Helpful Book, 13 Apr 2008
This is a good book for those who can't draw with a good selection of positions and ideas.
The best use of this book is to trace the outline of the models in light pencil or scan into your computer and clear away the unsuitable shading and clothing lines in an art program. Then get creative!
With a little bravery you can change the proportions of the figures to fit your or someone elses body form.
The drawings are not the greatest but the book benefits from its simplicity.
Get it used for a bargain!

Helpful Book, 13 Apr 2008
This is a good book for those who can't draw with a good selection of positions and ideas.
The best use of this book is to trace the outline of the models in light pencil or scan into your computer and clear away the unsuitable shading and clothing lines in an art program. Then get creative!
With a little bravery you can change the proportions of the figures to fit your or someone elses body form.
The drawings are not the greatest but the book benefits from its simplicity.
Get it used for a bargain!



Best portrait book in the world!, 23 Apr 2008
I love this book, its made me much more aware of chiaroscuro and sfumato than ever before even my landscapes and other studies have improved from this book. The portraits are stunning and you could just admire those if nothing else. Get it, you won't regret it!

And I thought I could draw..., 07 Feb 2008
I don't know about you lot, but after a bit of a gap I find I need to rediscover the skills of drawing. Ten years, me. So when I got this little gem in the post, apart from thinking "S**t, this guy can do it," I found his text to be a little like sitting in a lecture. You can almost hear his voice. To benefit from the accompanying drawings, you have to read the introductory chapters - which, if you're serious about the art, is no great hardship. This is one of those "must-haves", a reference for those lazy gits who take their talent for granted. I know, 'cause I'm one of 'em.
Buy it. You won't regret it.

Easily the best book on this subject, 21 Mar 2006
I have many books on this subject, but this is by far the best. It is lavishly illustrated throughout, with page after page of delightfully competent examples by Maughan, demonstrating every aspect of the skill.

Maughan begins by explaining his methods and preferred materials. The Carbothello pencils he uses are wonderful to draw with. He moves on to explain chiaroscuro, value, form, shadow and so on, all of which I recommend you read it thoroughly before taking on his extensive chapters on the subject of drawing the head.

He deals with the subject in ample detail, and to his credit he writes very well too. There is a lot to read but every word of it is useful. His examples (and there are very many) are not the unusably rough pieces found in other books, but are in large scale, often in close-up and annotated, so you can really see in detail what he's doing and how he does it. He also rather cleverly provides equally high quality examples of how NOT to draw - for example, showing what happens when the proportions are incorrect or the lighting is poor. You could use this book to merely ape the Maughan style, but I believe it has much more value than that if you take the time to understand his methods and apply them to your work.

Often with such books, the benefit you derive from them depends to some extent on whether you like the artistic style of the author. I happen to like it, but even if you don't, Maughan's tremendous skill and understanding of his subject is such that it would be a shame to miss the opportunity to learn from him. This book has improved my skill greatly.

Even if you don't draw, the book makes an excellent coffee table piece.

I've had my copy from Amazon for while, but at time of writing (21 Mar 2006) the price is an absolute bargain at £12.89.

A consistent and convincing approach, 11 Nov 2004
The value of any book on drawing technique is very much dependent on the experience of the reader, in particular the questions he or she brings to the book, the problems which are seeking solutions. The advantages of a book like this which takes one specific approach and deals with it in moderate depth are firstly that it is a document from which to work, not just a coffee table amusement, and secondly that one can see straight away whether it is addressing one's specific problems. As drawer of four or five years' experience with a preference for accuracy and what is misleadingly termed "realism", and having started drawing from life a little under a year ago, I found Maughan's approach consistent and convincing because it reinforced some of the directions in which I was naturally being led.

The emphasis is on the balancing of light and dark (chiaroscuro) as the fundamental units of composition rather than on line or gesture. These techniques work best with soft pencil or pastel crayon on a slightly toothy surface of intermediate tone. The light and dark are laid in with white and sanguine or sepia. A crucial distinction is drawn between soft and hard edges. The emphasis is on looking and on simplicity and economy.

But I have one caveat. Experience also teaches that there is no one right way to draw, that the technique depends on the material, that what convices the eye is how well the hand has rendered the imagined world. In the end line and gesture are as important as the play of the light on the dark.

Helpful Book, 13 Apr 2008
This is a good book for those who can't draw with a good selection of positions and ideas.
The best use of this book is to trace the outline of the models in light pencil or scan into your computer and clear away the unsuitable shading and clothing lines in an art program. Then get creative!
With a little bravery you can change the proportions of the figures to fit your or someone elses body form.
The drawings are not the greatest but the book benefits from its simplicity.
Get it used for a bargain!



Best portrait book in the world!, 23 Apr 2008
I love this book, its made me much more aware of chiaroscuro and sfumato than ever before even my landscapes and other studies have improved from this book. The portraits are stunning and you could just admire those if nothing else. Get it, you won't regret it!

And I thought I could draw..., 07 Feb 2008
I don't know about you lot, but after a bit of a gap I find I need to rediscover the skills of drawing. Ten years, me. So when I got this little gem in the post, apart from thinking "S**t, this guy can do it," I found his text to be a little like sitting in a lecture. You can almost hear his voice. To benefit from the accompanying drawings, you have to read the introductory chapters - which, if you're serious about the art, is no great hardship. This is one of those "must-haves", a reference for those lazy gits who take their talent for granted. I know, 'cause I'm one of 'em.
Buy it. You won't regret it.

