After you've got the basics down, you'll learn how to use the same techniques to portray every feature of the human face. You'll also discover how to figure out what the features of your photographed model really look like so you can draw them from different angles. Then Hammond shows you how to put all those features together to create a lifelike portrait that truly captures the individuality of your subject.After you've completed these easy-to-do drawing exercises, you'll soon be turning the memories frozen in your old snapshots into warm, beautiful works of art.

    She shows you how to use dots, fine lines, brushstrokes, black and white, color--a mixture of mediums and techniques--to suggest: glass, cast iron, adobe and brick, sunrise and sunset, driftwood, leaf textures, basketry, surf and ocean, waves, enamelware, rainbows, wood grain, distant trees, eggs and onions, animal hair, and dozens of other textures! You'll learn how to use materials, from technical pens to paint brushes, colored inks to liquid acrylics. You'll discover ways to blot, spatter, stamp and otherwise alter and combine ink and watercolor for exciting texturing effects.

    Over the decades these periodicals featured superb cutaways and details of virtually every aircraft. The bulk of these cutaways have been hidden away in archives for years but are now being republished here. Comprehensive text and history of each aircraft accompany the drawings, along with the best photography from Aeroplane Monthly's archives as well. Over 60 aircraft and engines are featured in this volume including 12 on double page gatefolds.

    His drawings, which are practically all that remains of his work, include revolutionary cityscapes with setback skyscrapers, overpasses for pedestrians, and traffic lanes; power plants that express both admiration for science and a lingering need for lyricism; and futurist stations for trains and airplanes dramatized by bold, kinetic facades.This handsome book is the most comprehensive account of Sant'Elia's work ever written. Esther da Costa Meyer analyzes his dazzling designs, decoding his "high-tech" imagery and showing how he was influenced not only by the futurist movement but also by other international currents that wove through Milanese culture - such as symbolism, art nouveau, and the Vienna Secession - as well as visual culture and industrial architecture. Da Costa Meyer also covers Sant'Elia's short life, his career as a socialist, and the posthumous cult that grew around him during Italy's fascist regime.

    The structure of the male body is examined in detail and used as the basis for a variety of drawings in different poses and styles.

    This desire led me to avoid, to a great extent, the method of dividing into chapters and into paragraphs classed according to the compartment treated. If method there be in the composing of this book, it consists in examining any given drawing under all its aspects, however distinct they may be from one another ac- cording to accepted tenets. Though such system-or lack of system-may possibly, do its work in calling attention to the fundamental homogeneity of artistic expression, it is evident that it is not a form of presentation convenient for reference and for study. In order to palliate this defect to some extent, I have taken considerable trouble with the index or rather with the indexes, for it has been decided to assemble all anatomical terms, together with those dealing with the construction, and allied matters, into a separate list. This decision alone will simplify the finding of any particular point connected with the actual practice of figure-drawing. Again, to further this end I have in many cases indicated, in black Clarendon type, the references to the pages on which the particular subject receives its fullest treatment. It is obviously impossible to carry out such a plan in a strictly methodical way, for it becomes a matter of mere opinion to decide which reference is, and which just fails to be, worthy of heavy type. At the same time my intention is that this book should be of more use to the student as a general training in outlook upon art, upon its meaning, and upon its methods, than as a craftsmans book of reference. Indeed, I have more than once in its pages referred the reader to other works should he require more detailed information on any special point. On the whole I have tried to include in these pages information not readily accessible elsewhere, and have omitted such facts as may be found with ease in existing text- books. The Clarendon Press has not thought fit to fall in with my notions as to the general appearance of the book, hence the text implies one point of view, the appearance. of the book belies it.....

    - Lots of ideas that will capture the imagination and hold the interest of young children.