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Our payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Please try again.Please try again.Please try again. I have heard over and over: “Are my proportions correct?” “Is the head too big?” “Do the hands look all right?” “Are the legs too short?” These are the questions that compelled me to write this book. This is not your typical anatomy book, there are plenty good ones already. This is a GUIDE, a WORKBOOK full of useful information about the human figure, its relative proportions, measurements and many more surprises. The best use for the book is to have it opened next to you as you work on your piece, using it as a quick guide. My main goal was to teach artists in a very clear, easy to understand and concise way the most important “Human Relative Proportions” and “Prominent Bone Landmarks” of the human figure This book contains 234 pages and over 200 original illustrations. In order to make the book as condensed and visually friendly as possible, I have limited the technical terms to those which I consider essential to an art student. Instructional illustrations appear on the right-hand page and corresponding explanations on the left. I tried not to crowd the illustration with too much information so that students can find answers at a glance, and eventually overcome the need to read the explanation. I wanted to include what I consider essential and basic knowledge to any art student in a SIMPLIFIED AND EASY WAY to follow. I have carefully selected the “Relative Proportions” in this book according to their level of usefulness and the ease of measurement with a respectable degree of accuracy.This book is mainly dedicated to the human skeletal system, as bones are the basic structure and primary point of departure of relative proportions.

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I begin with an introduction of the skeletal system, with basically accurate and clear bone illustrations without the distraction of any other anatomical parts. In subsequent chapters, my main objective is to provide the artist with useful and practical information over anatomical clarity. Learning the human skeletal system is the foundation but it is not nearly enough for the artist without knowing the subcutaneous bone landmarks. Bone landmarks are so fundamental to the artist that I have dedicated a whole chapter to their study. Without accurate representation, the most perfectly proportioned figure will lack structure and realism. A comprehensive step-by-step guide as to how best to represent hands, feet, and ears are included. All are body parts that are a main source of intimidation for most students, and are cartilaginous in nature such as the ears, or exhibit a great number of subcutaneous bone landmarks such as in the hands and feet. This book ends with a compilation of exchanges I have had with my students in which I share my experience and observations on diverse subject matters, hoping to enhance your work. Ultimately there are no shortcuts in becoming a fully skilled artist. It requires a huge commitment, discipline, and practice. In the end, we usually see what we expect to see, and we expect to see what we know; therefore a large portion of the quality of your work has a direct correlation to what you have learned. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. After graduating with a Bachelor's of Science Degree in Business Administration from San Francisco State University, she moved to Europe where her fervor for classical sculpture was ignited. When she returned to the U.S., she pursued her classical sculpture training for five years under the tutelage of Master Sculptor Harriet Moore in San Francisco, California. Ms.

Rodriguez's powerful style depicts a strong sense of movement, energy, and elegance. Since 1996 Ms. Rodriguez has been sharing her knowledge and passion teaching Classical Figure Sculpture with professional models from her studio in San Francisco. She is repeatedly invited to give live sculpture demonstrations at the California Palace of the Legion of Honor Museum in San Francisco. She offers sculpture workshops nationwide, gives private consultations and critiques. Ms. Rodriguez teaches at Waldorf High School Sculpture Department in San Francisco.Full content visible, double tap to read brief content. Videos Help others learn more about this product by uploading a video. Upload video To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Please try again later. Paula Sanchez 4.0 out of 5 stars Haft of it is a list of the bones and drawing which is not posible for me to memorise and that useful for me that is why I give 4 stars.Comparison and more easy to follow structures of proportions and form. I do recommend this guideline is easy to follow and easy to remember.The illustrations and descriptions are clear, and there are great quotes from famous artists. A must-have for any artist studio.Appropriate and clear photos and drawing. A good addition to my sculpting resourse library.But when I'm not in one of her classes, reading this book allows me to access her insight, perception and experience in sculpture and proportion any time I want.Page 1 of 1 Start over Page 1 of 1 Previous page Next page. This is not your typical anatomy book, there are plenty good ones already. This is a GUIDE, a WORKBOOK full of useful information about the human figure, its relative proportions, measurements and many more surprises.

