additionally find out how to exhibit their characters in lots of varied dynamic motion poses, akin to flying, spinning, punching, and leaping, in addition to how one can exhibit each one character's feelings via facial expressions. greater than three hundred colour illustrations.

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Additional resources for Anatomy for Fantasy Artists: An Illustrator's Guide to Creating Action Figures and Fantastical Forms

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Once you’ve done a few of these, you can elongate, compress or otherwise torture any image you see without the help of Mylar or mirrors. Compressed Old Hat This series of distorted self-portraits was done by looking into a sheet of mirrored Mylar. To do this, pin or tape the Mylar so that it bends in various ways—and hold very still as you draw. Most of these were done in vine and compressed charcoal with the help of a kneaded eraser. 48 Slim Flat Hat Asymmetry Mosaic Cowboy The drawing below was done from reflections in a mosaic mirror.

Crumpled paper, put under a strong light, reveals dozens of small planes and edges. You can capture these in a drawing by carefully observing the shapes: first the overall shape of the paper, then the shapes of the creases and facets. Squint often to distinguish the strong from the subtle. MAPPING YOUR SUBJECT Mapping the major shapes of your subject is a key first step in drawing complex damaged objects. This makes filling in the unusual planes and shadows a manageable problem. DENTED METAL Drawing shiny, reflective objects like these crushed cans requires a patient rendering of shapes, as well as a clear distinction between hard and soft edges.

Occasionally I would rotate the paper to find room for a new doodle. After about a year of this I began to get artsy, touching up some doodles and obscuring others. I started using white paint to highlight some of the images. ” Parts are done at different times, some on top of each other. There’s no planning, no central theme. The work becomes a kind of tapestry. Its variety derives from the simple fact that it’s much easier to think of one image a day for a hundred days than to think of a hundred images in one day.

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