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Figure Drawing EbooksModelling - Volume I
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Learn How to Draw How to draw People 
Stumble It!Learn How to Draw Perspective
How to Paint How to Draw CartoonsPurchase the ebook by clicking the "Buy Now" button at the bottom of the page.
After completing the purchase you will be directed to a web page which will give you a link to the download site.
Modelling - Volume I
A Guide for Teachers and Students
Published in 1922
157 illustrations including 38 photographs of work in progress.
| A link to a bulletin board about sculpture books Sculpture Community - Sculpture.net mentions this book, it is referring to the print copy but the recommendations still apply: Jamo - 09-15-2005, 02:00 PM sculpting and modelling the human figure by eduard lanteri very good book. strong basis for sculpting the bust and figure alot of technical methods from a classical approach. I would suggest picking this one up. Merlion - 09-23-2005, 07:22 PM sculpting and modelling the human figure by eduard lanteri very good book. strong basis for sculpting the bust and figure alot of technical methods from a classical approach. I would suggest picking this one up. I agree. This book, first published by Chapman & Hall, London, in 1902, is a real classic. I remember reading that even the famous Rodin said he learnt from this book. I find the chapter on "Drapery" very good, the best I have seen, with clear explanation illustrated by sketches and photos. The book has been republished by Dover Publication in 1965 and 1985. It is still in print and I bought a new one recently. Modelling and Sculpting the Human Figure  Merlion - 09-23-2005, 10:04 PM About A Rodin's mention of E Lanteri, I have just checked. Lanteri was actually the sculpture teacher of Rodin. And in a complimentary letter published as part of the forward in Lanteri's other book, "Modelling and Sculpting Animals", Dover Publications, Rodin wrote, "My Dear Master, My Dear Friend, None more than you has gained the affection of his pupils. You are at one and the same time a sculptor and a teacher of sculpture, that is to say, so equipped that your teaching has ever been in accordance with experience. ... Your friends Dalou, Boehm, Legros and myself, to whom our intercourse has been so charming, have ever been faithful to you. These artists and workers have ever loved the great worker in you, who to-day give to the public your science of anatomical form, one of your studies - your constant care. ...." This is a review of the book from a contemprary publication Arts & Crafts Magazine Vol 1-2, by Hutchinson & Company. ...All he undertakes to do is to teach him the craft of the sculptor, and that he does most thoroughly. Naturally, he insists on the supreme importance of drawing as the foundation of sculpture. On this point he will admit of no compromise. There are teachers who tell us that the child learning to model first, acquires the knowledge of drawing intuitively. It is the "Kindergarten" theory, and something is to be said in favour of its practice so far as it may develop in very young children a feeling for form; but Professor Lanteri undoubtedly is right in declaring that "no student ought to be admitted to modelling in a school unless he has first done some serious drawing." For first studies in modelling, he recommends the human features from the cast, and he considers that the best models for the details of the face are not those from "the antique," but from the masque of the "David" of Michel-Angelo. These, he points out, are executed " with such precision, so much knowledge of form and anatomy, that in copying them the student is seized with the desire to know the reason for these forms, and he is thus urged on to the study of anatomy,.. ...Even more important than the study of the bones is that of the muscular system, and he makes that clear, but he does not fail to remind the student that whilst anatomy teaches the general laws of the human form, it is the living model that shows the same laws applied and modified by individual characteristics... |
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PREFACE E. ONSLOW FORD.
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INTRODUCTION CONTENTS PART I THE FEATURES FROM THE CAST (a) The Mouth (b) The Nose (c) The Ear (d) The Eye THE HEAD FROM ThE CAST (1) The Skull (2) The Muscles PART II THE BUST FROM LIFE. MEASUREMENTS DIAGRAM OF CoNstruction OF FEATURES (a) Mouth (b) Nose (c) Ear (a') Eye TREATMENT OF HAIR MOUSTACHE AND BEARD DIAGRAM OF FACE PART III FIGURE FROM NATURE FRAMEWORK SCALE OF PROPORTIONS POSING THE MODEL CHIEF LINE CONTRASTS OF LINES AND OF PROJECTION OF SURFACES BUILDING UP OF FIGURE MEASUREMENTS AND OSTEOLOGICAL CONSTRUCTION OF FIGURE INFLUENCE OF OSTEOLOGY ON SUPERFICIAL FORMS RADIATION OF LINES EXAMPLE OF THE ILISSUS SPACES OF REST BETWEEN MASSES EXPRESSION IN MODELLING CONTINUATION OF LINES COMPARATIVE PROPORTIONS MUSCLES OF THE FIGURE‹PHOTOGRAPHS FROM CLAY MODEL AND DIAGRAMS THE SKELETON IN DIFFERENT VIEWS |
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"...I am recommending your site to all of my colleagues. We do special effects for motion pictures and t.v. and extensively use anatomical reference for our work. The newer anatomy books just don't have the same qualities..." DOWNLOAD THE E-BOOK Modelling
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