Drawing in the Digital Age et plus d'un million d'autres livres sont disponibles pour le Kindle d'Amazon. En savoir plus
EUR 38,03
  • Tous les prix incluent la TVA.
Il ne reste plus que 3 exemplaire(s) en stock (d'autres exemplaires sont en cours d'acheminement).
Expédié et vendu par Amazon.
Emballage cadeau disponible.
Quantité :1
Drawing in the Digital Ag... a été ajouté à votre Panier
Vous l'avez déjà ?
Repliez vers l'arrière Repliez vers l'avant
Ecoutez Lecture en cours... Interrompu   Vous écoutez un extrait de l'édition audio Audible
En savoir plus
Voir cette image

Drawing in the Digital Age: An Observational Method for Artists and Animators (Anglais) Broché – 2 mars 2012

Voir les 2 formats et éditions Masquer les autres formats et éditions
Prix Amazon Neuf à partir de Occasion à partir de
Format Kindle
"Veuillez réessayer"
"Veuillez réessayer"
EUR 38,03
EUR 16,02 EUR 29,83

Offres spéciales et liens associés

Descriptions du produit

Quatrième de couverture

Use Basic Math to Become a Better 3D Artist Despite the sophistication of today′s computer graphics software, if you want to become a professional 3D artist, solid drawing skills are essential. With a good foundation in drawing basics, you′ll be better equipped to create the more realistic characters and environments that today′s film, game, TV, and video markets demand. Using an exciting new drawing method based on simple math combined with established computer graphics principles, this book shows you step by step how to draw quickly and efficiently in a digital world. Find out how math can help you draw Master the six techniques of the Angle–Based Constructive (ABC) method Learn how to see, including how to extract shapes from a scene Review basic CG concepts, principles, shapes, and structures Discover hidden patterns, draw simple objects, and assemble them Learn advanced techniques, such as how to use curved shapes and shadow maps Draw the human body—find several tricks to make the job easier Explore the tradeoffs between accuracy and speed

Biographie de l'auteur

Wei Xu , PhD, teaches game programming and production, 3D math, and life drawing at the Art Institute of California—San Diego. He also teaches iOS game programming and drawing classes at University of California San Diego Extension. He is cofounder of Geomy Entertainment, LLC, a game–consulting firm. Xu was previously a lead engineer at Sony Computer Entertainment America for game technology R&D and a senior CG software engineer at Schlumberger Austin Technology Center.

Détails sur le produit

En savoir plus sur l'auteur

Découvrez des livres, informez-vous sur les écrivains, lisez des blogs d'auteurs et bien plus encore.

Dans ce livre (En savoir plus)
Parcourir les pages échantillon
Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
Rechercher dans ce livre:

Commentaires en ligne

Il n'y a pas encore de commentaires clients sur Amazon.fr
5 étoiles
4 étoiles
3 étoiles
2 étoiles
1 étoiles

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 17 commentaires
11 internautes sur 14 ont trouvé ce commentaire utile 
I must be missing something 17 janvier 2013
Par Reader - Publié sur Amazon.com
Format: Broché Achat vérifié
I am puzzled by this book, and although I read the entire book through to the end, I feel I must be missing something, based on the many enthusiastic reviews.

First of all, I really was attracted by the author's premise that there was a technique of precise measurement that could be easily applied, without tools, in an observational drawing situation. To me that implied that this technique referred to drawing from life - e.g. drawing figures, landscapes, etc., observed from life, out in the field, etc. When the author uses the term "observational" I interpreted that to mean drawing from life - i.e. observing life. What else could it mean?

However, because every single example of his technique is applied to copying photographs, rather than drawing from life, it seems that a better title for the book would be "How to Draw Precise Copies of Photographs." The biggest challenge to students of drawing is not how to copy a photograph. It is always understanding the proportions of their subject as observed from life, and then understanding how to translate those proportions to paper. It is always difficult for beginning (and often even for advanced) students to accurately translate, for example, a seated live figure to a drawn image that fills up the page. They don't know how to visually measure the proportions and duplicate them on a smaller or larger sheet of paper. The author's technique of placing dots and reference lines on the photograph and then copying them to a sheet of drawing paper is simply not applicable to live observation. One cannot put dots and lines on the model or the landscape.