The best use for the book is to have it opened next to you as you work on your piece, using it as a quick guide. In order to make the book as condensed and visually friendly as possible, I have limited the technical terms to those which I consider essential to an art student. Instructional illustrations appear on the right-hand page and corresponding explanations on the left. I tried not to crowd the illustration with too much information so that students can find answers at a glance, and eventually overcome the need to read the explanation. I wanted to include what I consider essential and basic knowledge to any art student in a SIMPLIFIED AND EASY WAY to follow.This book is mainly dedicated to the human skeletal system, as bones are the basic structure and primary point of departure of relative proportions. I begin with an introduction of the skeletal system, with basically accurate and clear bone illustrations without the distraction of any other anatomical parts. In subsequent chapters, my main objective is to provide the artist with useful and practical information over anatomical clarity. Learning the human skeletal system is the foundation but it is not nearly enough for the artist without knowing the subcutaneous bone landmarks. Bone landmarks are so fundamental to the artist that I have dedicated a whole chapter to their study. Without accurate representation, the most perfectly proportioned figure will lack structure and realism. A comprehensive step-by-step guide as to how best to represent hands, feet, and ears are included. All are body parts that are a main source of intimidation for most students, and are cartilaginous in nature such as the ears, or exhibit a great number of subcutaneous bone landmarks such as in the hands and feet. This book ends with a compilation of exchanges I have had with my students in which I share my experience and observations on diverse subject matters, hoping to enhance your work.

Ultimately there are no shortcuts in becoming a fully skilled artist. It requires a huge commitment, discipline, and practice. In the end, we usually see what we expect to see, and we expect to see what we know; therefore a large portion of the quality of your work has a direct correlation to what you have learned. Sunday, June 27Fastest delivery. Saturday, June 26Our payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Please try again.I have heard over and over: “Are my proportions correct?” “Is the head too big?” “Do the hands look all right?” “Are the legs too short?” These are the questions that compelled me to write this book. This is not your typical anatomy book, there are plenty good ones already. This is a GUIDE, a WORKBOOK full of useful information about the human figure, its relative proportions, measurements and many more surprises. The best use for the book is to have it opened next to you as you work on your piece, using it as a quick guide. My main goal was to teach artists in a very clear, easy to understand and concise way the most important “Human Relative Proportions” and “Prominent Bone Landmarks” of the human figure This book contains 234 pages and over 200 original illustrations. In order to make the book as condensed and visually friendly as possible, I have limited the technical terms to those which I consider essential to an art student. Instructional illustrations appear on the right-hand page and corresponding explanations on the left. I tried not to crowd the illustration with too much information so that students can find answers at a glance, and eventually overcome the need to read the explanation. I wanted to include what I consider essential and basic knowledge to any art student in a SIMPLIFIED AND EASY WAY to follow.

I have carefully selected the “Relative Proportions” in this book according to their level of usefulness and the ease of measurement with a respectable degree of accuracy.This book is mainly dedicated to the human skeletal system, as bones are the basic structure and primary point of departure of relative proportions. I begin with an introduction of the skeletal system, with basically accurate and clear bone illustrations without the distraction of any other anatomical parts. In subsequent chapters, my main objective is to provide the artist with useful and practical information over anatomical clarity. Learning the human skeletal system is the foundation but it is not nearly enough for the artist without knowing the subcutaneous bone landmarks. Bone landmarks are so fundamental to the artist that I have dedicated a whole chapter to their study. Without accurate representation, the most perfectly proportioned figure will lack structure and realism. A comprehensive step-by-step guide as to how best to represent hands, feet, and ears are included. All are body parts that are a main source of intimidation for most students, and are cartilaginous in nature such as the ears, or exhibit a great number of subcutaneous bone landmarks such as in the hands and feet. This book ends with a compilation of exchanges I have had with my students in which I share my experience and observations on diverse subject matters, hoping to enhance your work. Ultimately there are no shortcuts in becoming a fully skilled artist. It requires a huge commitment, discipline, and practice. In the end, we usually see what we expect to see, and we expect to see what we know; therefore a large portion of the quality of your work has a direct correlation to what you have learned. Show details Download one of the Free Kindle apps to start reading Kindle books on your smartphone, tablet, and computer. Obtenez votre Kindle ici, or download a FREE Kindle Reading App.

