I would have liked to see more tips about how drawing specific materials should be handled. You'd need to be decent at drawing anatomy and most textures already to be able to use the information. There is no how-to whatsoever, and the explanations center around what points, or anchors of the body clothing wrinkles crease from. Each page has a stunning drawing of some imaginative character in flight, mid dance or doing sports with their costumes, helms and skirts flying. Not for beginners, which meant I felt a bit overwhelmed. It marks the beginning of the sober volume of integrated pictorial fiction, what is currently understood to be a graphic novel.īurne Hogarth passed away in 1996 at the age of 84. Dynamic Light and Shade (1981) and Dynamic Wrinkles and Drapery (1995) explored other aspects relative to rendering the figure.Īfter more than 20 years away from strip work and being hailed in Europe as "the Michelangelo of the comic strip," Hogarth returned to sequential art in 1972 with his groundbreaking Tarzan of the Apes, a large format hardbound book published by Watson Guptill in 11 languages. Dynamic Figure Drawing (1970) and Drawing Dynamic Hands (1977) completed the figure cycle. Dynamic Anatomy (1958) and Drawing the Human Head (1965) were followed by further investigations of the human form. During his years teaching, Hogarth authored a number of anatomy and drawing books that have become standard references for artists of every sort, including computer animators. Hogarth retired from the SVA in 1970 but continued to teach at The Parsons School of Design and, after a move to Los Angeles, The Otis School and Art Center College of Design in Pasadena.
He was able to pass his unique methods on illustration to his students in the classroom and, in 1958, to the readers of his first book, Dynamic Anatomy. In 1947, Hogarth co-founded (with Silas Rhodes) the School of Visual Arts which became his new direction in life. It wasn't long before he abandoned the attempt to maintain the original look of the strip and brought his own dynamic style to the Sunday comics page.
His first strip, very much in Foster's style, appeared May 9, 1937. At the age of 26, he was chosen from a pool of a dozen applicants as Hal Foster's successor on the United Features Syndicate strip, "Tarzan". Born in 1911, he was enrolled in the Chicago Art Institute at the age of 12 and an assistant cartoonist at Associated Editors' Syndicate at 15. Moving on to more complex lighting effects, Hogarth explains spatial light – how light and shade can create a sense of “near and far” environmental light – the effects of weather, time of day, and the changing of seasons textural light – how light reveals the surface qualities of forms that range from rough stone to silk and satin draperies transparent light – the effects passing through transparent materials like glass and water, and translucent substances like moving water or sailcloth fragmentation light – the disrupted light we see in such subjects as fire, rain, and flying snow radiant light – the intense light we see when we look into the light source itself, which may range from the sun to a candle flame and finally the various kinds of expressive light invented by the artist – such as the symbolic and mystic light of religious art, or the paterns of light and shade that convey a mood or a psychological state.īurne Hogarth illustrates every effect of light and shade with brilliant drawings in pencil, charcoal, carbon, pen and ink, and brush and ink, encouraging the reader to experiment with diverse drawing media.Burne Hogarth started young. In these chapters Hogarth illustrates the effects of these different kinds of light on a variety of subjects and examines both natural and artificial light sources. He then shows how the silhouette is transformed into three dimensions with the addition of minimal light – the highlight.įollowing these instructory chapters, Hogarth devotes a separate chapter to each of the given basic categories of light and shade: single-source light double-source light flat, diffused light moonlight and sculptural light. Hogarth begins with the simplist kind of light and shade, showing how a dark silhouette on white paper can communicate form and space. Here is the first book on this essential subject, the product of years of study by one of the world’s great teachers of drawing and an artist of international renown, Burne Hogarth. Mastery of light and shade – rendered with accuracy and expressive power – is the key to three-dimensional form in drawing and painting.
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