Free Ebook Framed Perspective Vol. 2: Technical Drawing for Shadows, Volume, and Characters, by Marcos Mateu-Mestre

Free Ebook Framed Perspective Vol. 2: Technical Drawing for Shadows, Volume, and Characters, by Marcos Mateu-Mestre

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Framed Perspective Vol. 2: Technical Drawing for Shadows, Volume, and Characters, by Marcos Mateu-Mestre

Free Ebook Framed Perspective Vol. 2: Technical Drawing for Shadows, Volume, and Characters, by Marcos Mateu-Mestre

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About the Author

Born in Palma de Mallorca, Spain, Marcos Mateu-Mestre is a visual concept, traditional animation layout, and graphic novel artist with 25 years of experience in feature animation. Some of his film credits include Balto, The Prince of Egypt, Asterix and the Vikings, Surf’s Up, and How to Train your Dragon 2. His work in film, primarily for DreamWorks Animation and Sony Pictures Animation, has been focused on both the design and cinematic aspects of frame composition, lighting, and visual continuity of many key animation sequences, experience he summed up in his international best-selling book Framed Ink: Drawing and Composition for Visual Storytellers. In addition to his work in film, he has taught drawing, illustration, and visual storytelling techniques for 12 years and been a member of several international film festivals. Mateu-Mestre currently lives in Los Angeles.

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Product details

Paperback: 132 pages

Publisher: Design Studio Press (November 30, 2016)

Language: English

ISBN-10: 1624650325

ISBN-13: 978-1624650321

Product Dimensions:

8.6 x 0.5 x 11 inches

Shipping Weight: 1.4 pounds (View shipping rates and policies)

Average Customer Review:

4.9 out of 5 stars

37 customer reviews

Amazon Best Sellers Rank:

#29,669 in Books (See Top 100 in Books)

After a long hiatus from painting and drawing, I resumed using an old canvas that had stalled out in the early stages of its 4th repainting. Rounding up all my old brushes, tubes of acrylics, inks and dyes that hadn't dried out, I set to work limbering up by reworking a human figure in it. It was a relearning experience but what I learned first off after hours of struggle is that a figure constructed on a flawed foundation can't be "fixed". With great reluctance, I took medium gray acrylic and removed the figure entirely. Starting anew with another figure, the second thing I learned was just how much I'd forgotten about figure invention. Upon reaching another insoluble problem, I dug out my tattered copy of Burne Hogarth's Dynamic Anatomy and its followup Dynamic figure Drawing, that I'd stumbled upon accidentally in the Berkeley University bookstore while stationed in California. Encountering Hogarth's method of figure invention and placing that figure in motion was one of those life changing events. Studying his methods on my own and practicing them brought about a quantum leap in my art education exceeding even college level courses I took when I began formal art instruction. I never understood why Hogarth was not used as a standard text in any of the figure drawing classes I'd ever taken until I came to understand there was a distinct bias against illustrators among the fine art instructors I'd met. But that was an era when representational art in general and narrative art in particular was at its lowest ebb in esteem. This was ironic as my motivation for developing my artistic skill was to complement my writing. This was just prior to the graphic novel coming into its own, so perhaps it was bad timing. One bright exception was my first water media instructor, who though a dedicated abstract expressionist at the time had been an illustrator prior to WWII. When he asked us our motivations for studying art and I gave mine, his face lit up as he exclaimed: "That's fantastic! Now you'll be able to work both sides of the street, so to speak." And eventually I was, hand illustrating articles for a newspaper my wife published. However the deadlines proved horrifically short and my skills declined from rushed work. With the ready availablity of images from the internet I ceased hand illustrating altogether.But I found even Burne Hogarth could not get me back up to my former level at the rate I desired. And that was when I stumbled upon Marcos Mateu-Mestre's Framed Perspective 2 here on Amazon while searching for fine line water soluble pens. Just glancing at the reviews and excerpts made me realize this was precisely what I needed. So I ordered it at once. Skimming it quickly the moment it arrived (in record time), I saw that Marcos had taken Hogarth to the next level. Though I am still studying his lessons, some of the most important were imparted almost instantly. If it looks right, even if it's wrong, it's right. If if looks wrong, even though it's right, it's wrong. To be believable, a figure in space and motion must be considered as a whole. A sense of life and vitality can never be imparted to a frankenstein assemblage of parts. And lastly the artist must constantly be aware of volume in space and the invisible flow of kinetic energy through it. These were probably things I'd already known at one point but it took Marcos to provide an invaluable graphic reminder. I think part of Marco's genius is his ability to convey complex information in easily understood terms and illustrations; the mark of a master teacher. It is even more remarkable that he is able to do this in such slim books at such a low price. An encyclopedia's worth of information distilled into slender paperbound books for far less than you pay for a lot of fat hardbound books containing a fraction of the useful data. I received Framed Perspective 1 for a birthday present and even though a glance at its contents seems as intimidating as a course in quantum physics, I know from Framed Perspective 2 it is within my grasp. I just ordered Framed Ink and have no doubt I will have a collection of everything he's published before long. Now to put his wisdom into practice!

An excellent resource for drawing perspective. A lot of beginning artists lack the basic fundamentals of perspective and anatomical knowledge. This book is an excellent tool.

This book is awesome. It explains in great detail how shadows, lighting, and camera angle work, and gives many, many samples. This is extremely beneficial to comic artists, and just general artists.

I've been a fan of Marcos Mateu-Mestre's work ever since discovering 'Framed Ink', which quickly became one of my most recommended art books. I'm happy to say, these new volumes live up to every bit of my expectations.Framed Perspective Volume 2 picks up where Volume 1 leaves off. Primarily, it focuses on how light and shadow fall on objects in perspective. Admittedly, this can get pretty advanced at times (ie. how long is the shadow from a steeple across a staggered roof?), but the resource of information is invaluable.For me, the highlight of the book (and the majority of it's focus), is how Marcos describes and deconstructs the human form into simple geometric shapes so that you can apply the very same lighting principals to lighting the human figure. Aside from a few notable exceptions (ie. Burne Hogarth's Dynamic Lighting), I can think of VERY few other books that delve into the subject of creating accurate lighting from imagination.Aside from the wonderful cache of information in this book, much like Framed Ink, it is chock full of beautiful drawings that are sure to impress any artist. I think this book would be a great value at even double the cover price.

This was a gift for my son who already had the book "Ink" from the same author. He is quite pleased with this one as well. He also got Vol 1

Excellent. Wish I had access to this a long time ago.

The information is presented in a way that relates to manga and comic artists as well as more traditional objective depictions.

GOOD!

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Framed Perspective Vol. 2: Technical Drawing for Shadows, Volume, and Characters, by Marcos Mateu-Mestre PDF

Framed Perspective Vol. 2: Technical Drawing for Shadows, Volume, and Characters, by Marcos Mateu-Mestre PDF

Framed Perspective Vol. 2: Technical Drawing for Shadows, Volume, and Characters, by Marcos Mateu-Mestre PDF