Mr. Xu is quite right in saying that drawing classes do a poor job of addressing these problems. Variations of his methods (bounding boxes, bounding polygons, reference lines using landmarks, etc.) are in fact taught in drawing classes, but the reason they fall short is that when drawing from life, the student is unable to accurately translate what is observed to the paper. Like the butterfly effect, each minor inaccuracy compounds to result in a drawing where the proportions are obviously inaccurate. Students get better with practice, but that's because they become better observers of proportion, not because of these techniques. Those students who are not able to visually see the proportions never make much progress.

At the very end of Mr. Xu's book he presents a few examples of quick sketches he has done from life. However, here his techniques go out the window because they simply don't apply to life drawing. However, he feels that all the copying of photographs should be helpful in this situation. I'm not so sure. Are the techniques he presents really an advance over the old fashioned grid system he despises? Maybe when it comes to making an accurate copy of a two-dimensional image,there might be some increase in efficiency. But for observational drawing from life we have yet to find the magic bullet.

Maybe I've missed something important and I'd certainly be open to hearing where I've gone wrong.

To play devil's advocate, and to look at the problem in a different way, check out the 20,000 year old drawings in the Cheveau Cave in southern France. Consider the remarkable realism and perfect proportions of many of the images. Not only did these artists not have years of art academy training, nor did they spend decades copying the old masters, nor did they have computer graphics at their disposal, nor did they have their models frozen before them on a pedestal - and they were working in the near total darkness of a cave. No, they were drawing from memory, from their intimate observation of these animals, because their very survival depended on this degree of observation. It's humbling to think about this.
3 internautes sur 3 ont trouvé ce commentaire utile 
Looking for accuracy and efficiency? You'll find it all in this book. 27 juillet 2013
Par Anoynymous - Publié sur Amazon.com
Format: Broché Achat vérifié
As one of Dr. Xu's art students, I can attest that this book is filled with insightful and helpful tricks on how to draw better in terms of accuracy and efficiency.

Before taking Dr. Xu's class, the way I drew was similar to the contouring method (a.k.a. outlining), which is only a test of how good your hand-eye coordination is. It's just as difficult as, if not more difficult than, writing without looking because it's easy for your hand to wander off course without you even knowing. You don't have any markers to help exactly pinpoint where each point is, so you can only estimate the size and location of everything. If it turned out looking horrible for me, the only thing I could do was erase everything and redo the entire outline, which was so time-consuming that it would take me two hours to try to draw one good-looking apple.

I also used to have a tendency to immediately jump to perfecting the details, instead of focusing on the big picture before gradually adding the small details. As it is with most things, it always worked at first in the beginning, but when I kept on drawing, everything was out of place and out of balance, and the worst part of it all was I had no way of correcting it without erasing everything. So, I struggled to achieve the accurate proportions, perspectives, and relationships, and as a result, my drawings lacked quality and finesse. For instance, whenever I drew a portrait, I had trouble making sure the eyes and the nose and every component were all scaled and positioned correctly because I had no effective or efficient method of approach. Even when I tried fixing one part, another problem would just appear, and suddenly, it became this chain-reaction of problems that never seemed to end. Even though, I always tried my best on my drawings, those small mistakes and flaws here and there always accumulated much more quickly than I anticipated, and soon enough, my drawings looked absolutely atrocious.

You can imagine how frustrated I must have felt, stuck at this standstill, unable to improve because my toolbox was only limited to the contouring method. That is, of course, until I enrolled in Dr. Xu's class. Dr. Xu taught me that the key is to control the Degrees of Freedoms (DOF), systematically instead of individually. It makes perfect sense from a geometric point of view, and it explains why drawing can be so tough, as it was for me, if no scientific approach, like the contouring method, is used. During the seven-week course, I learned Dr. Xu's ABC method, as well as other various techniques that deal with using angles and scientific principles to control DOF's without using any measurement tools. I learned to draw with layers, perfecting the basic structure first before working inwards towards the more detailed aspects in order to achieve a more refined and accurate overall end result. And now, I no longer have to use the outlining method because Dr. Xu and his book have generously given me a wider range of tools to work with. With these new tricks, I can now draw objects much more accurately and much more efficiently, whether I'm drawing a simple cartoon picture of Mickey Mouse or a real, complex, 3-Dimensional human body.

