3D Masterclass: The Swordmaster in 3ds Max and ZBrush presents a comprehensive, step-by-step guide to modeling, sculpting, unwrapping, texturing, and rendering a low poly game character. The professional workflow detailed in this book is typical of the games design industry, and anyone looking to produce a portfolio-worthy character will benefit from talented character artist Gavin Goulden's extensive experience.
Gavin Goulden is a US-based character artist currently working for Irrational Games on BioShock Infinite. A veteran in the games industry, he's been involved with a number of high profile projects over the years, including Dead Rising 2, Dragon Age, and F.E.A.R.2.
A compelling collection of self-portraits from throughout recorded history, revised to include captivating contemporary works
The challenge of interpreting and recreating their own likenesses has proven irresistible to artists throughout the ages. Originally published more than 80 years ago and last revised in 2000, this wholly new edition for 2018 presents a selection of powerfully evocative works by many of the world's greatest artists - from D rer and Rembrandt to Marina Abramovic, David Hockney, and Cindy Sherman - working in painting, photography, sculpture, and performance. Flowing in a chronological sequence, with interspersed artist quotes, it features essays by Julian Bell and Liz Rideal. This is both a useful resource and a thoughtful celebration of a much-loved art form.
Particularly since his spectacular exhibition in the Romanian Pavilion at the 56th Venice Biennale in 2015, Adrian Ghenie (born 1977) has been celebrated as one of the most interesting and unconventional painters of his generation. His works--painted in oils sometimes applied with a palette knife or thrown onto the canvas--have already gained entry into the collections of the Metropolitan Museum of Art, Tate Modern and the Centre Pompidou, and have achieved one auction record after another in the art market. Yet neither Ghenie's subjects nor his technique cater to public taste. The history of the "century of humiliation" (as Ghenie refers to the 20th century), and its perpetrators and victims, are the predominant sources for his collage-like compositions. These subjects are juxtaposed with heroes such as Van Gogh and Darwin, as well as depictions of himself.
Of all the artifacts from the history of medicine, the Anatomical Venus--with its heady mixture of beauty, eroticism and death--is the most seductive. These life-sized dissectible wax women reclining on moth-eaten velvet cushions--with glass eyes, strings of pearls, and golden tiaras crowning their real human hair--were created in eighteenth-century Florence as the centerpiece of the first truly public science museum. Conceived as a means to teach human anatomy, the Venus also tacitly communicated the relationship between the human body and a divinely created cosmos; between art and science, nature and mankind. Today, she both intrigues and confounds, troubling our neat categorical divides between life and death, body and soul, effigy and pedagogy, entertainment and education, kitsch and art. The first book of its kind, The Anatomical Venus, by Morbid Anatomy Museum cofounder Joanna Ebenstein, features over 250 images--many never before published--gathered by its author from around the world. Its extensively researched text explores the Anatomical Venus within her historical and cultural context in order to reveal the shifting attitudes toward death and the body that today render such spectacles strange. It reflects on connections between death and wax, the tradition of life-sized simulacra and preserved beautiful women, the phenomenon of women in glass boxes in fairground displays, and ideas of the ecstatic, the sublime and the uncanny.
Joanna Ebenstein is a multidisciplinary artist, curator, writer, lecturer and graphic designer. She originated the Morbid Anatomy blog and website, and is cofounder (with Tracy Hurley Martin) and creative director of the Morbid Anatomy Museum in Brooklyn, New York. She is coauthor of Walter Potter's Curious World of Taxidermy, with Dr. Pat Morris; coeditor of The Morbid Anatomy Anthology, with Colin Dickey; and acted as curatorial consultant to Wellcome Collection's Exquisite Bodies exhibition in 2009. She has also worked with such institutions as the New York Academy of Medicine, the Dittrick Museum and the Vrolik Museum.
In this superb guidebook, a skilled practitioner of figure drawing demonstrates how to achieve mastery of anatomy through careful, knowledgeable articulation of the muscles and bones lying beneath the skin. Joseph Sheppard's concise instructions have been carefully integrated with over 250 halftone illustrations and over 180 line drawings to lead artists one step at a time through the techniques required in rendering human anatomy convincingly.
The opening chapter of the book presents the special techniques involved in mastering human proportion.The chapters that follow each deal with a separate part of the body: the arm, hand, leg, foot, torso, head, and neck (with special coverage of facial features and expressions) and the complete figure.
Each of these chapters follows a basic format that combines drawings of the featured body portion from many different angles, coverage of the specific bones and muscles involved, a table of muscle origins and insertions, and coverage of surface anatomy and depictions of the body part in a variety of positions.
For centuries, the study of anatomy has played an important role in the education of artists. An understanding of anatomy constitutes the basis for the precise representation of human and animal forms whether at rest or in motion.
With more than seven hundred and fifty detailed illustrations by the Hungarian master artist Andr s Szunyoghy, Anatomy Drawing School offers an in-depth view into the anatomy of human beings and selected mammals.
This book brings two bestsellers together, combining Anatomy Drawing School: Animal Anatomy and Anatomy Drawing School: Human Anatomy.
For the student, the volume's remarkably precise depiction of the skeleton and muscles will open the door to the true-to-life reproduction of the various parts of the body and their movements, a critical step on the road to artistic mastery. Professor Gy rgy Feh r provides clear and precise descriptions to accompany every illustration. Above and beyond these anatomical descriptions, his introductory texts offer a living image of the depicted life forms.
This effective combination of artistic and scientific depictions makes Anatomy Drawing School an essential reference work for painters, graphic artists and anyone interested in anatomy.
Graphic artist and painter Andr s Szunyoghy is a professor at the Institute for Anatomical Drawing at the Academy of Applied Arts in Budapest His works have been featured in exhibitions in many different countries, spreading his renown far beyond the borders of Hungary.
Gy rgy Feh r was a veterinarian and a lecturer at the Budapest University of Veterinary Medicine.
Anatomy for 3D Artists is an essential teaching guide for sculpting human anatomy. Non-software specific, it is packed with everything today's 3D artist needs to know to tackle the difficult task of recreating the human form in 3D. Starting with 2D references, and moving on to practical and advanced 3D sculpting--including topology and animation preparation--every stage in the creation of an ideal male and female figure is covered. Featuring established artists such as Chris Legaspi and Mario Anger, there are also several master projects for an informative and in-depth overview of the 3D sculpting process, showing how the ideal human form can be adapted to fit any shape
Concise and uniquely organized, this outstanding guide teaches the essentials of anatomical rendering. Author Diana Stanley presents numerous illustrations and instructions covering the key aspects of anatomy, without the distractions of unnecessarily extensive technical details that many art students find discouraging.
Four major sections constitute the book, with studies of the trunk, the head and neck, the upper limb, and the lower limb. Each section features full coverage of the skeleton, the muscles, and their surface forms. The emphasis throughout is on relating anatomical structure to the actual surface appearance of the body, both at rest and in motion. Sixty-four exceptionally clear and instructive illustrations include diagrams of skeleton and muscle structure, as well as superb examples of figure drawing.
This affordably priced and easy-to-reference manual represents an invaluable addition to the library of every artist -- student and professional.