After graduating with a Bachelor's of Science Degree in Business Administration from San Francisco State University, she moved to Europe where her fervor for classical sculpture was ignited. When she returned to the U.S., she pursued her classical sculpture training for five years under the tutelage of Master Sculptor Harriet Moore in San Francisco, California. Ms. Rodriguez's powerful style depicts a strong sense of movement, energy, and elegance. Since 1996 Ms. Rodriguez has been sharing her knowledge and passion teaching Classical Figure Sculpture with professional models from her studio in San Francisco. She is repeatedly invited to give live sculpture demonstrations at the California Palace of the Legion of Honor Museum in San Francisco. She offers sculpture workshops nationwide, gives private consultations and critiques. Ms. Rodriguez teaches at Waldorf High School Sculpture Department in San Francisco.To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Haft of it is a list of the bones and drawing which is not posible for me to memorise and that useful for me that is why I give 4 stars.Comparison and more easy to follow structures of proportions and form. I do recommend this guideline is easy to follow and easy to remember. What I thought was going to be a simple 30 page guide to be printed at my local printer, turned out two years later, into an award winning 232 page book. I'd like to emphasize, this is not an anatomy book, there are plenty good ones out there. This is a very useful and practical working guide highlighting relative proportions which are defined as the comparative measurements among the parts of the body.
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I learned many of these relative proportions as a student, others were taken from the great works of Leonardo Da Vinci, and from reputable contemporary anatomist. I carefully selected the ones in this book according to their level of usefulness to the artist and the ease of measurement with a respectable degree of accuracy. You can go to various sources for your information, but this book will pull them together in a way I have yet to find in another book. In order to make the book as condensed and visually friendly as possible, I have limited the technical terms to those which I consider essential to an art student. Instructional illustrations appear on the right-hand page and corresponding explanations on the left. I tried not to crowd the illustrations with too much information so that students can find answers at a glance, and eventually overcome the need to read the explanations. It requires a huge commitment, discipline, and practice, practice, practice. And, it's most essential ingredient, lots of love, as there's not enough patience for what we do, but pure passion. The lamination protects it from dust or clay. To purchase you must contact me directly, please. I tried not to crowd the illustrations with too much information so that students can find answers at a glance, and eventually overcome the need to read the explanations. EEEEEEThis book is mainly dedicated to the human skeletal system, as bones are the basic structure of the human body and the primary point of departure of relative proportions. I have introduced the skeletal system with fairly accurate and clear bone Illustrations without the distraction of any other anatomical parts. As opposed to subsequent chapters which main objective is to provide the artist with useful and practical information over anatomical clarity. EEERelative proportions are defined as the comparative measurements among the parts of the body. These measurements are taken from the bones, usually between the joints.

EEI learned many of these relative proportions as a student; others were taken from the great works of Leonardo Da Vinci and from reputable contemporary anatomist. I have carefully selected the ones in this book according to their level of usefulness to the artist and the ease of measurement with a respectable degree of accuracy. You can go to various sources for your information, but this book will pull them together in a way I have yet to find in another book. EEE EEEEEI want to make clear that these relative proportions should not be considered the ultimate measurements on human beauty nor are they infallible. However, they are exceptionally useful and indispensable guidelines for the artist. If you are working from a model, I recommend following the models measurements if you wish to create a piece with its own individual characteristics. On the other hand, if you are working from memory, or from photographs, following these guidelines will undoubtedly help you render a well-proportioned figure. EEEE EEELearning the skeletal system is the foundation but it is not nearly enough for the artist without knowing the subcutaneous bone landmarks. Subcutaneous means under the skin, and bone landmarks refers to visible bony protrusions or projections which can be seen and felt.EEThere are over forty (40) surface bone landmarks in the human body. Bones landmarks are so fundamental to the artist that I have dedicated a whole chapter to their study. Without their accurate representation the most perfectly proportioned figure will lack structure and realism. EEEEEI discuss in detail hands, feet and ears, all body parts that are a main source of intimidation for most students. Hence I have included a comprehensive step-by-step guide as to how best to represent them. The book ends with exchanges I have shared with my students in which I answer their questions and share my experience and observations on diverse subject matters.