With Dr. Xu's techniques, the drawing process is simplified into a step-by-step procedure of assembling basic shapes, where you control more and more shapes as you advance further on in your drawing. Ultimately, it's all about seeing everything, no matter how complex it is, as not an irregular figure, but a composite figure that you can easily deconstruct into elementary shapes, like triangles, rectangles, and circles, that we all know how to draw. You might think that Dr. Xu's scientific method is too difficult and intricate to learn because of all of the fancy mathematical principles involved. But in reality, it's much simpler than the mind first perceives it to be. If middle-school students can quickly master it (as in the seven-week course Dr. Xu offered at the UC San Diego Extension), then anybody can do it. Give it a try because the best part of it all is that as long as you can draw points and lines and measure angles, you can pretty much draw anything.
3 internautes sur 3 ont trouvé ce commentaire utile 
Amazing 3 avril 2013
Par D-lite - Publié sur Amazon.com
Format: Broché
THis book changed my understanding of drawing from life, no longer do i have to look at something for hours.
now i can see it and draw it in less than 1 minute.Truly an amazing book. the techniques are easy, the vocabulary understandable, and mostly it's as simple as 123.
This book it's worth every penny i spend on it.

In detail who ever gets this book will get:
-easy step by step techniques
-vocabulary in both 2-d and 3-D
-a better understanding of form
-lighting tips
-shading tips
-anatomy tips

truy an amazing book.
3 internautes sur 3 ont trouvé ce commentaire utile 
Fantastic 14 mai 2012
Par Jie H Ding - Publié sur Amazon.com
Format: Broché
This book teaches a radical new method of drawing that is not only simple, but works marvelously. While it states that it involves math, but that is only because of the shapes involved that math has names for. In reality one only needs to use a few basic shapes. I have recommended this to several friends and watched their skills instantly improve. Unlike the dull traditional methods, this is one that can be learned quickly with significant results. It is efficient and rewards practice and learning over "drawing skill".

This book is not only instructive for beginners, but also for those who have already learned how to draw using a different method. This theory is based on math, so any math people interested in drawing can appreciate how it works, but no math is actually required to use the method described. Whether you are serious or simply interested in drawing, this book is well worth the investment.
1 internautes sur 1 ont trouvé ce commentaire utile 
So, What's the Point? 10 novembre 2014
Par Amazon Customer - Publié sur Amazon.com
Format: Broché Achat vérifié
Xu takes the voodoo out of art. He demonstrates methodology and work flow that enables the artist to better see where things go, how things fit.

He doesn't talk about feelings or how a line is alive, but rather talks in terms of sequence, iteration, decision, and intentional abstraction and generalization to organize thinking and tasks. He shows how to simplify the complex and how to refine the simple. He uses the methods of mathematics and computer science to show how an artist can solve spatial problems. While he wastes some time at the beginning using mathematics to defend his position, the application of it that follows is pure gold. Xu's very special skill is clarity and simplicity in explaining his thinking.

Good pool players play good pool, but few (if any) can clearly explain how they do it. I am a fair pool player but I hit a point where my game was not improving. Then I stumbled upon edge-to-edge aiming and pivoting that allowed further improvement. What is interesting about all this is that the presenter of these techniques "re-discovered" them by carefully observing eye and body motions of professional pool players and interpreted for the rest of us what he thought was actually taking place.

In a similar fashion, I believe that drawing methods are often not clearly explained. My favorite example of this is seeing five lines and then next seeing a finished product and you are left thinking “how did THAT happen”. Xu is an artist that has a background that is all about defining structure and process. He uses his cross-discipline knowledge to demonstrate the problems that need solving and how they are solved. In short he explains what takes place (probably on an intuitive level) between an artist's ears (assuming they haven't been cut off yet). He demonstrates that drawing is an engineering task that benefits from a certain degree of hand-eye-coordination, yet does not require super-human hand-eye-coordination. Xu exposes the seeing, the organizing, and the execution of drawing. Xu's language and writing is clear, concise, well ordered, a joy to read and very much appreciated.

Xu intentionally documented a workflow that involves only pencil and paper, and I am sorry that he didn't explore more deeply using tools/software like photoshop or painter layers. He did after all use the digital word.

My first drawing using these techniques was awful. But it was good enough that I could see some things that I did right. I could spot tangible/fixable problems. This is a massive step forward for me and I thank you for this Wei Xu!! Practice, practice, practice, they say. Well, it is wonderful indeed when you are given something to practice that improves your skill. It is a wonderful feeling to be able to make progress – to improve. This book gives you that.

So, after all this inane rambling, what's the point? Get the damn book - you won't go wrong.
Ces commentaires ont-ils été utiles ? Dites-le-nous


Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?