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Drawing from Observation | 
 enlarge | Authors: Brian Curtis, Brian Curtis
Publisher: McGraw-Hill Humanities/Social Sciences/Languages
Category: Book
Buy Used: $6.75
New (11) Used (27) from $6.75
Avg. Customer Rating:  11 reviews
Sales Rank: 115609
Media: Paperback
Edition: 1
Number Of Items: 1
Pages: 336
Shipping Weight (lbs): 1.2
Dimensions (in): 9 x 7.3 x 0.6
ISBN: 0072410248
Dewey Decimal Number: 741.2
EAN: 9780072410242
ASIN: 0072410248
Publication Date: November 19, 2001
Availability: Usually ships in 1-2 business days
Shipping: Expedited shipping available
Shipping: International shipping available
Condition: Creased Cover Buy from the best: 4,000,000 items shipped to delighted customers. We have 1,000,000 unique items ready to ship today!
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Product Description
Perceptual drawing, in which one renders the physical world as it appears to an observer, is the focus of this new text for the introductory drawing course. Drawing from Observation offers a balanced mix of hands-on technique and perceptual theory while making a compelling argument for the long-term value of studying perception-based drawing.
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| Customer Reviews: Read 6 more reviews...
 one of the best April 26, 2008
I own an incredible amount of how to art books and this is the best among non figure drawing books. The exercises are of incredible help to me and there are an incredible amount of ideas to ignite my creativity.
One of the best basic drawing texts of the past 40 years..... January 22, 2008
With forty years of experience teaching basic drawing, this guide is probably the best I have seen for the beginning level university art student. It is clearly written and illustrated, thorough and pragmatic. Curtis does a very good job of explaining and illustrating linear and other perspective systems. The use of an imaginary clock face to estimate the angles of edges seen in perspective is very useful, and something I have done for years. (most students have difficulty comprehending a 45 or 90 angle, let alone something like a 27 degree angle).
I disagree with a previous reviewer's lack of interest in historical ideas such as the golden mean, and the Fibonacci sequence. While these certainly are not the only systems of visual organization, they demonstrate how some artists have designed their compositions. These ideas are about the relationships between various elements in a composition, and not just about perfecting a solitary object in the center of a blank page.
My only criticism is that the layout seems a bit cramped. It might look better with a larger page size, say 8.5 X 11 inches. This is a well done book and I hope it appears in a second edition.
Jim Nawara
Wayne State University
Drawing from Observation by Brian Curtis [Paperback] June 30, 2005
6 out of 6 found this review helpful
Wonderful book for any artist; should be a required for all artist's library. Great reference as well as instuctional guide. Well organized, each aspect of drawing is fully covered, well written and appropiately illustrated.
Great textbook. July 5, 2003
24 out of 24 found this review helpful
As a teacher of drawing, I have read many books on the subject. This book is the only one I would use as a textbook. I would agree with all the previous reviews but would only comment on the one review from the budding artist who felt the book is confusing and has too much art history for someone who only wants to learn to draw. I come to this book with over two decades of art experience so maybe that is why I find it so interesting, but even if the history is skipped and you read only the practical explanations and do the lessons in the back of the book, you will learn to draw from observation, as this book promises. The book is not meant to be read in two weeks. Learning to draw takes hard work and invested time.
great for design visualization December 25, 2002
16 out of 16 found this review helpful
This text is the front-runner in our search for a text to teach visualization drawing for computer graphics students. Its methodology for perceiving and translating form and space into drawing very nicely parallels the principles used in computer modeling. The section on perspective clearly presents principles in such a way as to merge intuitive and analytical understanding. This is a hallmark of the book in general. In addition to practical clarity the text adds historical and theoretical perspectives to round out one's understanding of drawing. I appreciate this because, in the case of our program, it helps us to link the traditions of human visualization from ancient times to the computer age.
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