Easily the best book on this subject, 21 Mar 2006
I have many books on this subject, but this is by far the best. It is lavishly illustrated throughout, with page after page of delightfully competent examples by Maughan, demonstrating every aspect of the skill.

Maughan begins by explaining his methods and preferred materials. The Carbothello pencils he uses are wonderful to draw with. He moves on to explain chiaroscuro, value, form, shadow and so on, all of which I recommend you read it thoroughly before taking on his extensive chapters on the subject of drawing the head.

He deals with the subject in ample detail, and to his credit he writes very well too. There is a lot to read but every word of it is useful. His examples (and there are very many) are not the unusably rough pieces found in other books, but are in large scale, often in close-up and annotated, so you can really see in detail what he's doing and how he does it. He also rather cleverly provides equally high quality examples of how NOT to draw - for example, showing what happens when the proportions are incorrect or the lighting is poor. You could use this book to merely ape the Maughan style, but I believe it has much more value than that if you take the time to understand his methods and apply them to your work.

Often with such books, the benefit you derive from them depends to some extent on whether you like the artistic style of the author. I happen to like it, but even if you don't, Maughan's tremendous skill and understanding of his subject is such that it would be a shame to miss the opportunity to learn from him. This book has improved my skill greatly.

Even if you don't draw, the book makes an excellent coffee table piece.

I've had my copy from Amazon for while, but at time of writing (21 Mar 2006) the price is an absolute bargain at £12.89.

A consistent and convincing approach, 11 Nov 2004
The value of any book on drawing technique is very much dependent on the experience of the reader, in particular the questions he or she brings to the book, the problems which are seeking solutions. The advantages of a book like this which takes one specific approach and deals with it in moderate depth are firstly that it is a document from which to work, not just a coffee table amusement, and secondly that one can see straight away whether it is addressing one's specific problems. As drawer of four or five years' experience with a preference for accuracy and what is misleadingly termed "realism", and having started drawing from life a little under a year ago, I found Maughan's approach consistent and convincing because it reinforced some of the directions in which I was naturally being led.

The emphasis is on the balancing of light and dark (chiaroscuro) as the fundamental units of composition rather than on line or gesture. These techniques work best with soft pencil or pastel crayon on a slightly toothy surface of intermediate tone. The light and dark are laid in with white and sanguine or sepia. A crucial distinction is drawn between soft and hard edges. The emphasis is on looking and on simplicity and economy.

But I have one caveat. Experience also teaches that there is no one right way to draw, that the technique depends on the material, that what convices the eye is how well the hand has rendered the imagined world. In the end line and gesture are as important as the play of the light on the dark.

Excellent, 11 Sep 2006
A real must for those who really want to understand what it is they are actually drawing. Each part of the body is studied in detail, from head to toe we are taken on a detailed journey through the inner landscapes that inform the outer.
The photography is superb, and the poses themselves are well considered, reflecting the considerations of the old masters in their attempt to show the body as a divine vehicle rather than a mundane cellular mass. After all a good deal of the masters were privy to the hermetic and timeless mystery that consciousness is not a result of cellular growth , but in fact cellular growth is a result of consciousness, which in its purest form is unconditioned light.
The pose of the body reflects the understanding of its inhabitant, a wisdom we have lost in this temporary age of darkness. Gooey eyed eroticism is lazy thinking, and thankfully the poses in this book do not succumb to that banality.
All in all a well thought out out and thoroughly useful book.

great pictures, usefull book, 01 Mar 2004
I think the pictures are a great help in understanding of the human body and why things looks like they do.
It has fantastic photos and great illustrations focusing on different parts of the body.

I'm very pleased with the book.

nearly but not quite, 09 Dec 2002
as a modeller working in the computer environment im constantly on the lookout for anatomical referance to help my work retain a believable quality. i was impressed with the photo overlays in the book but wish that they had pushed this feature further with more overlays of the muscles under the skin, in particular the muscles in action. there seamed to be plenty of opportunities to do this. it is a lovely book and shall remain on my coffe table, but unfortunatly not on my referance shelf.

howard sly
3D artist
framestore-cfc

An invaluable reference guide, 07 Jan 2002
After many years of looking for a really useful reference book of the human anatomy I have finally found an excellently produced publication. Anatomy for the Artist by Sarah Simblet is the next best thing to having a model in front of you. The book is full of excellent photographs of well chosen models and the inclusion of illustrations of bones and muscles on simulator paper over the photos is very useful. I only wish that this book Amazon's January sale as I'd like to buy another ten copies for all my artist friends! I would be pleased to know if the author has done a similar book on the anatomy of animals.

Helpful Book, 13 Apr 2008
This is a good book for those who can't draw with a good selection of positions and ideas.
The best use of this book is to trace the outline of the models in light pencil or scan into your computer and clear away the unsuitable shading and clothing lines in an art program. Then get creative!
With a little bravery you can change the proportions of the figures to fit your or someone elses body form.
The drawings are not the greatest but the book benefits from its simplicity.
Get it used for a bargain!