EEEEEUltimately there are no shortcuts to becoming a fully skilled artist. It requires a huge commitment, discipline and practice. In the end we usually see what we expect to see, therefore a large portion of the quality of your work has a direct correlation to what you have learned. The discipline of studying the human figure is a never-ending challenge. In fact no artist really gets to fully master it. Fortunately we are so complex physically and mentally that we offer endless visual metaphors and thus endless gratification.Prices subject to change withoutSome products may not be available in all areas. All prices are in US dollars. We. We do not sell or rent our customer information - Privacy Notice. Por favor, intentalo de nuevo mas tarde.This is not your typical anatomy book, there are plenty good ones already. This is a GUIDE, a WORKBOOK full of useful information about the human figure, its relative proportions, measurements and many more surprises. The best use for the book is to have it opened next to you as you work on your piece, using it as a quick guide. In order to make the book as condensed and visually friendly as possible, I have limited the technical terms to those which I consider essential to an art student. Instructional illustrations appear on the right-hand page and corresponding explanations on the left. I tried not to crowd the illustration with too much information so that students can find answers at a glance, and eventually overcome the need to read the explanation. I wanted to include what I consider essential and basic knowledge to any art student in a SIMPLIFIED AND EASY WAY to follow.This book is mainly dedicated to the human skeletal system, as bones are the basic structure and primary point of departure of relative proportions. I begin with an introduction of the skeletal system, with basically accurate and clear bone illustrations without the distraction of any other anatomical parts.

In subsequent chapters, my main objective is to provide the artist with useful and practical information over anatomical clarity. Learning the human skeletal system is the foundation but it is not nearly enough for the artist without knowing the subcutaneous bone landmarks. Bone landmarks are so fundamental to the artist that I have dedicated a whole chapter to their study. Without accurate representation, the most perfectly proportioned figure will lack structure and realism. A comprehensive step-by-step guide as to how best to represent hands, feet, and ears are included. All are body parts that are a main source of intimidation for most students, and are cartilaginous in nature such as the ears, or exhibit a great number of subcutaneous bone landmarks such as in the hands and feet. This book ends with a compilation of exchanges I have had with my students in which I share my experience and observations on diverse subject matters, hoping to enhance your work. Ultimately there are no shortcuts in becoming a fully skilled artist. It requires a huge commitment, discipline, and practice. In the end, we usually see what we expect to see, and we expect to see what we know; therefore a large portion of the quality of your work has a direct correlation to what you have learned. After graduating with a Bachelor's of Science Degree in Business Administration from San Francisco State University, she moved to Europe where her fervor for classical sculpture was ignited. When she returned to the U.S., she pursued her classical sculpture training for five years under the tutelage of Master Sculptor Harriet Moore in San Francisco, California. Ms. Rodriguez's powerful style depicts a strong sense of movement, energy, and elegance. Since 1996 Ms. Rodriguez has been sharing her knowledge and passion teaching Classical Figure Sculpture with professional models from her studio in San Francisco.

She is repeatedly invited to give live sculpture demonstrations at the California Palace of the Legion of Honor Museum in San Francisco. She offers sculpture workshops nationwide, gives private consultations and critiques. Ms. Rodriguez teaches at Waldorf High School Sculpture Department in San Francisco.Para calcular la calificacion general por estrellas y el desglose porcentual por estrellas, no usamos un promedio simple. Nuestro sistema toma en cuenta cosas como lo reciente que es una calificacion y si el revisor compro el producto en Amazon. Tambien analiza las calificaciones para verificar su fiabilidad. Haft of it is a list of the bones and drawing which is not posible for me to memorise and that useful for me that is why I give 4 stars.Comparison and more easy to follow structures of proportions and form. I do recommend this guideline is easy to follow and easy to remember. Answer the questions at right to get an even more accurate recommendation. Apply Filters When you click a book link, we may earn a commission from Amazon or other merchants.. You can see the exact price for this rental at Amazon. Dust jacket may not be included for hardcover. We cannot guarantee digital codes are redeemable, or valid, as these are donated goods. Glued binding. 234 p. In Stock. 100 Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers. Fine. Glued binding. 234 p. In Stock. 100 Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers. New. When you click a book link, we may earn a commission from Amazon or other merchants.. You can see the exact price for this rental at Amazon. Dust jacket may not be included for hardcover.

