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O livro trata bastante sobre o processo de fazer arte consistentemente, seus desafios e recompensas, tudo com uma abordagem sóbria porém inspiradora.
Como curso de desenho, possui uma abordagem interessante que mescla teoria e prática com exercícios que podem e devem ser feitos repetidas vezes ao longo de sua carreira como artista, sempre usando outros desenhos como base.
Uma boa ideia é imprimir o desenho que se quer estudar e fazer as análises desenhando sobre um papel transparente posto sobre o desenho, como vegetal ou manteiga.
Enfim, um material bastante sólido para estudar junto a outros livros fundamentais, como os guias de Bridgman.
I love Steve Huston approach to drawing the human body. He use simple analogy that are easy to remember. I have followed his classes on New Master Academy, and now part of his Patreon. However I do like having his book on the side as there are a lot of master study, and it's just convenient to have Steve's drawing and demonstration, aside from my notebook. Honestly from the other comments saying the book could have used some editting, I really do not feel this this alter at all the value of the content. To me this is a no-brainer, buy the book!
A difficult presentation is still worth the effort. My drawings have jumped in dimension after studying this book. I have applied the big ideas of gesture, tube structure and the two value system. These three ideas have moved my drawings into more dynamic three dimensional images. My use of core shadow separating the light and dark planes has increased the depth in my drawings. This one new skill is worth the price of the book.
I have also applied a number of observations such as the "whistle notch", a method of noting the eye socket from the side and 3/4 back position. I now also use the "sail" head schema for the layout of the head for side views. This head layout is the most direct that I have seen and has the advantage of easily providing a correct placement of the ear. (Michael Hampton's "Figure Drawing Design and Invention" has another useful schema for drawing the head.)
Unfortunately reading this text is frustrating. The book needed a strong editor. Many of the examples seem obscure because they are difficult to connect with the drawings. Moreover, most of the diagrams are apparently made on a computer screen, give the effect of following a mathematical proof while the text itself is colloquial and seems to have been recorded from a live lecture. Terms such as "wiggly digits" p.158 and "wobbly surface variations" p. 39 are among those not explained. The frequent use of pronouns such as "this" make the presentation hard to follow. Editing would have replaced these pronouns with nouns improving reader comprehension.
Frequently the labels on the drawings are difficult to connect with the text. In one place the labels are completely left out of the diagram. On page 178 the letters mentioned in the text do not label the drawing making the discussion very hard to follow. Other times the discussion is not followed by a summation drawing. For example, the presentation of perspective of the human form p. 59-65 goes on for seven pages of careful description and diagrams but the summation drawing is of a giant Roman column not of a human figure.
A figure similar as the one at the very beginning of the discussion of perspective, page 62, could have been used as a summation drawing for the section. A figure drawn with wrapping lines would have shown the depth that he was describing making it clear to the reader how to apply the theory to an actual figure drawing. At key points such this he misses the obviously necessary explanation.
The book is worth studying because it presents some drawing ideas that I have not found anywhere else. How disappointing that the lack of strong editing makes important ideas unclear.