Best portrait book in the world!, 23 Apr 2008
I love this book, its made me much more aware of chiaroscuro and sfumato than ever before even my landscapes and other studies have improved from this book. The portraits are stunning and you could just admire those if nothing else. Get it, you won't regret it!

And I thought I could draw..., 07 Feb 2008
I don't know about you lot, but after a bit of a gap I find I need to rediscover the skills of drawing. Ten years, me. So when I got this little gem in the post, apart from thinking "S**t, this guy can do it," I found his text to be a little like sitting in a lecture. You can almost hear his voice. To benefit from the accompanying drawings, you have to read the introductory chapters - which, if you're serious about the art, is no great hardship. This is one of those "must-haves", a reference for those lazy gits who take their talent for granted. I know, 'cause I'm one of 'em.
Buy it. You won't regret it.

Easily the best book on this subject, 21 Mar 2006
I have many books on this subject, but this is by far the best. It is lavishly illustrated throughout, with page after page of delightfully competent examples by Maughan, demonstrating every aspect of the skill.

Maughan begins by explaining his methods and preferred materials. The Carbothello pencils he uses are wonderful to draw with. He moves on to explain chiaroscuro, value, form, shadow and so on, all of which I recommend you read it thoroughly before taking on his extensive chapters on the subject of drawing the head.

He deals with the subject in ample detail, and to his credit he writes very well too. There is a lot to read but every word of it is useful. His examples (and there are very many) are not the unusably rough pieces found in other books, but are in large scale, often in close-up and annotated, so you can really see in detail what he's doing and how he does it. He also rather cleverly provides equally high quality examples of how NOT to draw - for example, showing what happens when the proportions are incorrect or the lighting is poor. You could use this book to merely ape the Maughan style, but I believe it has much more value than that if you take the time to understand his methods and apply them to your work.

Often with such books, the benefit you derive from them depends to some extent on whether you like the artistic style of the author. I happen to like it, but even if you don't, Maughan's tremendous skill and understanding of his subject is such that it would be a shame to miss the opportunity to learn from him. This book has improved my skill greatly.

Even if you don't draw, the book makes an excellent coffee table piece.

I've had my copy from Amazon for while, but at time of writing (21 Mar 2006) the price is an absolute bargain at £12.89.

A consistent and convincing approach, 11 Nov 2004
The value of any book on drawing technique is very much dependent on the experience of the reader, in particular the questions he or she brings to the book, the problems which are seeking solutions. The advantages of a book like this which takes one specific approach and deals with it in moderate depth are firstly that it is a document from which to work, not just a coffee table amusement, and secondly that one can see straight away whether it is addressing one's specific problems. As drawer of four or five years' experience with a preference for accuracy and what is misleadingly termed "realism", and having started drawing from life a little under a year ago, I found Maughan's approach consistent and convincing because it reinforced some of the directions in which I was naturally being led.

The emphasis is on the balancing of light and dark (chiaroscuro) as the fundamental units of composition rather than on line or gesture. These techniques work best with soft pencil or pastel crayon on a slightly toothy surface of intermediate tone. The light and dark are laid in with white and sanguine or sepia. A crucial distinction is drawn between soft and hard edges. The emphasis is on looking and on simplicity and economy.

But I have one caveat. Experience also teaches that there is no one right way to draw, that the technique depends on the material, that what convices the eye is how well the hand has rendered the imagined world. In the end line and gesture are as important as the play of the light on the dark.

Excellent, 11 Sep 2006
A real must for those who really want to understand what it is they are actually drawing. Each part of the body is studied in detail, from head to toe we are taken on a detailed journey through the inner landscapes that inform the outer.
The photography is superb, and the poses themselves are well considered, reflecting the considerations of the old masters in their attempt to show the body as a divine vehicle rather than a mundane cellular mass. After all a good deal of the masters were privy to the hermetic and timeless mystery that consciousness is not a result of cellular growth , but in fact cellular growth is a result of consciousness, which in its purest form is unconditioned light.
The pose of the body reflects the understanding of its inhabitant, a wisdom we have lost in this temporary age of darkness. Gooey eyed eroticism is lazy thinking, and thankfully the poses in this book do not succumb to that banality.
All in all a well thought out out and thoroughly useful book.

great pictures, usefull book, 01 Mar 2004
I think the pictures are a great help in understanding of the human body and why things looks like they do.
It has fantastic photos and great illustrations focusing on different parts of the body.

I'm very pleased with the book.

nearly but not quite, 09 Dec 2002
as a modeller working in the computer environment im constantly on the lookout for anatomical referance to help my work retain a believable quality. i was impressed with the photo overlays in the book but wish that they had pushed this feature further with more overlays of the muscles under the skin, in particular the muscles in action. there seamed to be plenty of opportunities to do this. it is a lovely book and shall remain on my coffe table, but unfortunatly not on my referance shelf.

howard sly
3D artist
framestore-cfc

An invaluable reference guide, 07 Jan 2002
After many years of looking for a really useful reference book of the human anatomy I have finally found an excellently produced publication. Anatomy for the Artist by Sarah Simblet is the next best thing to having a model in front of you. The book is full of excellent photographs of well chosen models and the inclusion of illustrations of bones and muscles on simulator paper over the photos is very useful. I only wish that this book Amazon's January sale as I'd like to buy another ten copies for all my artist friends! I would be pleased to know if the author has done a similar book on the anatomy of animals.

