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Human Anatomy Made Amazingly Easy
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$19.99
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Product Details
Author:
Christopher Hart
Format:
Paperback
Pages:
144
Publisher:
Clarkson Potter/Ten Speed (September 1, 2000)
Language:
English
ISBN-13:
9780823024971
ISBN-10:
0823024970
Weight:
20.4oz
Dimensions:
8.5" x 10.9" x 0.45"
Case Pack:
24
File:
RandomHouse-PRH_Book_Company_PRH_PRT_Onix_full_active_D20260705T121802_156890340-20260705.xml
Folder:
RandomHouse
As low as:
$15.39
List Price:
$19.99
Publisher Identifier:
P-RH
Discount Code:
A
QuickShip:
Yes
Audience:
General/trade
Country of Origin:
China
Pub Discount:
65
Imprint:
Watson-Guptill
Overview
From head to toe, the human form, in all its complexities, is visually simplified to such a degree in this remarkable workbook that even complete beginners will soon be able to draw accurate, well-proportioned faces and figures every time they try.
Avoiding complex charts of muscles and bones that are more helpful to doctors than to artists, this book’s refreshing approach teaches anatomy from a cartoonist/illustrator’s point of view. For example, there are many large and small muscles in the neck, all rendered in great detail in most anatomy books, but here, master teacher Christopher Hart shows only the four that are visible and need to be drawn. His clear instruction helps readers to visualize and portray shifting body weight in a pose without the need of a model, and instead of showing a mass of facial muscles and bones, he translates them into the simple planes an artist needs to draw a range of expressive faces.
Avoiding complex charts of muscles and bones that are more helpful to doctors than to artists, this book’s refreshing approach teaches anatomy from a cartoonist/illustrator’s point of view. For example, there are many large and small muscles in the neck, all rendered in great detail in most anatomy books, but here, master teacher Christopher Hart shows only the four that are visible and need to be drawn. His clear instruction helps readers to visualize and portray shifting body weight in a pose without the need of a model, and instead of showing a mass of facial muscles and bones, he translates them into the simple planes an artist needs to draw a range of expressive faces.