We cannot guarantee digital codes are redeemable, or valid, as these are donated goods. Glued binding. 234 p. In Stock. 100 Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers. Fine. Glued binding. 234 p. In Stock. 100 Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers. New. When you click a book link, we may earn a commission from Amazon or other merchants.. You can see the exact price for this rental at Amazon. Preview. Please upgrade your browser to improve your experience. Click here For a full list of countries we are able to deliver to, please click here. Teaching classical figure sculpture since 1996 has given me insight into student's common mistakes and questions. I have heard over and over: ?Are my proportions correct?? ?Is the. Read more I have heard over and over: ?Are my proportions correct?? ?Is the head too big?? ?Do the hands look all right?? ?Are the legs too short?? These are the questions that compelled me to write this book. I didn't embark to write another typical anatomy book, there are plenty good ones already. This is a GUIDE, a WORKBOOK full of useful information about the human figure, its relative proportions, measurements and many more surprises. The best use for the book is to have it opened next to you as you work on your piece, using it as a quick guide. My main goal was to teach artists in a very clear, easy to understand and concise way the most important ?Human Relative Proportions.In order to make the book as condensed and visually friendly as possible, I have limited the technical terms to those which I consider essential to an art student.

Instructional illustrations appear on the right hand page and corresponding explanations on the left. I tried not to crowd the illustration with too much information so that students can find answers at a glance, and eventually overcome the need to read the explanation. I did not embark to re-invent the wheel with this book, but I wanted to include what I consider essential and basic knowledge to any art student in a SIMPLIFIED AND EASY WAY to follow. I have carefully selected the ?Relative Proportions.I begin with an introduction of the skeletal system, with basically accurate and clear bone illustrations without the distraction of any other anatomical parts. In subsequent chapters my main objective is to provide the artist with useful and practical information over anatomical clarity.Learning the human skeletal system is the foundation but it is not nearly enough for the artist without knowing the subcutaneous bone landmarks. Bone landmarks are so fundamental to the artist that I have dedicated a whole chapter to their study. Without accurate representation the most perfectly proportioned figure will lack structure and realism. A comprehensive step-by-step guide as to how best to represent hands, feet and ears is included. All are body parts that are a main source of intimidation for most students, and are cartilaginous in nature such as the ears, or exhibit a great number of subcutaneous bone landmarks such as in the hands and feet. This book ends with a compilation of exchanges I have had with my students in which I share my experience and observations on diverse subject matters, hoping to enhance your work.Ultimately there are no shortcuts in becoming a fully skilled artist. It requires a huge commitment, discipline and practice. In the end we usually see what we expect to see, and we expect to see what we know; therefore a large portion of the quality of your work has a direct correlation to what you have learned.

We welcome criticism as long as it fits within our ' house rules '. Click here to see our full list of house rules. But items marked with Express Delivery or. All delivery options are explained at the checkout.It could be that it's a really popular title and we're simply waiting for the publisher to print and supply more stock. Sometimes, it may be the case that the book is no longer in publication. As a result of the COVID-19 pandemic, many of our suppliers are reporting disruption because of staff shortages and transit limitations.By continuing to use our website; you're agreeing to our use of cookies and other terms and conditions around data usage. It could be that it's a really popular title and we're simply waiting for the publisher to print and supply more stock. Sometimes, it may be the case that the book is no longer in publication. As a result of the COVID-19 pandemic, many of our suppliers are reporting disruption because of staff shortages and transit limitations.