Useful, if Exaggerated, 24 Dec 2006
This is a very useful book to have around and very good for anatomy, in particular his directions in drawing perspective. Few other books cover this and tend to outline muscle and bone in a simple, boring, front - and - side view manner. Hogarth breaks all the rules and stretches and bends the human body to it's limits and I have learnt a few techniques that I still use today (I would probably learn a lot more if I drew more!)

The only downside to the book is probably the exaggeration to the human body. Hands and heads are suggested in very "over the top" dramatic poses while spines are twisted to the limit in some! This is fantastic for those of us drawing fantasy and super heroes but it makes it hard to translate these poses into every day life.

Still, its a great way to go and it's a fantastic reference for drawing 3d figures, and the musculature layout makes it very unique.

Excellent visual reference, outdated language, 29 Dec 2004
Hogarth's drawings take some getting used to, and his use of language sounds like it's firmly rooted in the 50's, but his style of exagerated light and shade really helps to illustrate the landmarks of a figure much better than a "normal" drawing does. The cover illustrations should give you a fair idea of what to expect. By far the best book on the subject I have read.

ýbuy this book it will not disappointý., 11 Aug 2000
The chances are that you are already interested in drawing dynamic style figures before you even choose to look at this book. If this is the case once you have stopped marvelling at the fantastic drawings within, you will quickly start to understand and benefit from them and the accompanying text. It is a book that has already helped me introduce more movement, depth and dimension into the illustrations that I do. If drawing the human figure is essential to you then trust me when I say 'buy this book it will not disappoint'.

An excellent book that lacks the basics, 03 Dec 1999
Burne Hogarth is an excellent artist but DRAWING THE DYNAMIC FIGURE lacks clarity. The book has few if any explanations on breaking the human form into basic shapes and has little in the way of fundamental techniques. It does have some interesting analysis on anatomy etc and is overall of some use to an andvanced artist.

A staple for any artist.. struggling or otherwise, 07 Apr 1999
I've been Drawing Comics for the past eight years and i recomend this book to everyone. Gives great insight into anatomy and not the traditional rehash of 7 1/2 head tall three heads wide etc. This book has helped me out alot giving tips and tricks to prooblem areas like the back muscles and different perspectives and especially those pesky hands. Most other books concentrate on the every day anatomy, this book gives what it says "DYNAMIC!" A MUST if you enjoy drawing comics. Thanks Burne!!

Helpful Book, 13 Apr 2008
This is a good book for those who can't draw with a good selection of positions and ideas.
The best use of this book is to trace the outline of the models in light pencil or scan into your computer and clear away the unsuitable shading and clothing lines in an art program. Then get creative!
With a little bravery you can change the proportions of the figures to fit your or someone elses body form.
The drawings are not the greatest but the book benefits from its simplicity.
Get it used for a bargain!



Best portrait book in the world!, 23 Apr 2008
I love this book, its made me much more aware of chiaroscuro and sfumato than ever before even my landscapes and other studies have improved from this book. The portraits are stunning and you could just admire those if nothing else. Get it, you won't regret it!

And I thought I could draw..., 07 Feb 2008
I don't know about you lot, but after a bit of a gap I find I need to rediscover the skills of drawing. Ten years, me. So when I got this little gem in the post, apart from thinking "S**t, this guy can do it," I found his text to be a little like sitting in a lecture. You can almost hear his voice. To benefit from the accompanying drawings, you have to read the introductory chapters - which, if you're serious about the art, is no great hardship. This is one of those "must-haves", a reference for those lazy gits who take their talent for granted. I know, 'cause I'm one of 'em.
Buy it. You won't regret it.

Easily the best book on this subject, 21 Mar 2006
I have many books on this subject, but this is by far the best. It is lavishly illustrated throughout, with page after page of delightfully competent examples by Maughan, demonstrating every aspect of the skill.

Maughan begins by explaining his methods and preferred materials. The Carbothello pencils he uses are wonderful to draw with. He moves on to explain chiaroscuro, value, form, shadow and so on, all of which I recommend you read it thoroughly before taking on his extensive chapters on the subject of drawing the head.

He deals with the subject in ample detail, and to his credit he writes very well too. There is a lot to read but every word of it is useful. His examples (and there are very many) are not the unusably rough pieces found in other books, but are in large scale, often in close-up and annotated, so you can really see in detail what he's doing and how he does it. He also rather cleverly provides equally high quality examples of how NOT to draw - for example, showing what happens when the proportions are incorrect or the lighting is poor. You could use this book to merely ape the Maughan style, but I believe it has much more value than that if you take the time to understand his methods and apply them to your work.

Often with such books, the benefit you derive from them depends to some extent on whether you like the artistic style of the author. I happen to like it, but even if you don't, Maughan's tremendous skill and understanding of his subject is such that it would be a shame to miss the opportunity to learn from him. This book has improved my skill greatly.

Even if you don't draw, the book makes an excellent coffee table piece.

I've had my copy from Amazon for while, but at time of writing (21 Mar 2006) the price is an absolute bargain at £12.89.

