George Brant Bridgman war ein kanadisch-amerikanischer Künstler, Lehrer und Schriftsteller. In Kanada geboren, verbrachte er den Großteil seines Berufslebens in den USA, wo er Anatomie und Figurenzeichnen an der Art Students League of New York unterrichtete. Zu seinen Schülern zählten viele zukünftige berühmte Künstler, was seinen bedeutenden Einfluss auf nachfolgende Künstlergenerationen unterstreicht.
This volume combines six well-known books by celebrated artist and lecturer George A. Bridgman, who taught figure and anatomy drawing at New York City's Art Students League. In this fifth edition, the interior art has been cleaned and the design freshened in two-color. In its sleek new format, this authoritative volume is sure to continue as one of the premier figure-drawing publications of all time.
A variety of sketches depicting bone and muscle structure, as well as human features, illustrate these lessons in drawing human forms
Drawings and sketches illustrate the way to capture movement when drawing the human hand
INTRODUCTION: The contraction of a muscle always moves toward its center, necessitating adjustments in muscle configuration and positioning to achieve the desired motion. This results in a diverse array of muscle forms and arrangements, including variations in tendons—some muscles have double or treble tendons, while others may have none or share a tendon with multiple muscles. The shape of each muscle can vary greatly, yet the fundamental principle of contraction remains straightforward. This complexity in the muscular system mirrors the work of an artist, who utilizes materials as they are, employing skill to shape them for specific functions. For example, the mouth is designed for cutting and grinding food, a function that can be aided by mechanical devices like a millstone. In the human body, the lower jaw acts as a movable component, functioning as a lever, while the upper jaw remains stationary. The temporal muscle, which raises the lower jaw, is attached to the coronoid portion of the jaw and converges under the zygomatic arch. The lower jaw, shaped like a horseshoe, articulates with the temporal bone, and the prominent masseter muscles facilitate jaw movement, bringing teeth together for mastication. Unlike facial muscles, the temporal and masseter muscles connect immovable bones to the movable lower jaw. Additionally, the mouth serves not only for mastication but also for respiration and sound production.
Shares ideas on perspective, planes, and anatomy as they relate to portrait drawing
The book presents Bridgman's innovative approach to figure drawing through the use of "boxes" as a foundational method. This technique simplifies the complex anatomy of the human form, making it accessible for artists. Bridgman’s instructional style emphasizes understanding the structure and proportions of the body, providing valuable insights for both beginners and experienced artists looking to enhance their skills in figure representation.
Featuring meticulously detailed anatomical studies, this book offers an in-depth exploration of the human figure, complemented by exquisite illustrations. It serves as a valuable resource for artists and students alike, providing insights into the complexities of anatomy with a focus on clarity and precision. The combination of thorough research and artistic representation makes it an essential reference for anyone interested in mastering the art of figure drawing.
"The Book of a Hundred Hands" is exactly what it sounds like. With this delightful little book George Bridgman has handed the world's artists a remarkable resource. As he points out, the human hand has a tremendous capacity for expression, and the attentive artist takes advantage of this potential to imbue their work with detail and meaning. After all, we can tell a lot about a person from their hands: everything from a subject's age and gender, to their psychological and emotional states, and even occupation. With 100 carefully-selected illustrations that clearly identify the regions of the hand in a variety of positions, "The Book of a Hundred Hands" is the perfect workbook and reference for any artist, beginning or experienced. Whether you read it as a textbook or pull it from your shelf for inspiration when you're stumped on a particular hand-rendering problem, this book is a worthy addition to any artist's library. The lessons it contains are sure to elevate your human figures to new levels of expression and detail.