A consistent and convincing approach, 11 Nov 2004
The value of any book on drawing technique is very much dependent on the experience of the reader, in particular the questions he or she brings to the book, the problems which are seeking solutions. The advantages of a book like this which takes one specific approach and deals with it in moderate depth are firstly that it is a document from which to work, not just a coffee table amusement, and secondly that one can see straight away whether it is addressing one's specific problems. As drawer of four or five years' experience with a preference for accuracy and what is misleadingly termed "realism", and having started drawing from life a little under a year ago, I found Maughan's approach consistent and convincing because it reinforced some of the directions in which I was naturally being led.

The emphasis is on the balancing of light and dark (chiaroscuro) as the fundamental units of composition rather than on line or gesture. These techniques work best with soft pencil or pastel crayon on a slightly toothy surface of intermediate tone. The light and dark are laid in with white and sanguine or sepia. A crucial distinction is drawn between soft and hard edges. The emphasis is on looking and on simplicity and economy.

But I have one caveat. Experience also teaches that there is no one right way to draw, that the technique depends on the material, that what convices the eye is how well the hand has rendered the imagined world. In the end line and gesture are as important as the play of the light on the dark.

Excellent, 11 Sep 2006
A real must for those who really want to understand what it is they are actually drawing. Each part of the body is studied in detail, from head to toe we are taken on a detailed journey through the inner landscapes that inform the outer.
The photography is superb, and the poses themselves are well considered, reflecting the considerations of the old masters in their attempt to show the body as a divine vehicle rather than a mundane cellular mass. After all a good deal of the masters were privy to the hermetic and timeless mystery that consciousness is not a result of cellular growth , but in fact cellular growth is a result of consciousness, which in its purest form is unconditioned light.
The pose of the body reflects the understanding of its inhabitant, a wisdom we have lost in this temporary age of darkness. Gooey eyed eroticism is lazy thinking, and thankfully the poses in this book do not succumb to that banality.
All in all a well thought out out and thoroughly useful book.

great pictures, usefull book, 01 Mar 2004
I think the pictures are a great help in understanding of the human body and why things looks like they do.
It has fantastic photos and great illustrations focusing on different parts of the body.

I'm very pleased with the book.

nearly but not quite, 09 Dec 2002
as a modeller working in the computer environment im constantly on the lookout for anatomical referance to help my work retain a believable quality. i was impressed with the photo overlays in the book but wish that they had pushed this feature further with more overlays of the muscles under the skin, in particular the muscles in action. there seamed to be plenty of opportunities to do this. it is a lovely book and shall remain on my coffe table, but unfortunatly not on my referance shelf.

howard sly
3D artist
framestore-cfc

An invaluable reference guide, 07 Jan 2002
After many years of looking for a really useful reference book of the human anatomy I have finally found an excellently produced publication. Anatomy for the Artist by Sarah Simblet is the next best thing to having a model in front of you. The book is full of excellent photographs of well chosen models and the inclusion of illustrations of bones and muscles on simulator paper over the photos is very useful. I only wish that this book Amazon's January sale as I'd like to buy another ten copies for all my artist friends! I would be pleased to know if the author has done a similar book on the anatomy of animals.

Useful, if Exaggerated, 24 Dec 2006
This is a very useful book to have around and very good for anatomy, in particular his directions in drawing perspective. Few other books cover this and tend to outline muscle and bone in a simple, boring, front - and - side view manner. Hogarth breaks all the rules and stretches and bends the human body to it's limits and I have learnt a few techniques that I still use today (I would probably learn a lot more if I drew more!)

The only downside to the book is probably the exaggeration to the human body. Hands and heads are suggested in very "over the top" dramatic poses while spines are twisted to the limit in some! This is fantastic for those of us drawing fantasy and super heroes but it makes it hard to translate these poses into every day life.

Still, its a great way to go and it's a fantastic reference for drawing 3d figures, and the musculature layout makes it very unique.

Excellent visual reference, outdated language, 29 Dec 2004
Hogarth's drawings take some getting used to, and his use of language sounds like it's firmly rooted in the 50's, but his style of exagerated light and shade really helps to illustrate the landmarks of a figure much better than a "normal" drawing does. The cover illustrations should give you a fair idea of what to expect. By far the best book on the subject I have read.

ýbuy this book it will not disappointý., 11 Aug 2000
The chances are that you are already interested in drawing dynamic style figures before you even choose to look at this book. If this is the case once you have stopped marvelling at the fantastic drawings within, you will quickly start to understand and benefit from them and the accompanying text. It is a book that has already helped me introduce more movement, depth and dimension into the illustrations that I do. If drawing the human figure is essential to you then trust me when I say 'buy this book it will not disappoint'.

An excellent book that lacks the basics, 03 Dec 1999
Burne Hogarth is an excellent artist but DRAWING THE DYNAMIC FIGURE lacks clarity. The book has few if any explanations on breaking the human form into basic shapes and has little in the way of fundamental techniques. It does have some interesting analysis on anatomy etc and is overall of some use to an andvanced artist.

A staple for any artist.. struggling or otherwise, 07 Apr 1999
I've been Drawing Comics for the past eight years and i recomend this book to everyone. Gives great insight into anatomy and not the traditional rehash of 7 1/2 head tall three heads wide etc. This book has helped me out alot giving tips and tricks to prooblem areas like the back muscles and different perspectives and especially those pesky hands. Most other books concentrate on the every day anatomy, this book gives what it says "DYNAMIC!" A MUST if you enjoy drawing comics. Thanks Burne!!

Excelent book, classic, 24 Apr 2005
This book had been written from the perspective of an artist. There are no unnecessary detailed anatomical studies that show how individual muscles link to the bones. That would be far too detailed. Instead author, Burne Hogarth, just shows in many illustrations how muscles do appear on the surface from many angles.

As well, by using a human head as a standard relative length, he provides accepted proportions for other parts of the body. For example, human body is 8 1/2 heads tall, 2 to 2 1/3 heads wide over the sholders etc. This approach suits me, but you'll find lots of teaching web sites reference this book.

This book is worth every penny.

Perhaps the best ever "how to" book on creating action poses, 27 Aug 1999
The inimitable Burne Hogarth breaks down, with startling simplicity, the secrets and tricks behind inventing YOUR OWN dynamic action poses! Once you've mastered his techniques, you REALLY WON'T ever need reference again!

As an artist (15 years illustrating), I can whole-heartedly reccomend this book to any other artists (especially aspiring comic and sequential artists), struggling with the difficulties of posing the human figure in deep perspective (and making it look right).

While I'm not a big fan of Hogarth's style (all the drawings... hundreds of them... are rendered in his style), I was nonetheless SO blown away by the techniques he revealed that I went and bought ALL the other Hogarth books.

For the experienced artist... the benefit is this: Burne Hogarth doesn't try and teach you how to draw like HIM. He shows you how to use what he knows, to better serve your OWN art. And his tricks are time tested! Well worth the investment.

Great book with lots of reference, but some views not shown, 15 Jul 1999
I've referred to this book time and time again for details when drawing a figure to get correct muscle position. It comes in very handy. My only complaint is that some positions just aren't shown. Most drawings are drawn from an angled position so you still can't get a good idea of the depth of the muscle. Also at times, I'll refer to the book to see what a region looks like only to find that the piece I'm interested in is obscured in every rendering, the underside/back of the arm being one such place.

Pretty Good!, 14 Jul 1999
This guy is a good artist! If you are a beginner at drawing don't bother with this book, even if you have experience you will learn something new!

Helpful Book, 13 Apr 2008
This is a good book for those who can't draw with a good selection of positions and ideas.
The best use of this book is to trace the outline of the models in light pencil or scan into your computer and clear away the unsuitable shading and clothing lines in an art program. Then get creative!
With a little bravery you can change the proportions of the figures to fit your or someone elses body form.
The drawings are not the greatest but the book benefits from its simplicity.
Get it used for a bargain!



Best portrait book in the world!, 23 Apr 2008
I love this book, its made me much more aware of chiaroscuro and sfumato than ever before even my landscapes and other studies have improved from this book. The portraits are stunning and you could just admire those if nothing else. Get it, you won't regret it!

And I thought I could draw..., 07 Feb 2008
I don't know about you lot, but after a bit of a gap I find I need to rediscover the skills of drawing. Ten years, me. So when I got this little gem in the post, apart from thinking "S**t, this guy can do it," I found his text to be a little like sitting in a lecture. You can almost hear his voice. To benefit from the accompanying drawings, you have to read the introductory chapters - which, if you're serious about the art, is no great hardship. This is one of those "must-haves", a reference for those lazy gits who take their talent for granted. I know, 'cause I'm one of 'em.
Buy it. You won't regret it.

Easily the best book on this subject, 21 Mar 2006
I have many books on this subject, but this is by far the best. It is lavishly illustrated throughout, with page after page of delightfully competent examples by Maughan, demonstrating every aspect of the skill.

Maughan begins by explaining his methods and preferred materials. The Carbothello pencils he uses are wonderful to draw with. He moves on to explain chiaroscuro, value, form, shadow and so on, all of which I recommend you read it thoroughly before taking on his extensive chapters on the subject of drawing the head.

He deals with the subject in ample detail, and to his credit he writes very well too. There is a lot to read but every word of it is useful. His examples (and there are very many) are not the unusably rough pieces found in other books, but are in large scale, often in close-up and annotated, so you can really see in detail what he's doing and how he does it. He also rather cleverly provides equally high quality examples of how NOT to draw - for example, showing what happens when the proportions are incorrect or the lighting is poor. You could use this book to merely ape the Maughan style, but I believe it has much more value than that if you take the time to understand his methods and apply them to your work.

Often with such books, the benefit you derive from them depends to some extent on whether you like the artistic style of the author. I happen to like it, but even if you don't, Maughan's tremendous skill and understanding of his subject is such that it would be a shame to miss the opportunity to learn from him. This book has improved my skill greatly.

Even if you don't draw, the book makes an excellent coffee table piece.

I've had my copy from Amazon for while, but at time of writing (21 Mar 2006) the price is an absolute bargain at £12.89.

A consistent and convincing approach, 11 Nov 2004
The value of any book on drawing technique is very much dependent on the experience of the reader, in particular the questions he or she brings to the book, the problems which are seeking solutions. The advantages of a book like this which takes one specific approach and deals with it in moderate depth are firstly that it is a document from which to work, not just a coffee table amusement, and secondly that one can see straight away whether it is addressing one's specific problems. As drawer of four or five years' experience with a preference for accuracy and what is misleadingly termed "realism", and having started drawing from life a little under a year ago, I found Maughan's approach consistent and convincing because it reinforced some of the directions in which I was naturally being led.

The emphasis is on the balancing of light and dark (chiaroscuro) as the fundamental units of composition rather than on line or gesture. These techniques work best with soft pencil or pastel crayon on a slightly toothy surface of intermediate tone. The light and dark are laid in with white and sanguine or sepia. A crucial distinction is drawn between soft and hard edges. The emphasis is on looking and on simplicity and economy.

But I have one caveat. Experience also teaches that there is no one right way to draw, that the technique depends on the material, that what convices the eye is how well the hand has rendered the imagined world. In the end line and gesture are as important as the play of the light on the dark.

Excellent, 11 Sep 2006
A real must for those who really want to understand what it is they are actually drawing. Each part of the body is studied in detail, from head to toe we are taken on a detailed journey through the inner landscapes that inform the outer.
The photography is superb, and the poses themselves are well considered, reflecting the considerations of the old masters in their attempt to show the body as a divine vehicle rather than a mundane cellular mass. After all a good deal of the masters were privy to the hermetic and timeless mystery that consciousness is not a result of cellular growth , but in fact cellular growth is a result of consciousness, which in its purest form is unconditioned light.
The pose of the body reflects the understanding of its inhabitant, a wisdom we have lost in this temporary age of darkness. Gooey eyed eroticism is lazy thinking, and thankfully the poses in this book do not succumb to that banality.
All in all a well thought out out and thoroughly useful book.

great pictures, usefull book, 01 Mar 2004
I think the pictures are a great help in understanding of the human body and why things looks like they do.
It has fantastic photos and great illustrations focusing on different parts of the body.

I'm very pleased with the book.

nearly but not quite, 09 Dec 2002
as a modeller working in the computer environment im constantly on the lookout for anatomical referance to help my work retain a believable quality. i was impressed with the photo overlays in the book but wish that they had pushed this feature further with more overlays of the muscles under the skin, in particular the muscles in action. there seamed to be plenty of opportunities to do this. it is a lovely book and shall remain on my coffe table, but unfortunatly not on my referance shelf.

howard sly
3D artist
framestore-cfc

An invaluable reference guide, 07 Jan 2002
After many years of looking for a really useful reference book of the human anatomy I have finally found an excellently produced publication. Anatomy for the Artist by Sarah Simblet is the next best thing to having a model in front of you. The book is full of excellent photographs of well chosen models and the inclusion of illustrations of bones and muscles on simulator paper over the photos is very useful. I only wish that this book Amazon's January sale as I'd like to buy another ten copies for all my artist friends! I would be pleased to know if the author has done a similar book on the anatomy of animals.

Useful, if Exaggerated, 24 Dec 2006
This is a very useful book to have around and very good for anatomy, in particular his directions in drawing perspective. Few other books cover this and tend to outline muscle and bone in a simple, boring, front - and - side view manner. Hogarth breaks all the rules and stretches and bends the human body to it's limits and I have learnt a few techniques that I still use today (I would probably learn a lot more if I drew more!)

The only downside to the book is probably the exaggeration to the human body. Hands and heads are suggested in very "over the top" dramatic poses while spines are twisted to the limit in some! This is fantastic for those of us drawing fantasy and super heroes but it makes it hard to translate these poses into every day life.

Still, its a great way to go and it's a fantastic reference for drawing 3d figures, and the musculature layout makes it very unique.

Excellent visual reference, outdated language, 29 Dec 2004
Hogarth's drawings take some getting used to, and his use of language sounds like it's firmly rooted in the 50's, but his style of exagerated light and shade really helps to illustrate the landmarks of a figure much better than a "normal" drawing does. The cover illustrations should give you a fair idea of what to expect. By far the best book on the subject I have read.

ýbuy this book it will not disappointý., 11 Aug 2000
The chances are that you are already interested in drawing dynamic style figures before you even choose to look at this book. If this is the case once you have stopped marvelling at the fantastic drawings within, you will quickly start to understand and benefit from them and the accompanying text. It is a book that has already helped me introduce more movement, depth and dimension into the illustrations that I do. If drawing the human figure is essential to you then trust me when I say 'buy this book it will not disappoint'.

An excellent book that lacks the basics, 03 Dec 1999
Burne Hogarth is an excellent artist but DRAWING THE DYNAMIC FIGURE lacks clarity. The book has few if any explanations on breaking the human form into basic shapes and has little in the way of fundamental techniques. It does have some interesting analysis on anatomy etc and is overall of some use to an andvanced artist.

A staple for any artist.. struggling or otherwise, 07 Apr 1999
I've been Drawing Comics for the past eight years and i recomend this book to everyone. Gives great insight into anatomy and not the traditional rehash of 7 1/2 head tall three heads wide etc. This book has helped me out alot giving tips and tricks to prooblem areas like the back muscles and different perspectives and especially those pesky hands. Most other books concentrate on the every day anatomy, this book gives what it says "DYNAMIC!" A MUST if you enjoy drawing comics. Thanks Burne!!

Excelent book, classic, 24 Apr 2005
This book had been written from the perspective of an artist. There are no unnecessary detailed anatomical studies that show how individual muscles link to the bones. That would be far too detailed. Instead author, Burne Hogarth, just shows in many illustrations how muscles do appear on the surface from many angles.

As well, by using a human head as a standard relative length, he provides accepted proportions for other parts of the body. For example, human body is 8 1/2 heads tall, 2 to 2 1/3 heads wide over the sholders etc. This approach suits me, but you'll find lots of teaching web sites reference this book.

This book is worth every penny.

Perhaps the best ever "how to" book on creating action poses, 27 Aug 1999
The inimitable Burne Hogarth breaks down, with startling simplicity, the secrets and tricks behind inventing YOUR OWN dynamic action poses! Once you've mastered his techniques, you REALLY WON'T ever need reference again!

As an artist (15 years illustrating), I can whole-heartedly reccomend this book to any other artists (especially aspiring comic and sequential artists), struggling with the difficulties of posing the human figure in deep perspective (and making it look right).

While I'm not a big fan of Hogarth's style (all the drawings... hundreds of them... are rendered in his style), I was nonetheless SO blown away by the techniques he revealed that I went and bought ALL the other Hogarth books.

For the experienced artist... the benefit is this: Burne Hogarth doesn't try and teach you how to draw like HIM. He shows you how to use what he knows, to better serve your OWN art. And his tricks are time tested! Well worth the investment.

Great book with lots of reference, but some views not shown, 15 Jul 1999
I've referred to this book time and time again for details when drawing a figure to get correct muscle position. It comes in very handy. My only complaint is that some positions just aren't shown. Most drawings are drawn from an angled position so you still can't get a good idea of the depth of the muscle. Also at times, I'll refer to the book to see what a region looks like only to find that the piece I'm interested in is obscured in every rendering, the underside/back of the arm being one such place.

Pretty Good!, 14 Jul 1999
This guy is a good artist! If you are a beginner at drawing don't bother with this book, even if you have experience you will learn something new!

A pretty good start!, 24 Oct 2008
I got a fair bit out of this book and successfully pulled off a few paid gigs thanks to it and a free online course (that was a little more practical to be fair). I was looking to draw caricatures live, which is 5 minutes per drawing. This book isn't targeted at that audience so is reviewed with that in mind.
It's not the greatest book and one person's style, but does give you enough to start you off in drawing good caricatures and developing your own style. I used this in conjunction with some good online courses and do recommend it as a resource, even if live caricatures aren't your thing.

As good as it gets!, 06 Nov 2003
Being someone who is just starting out in the world of charicature, it was a pleasant surprise to find something like this on the market which gives you basic outline to the drawing process for charicature. It covers everything from basic head shapes through to expression and positioning.

I thoroughly recommend this book to anyone starting out. You'll need a little drawing skill before you start, but it will quickly fill in the rest of the gaps.

Good book and well worth the money.

Helpful Book, 13 Apr 2008
This is a good book for those who can't draw with a good selection of positions and ideas.
The best use of this book is to trace the outline of the models in light pencil or scan into your computer and clear away the unsuitable shading and clothing lines in an art program. Then get creative!
With a little bravery you can change the proportions of the figures to fit your or someone elses body form.
The drawings are not the greatest but the book benefits from its simplicity.
Get it used for a bargain!



Best portrait book in the world!, 23 Apr 2008
I love this book, its made me much more aware of chiaroscuro and sfumato than ever before even my landscapes and other studies have improved from this book. The portraits are stunning and you could just admire those if nothing else. Get it, you won't regret it!

And I thought I could draw..., 07 Feb 2008
I don't know about you lot, but after a bit of a gap I find I need to rediscover the skills of drawing. Ten years, me. So when I got this little gem in the post, apart from thinking "S**t, this guy can do it," I found his text to be a little like sitting in a lecture. You can almost hear his voice. To benefit from the accompanying drawings, you have to read the introductory chapters - which, if you're serious about the art, is no great hardship. This is one of those "must-haves", a reference for those lazy gits who take their talent for granted. I know, 'cause I'm one of 'em.
Buy it. You won't regret it.

Easily the best book on this subject, 21 Mar 2006
I have many books on this subject, but this is by far the best. It is lavishly illustrated throughout, with page after page of delightfully competent examples by Maughan, demonstrating every aspect of the skill.

Maughan begins by explaining his methods and preferred materials. The Carbothello pencils he uses are wonderful to draw with. He moves on to explain chiaroscuro, value, form, shadow and so on, all of which I recommend you read it thoroughly before taking on his extensive chapters on the subject of drawing the head.

He deals with the subject in ample detail, and to his credit he writes very well too. There is a lot to read but every word of it is useful. His examples (and there are very many) are not the unusably rough pieces found in other books, but are in large scale, often in close-up and annotated, so you can really see in detail what he's doing and how he does it. He also rather cleverly provides equally high quality examples of how NOT to draw - for example, showing what happens when the proportions are incorrect or the lighting is poor. You could use this book to merely ape the Maughan style, but I believe it has much more value than that if you take the time to understand his methods and apply them to your work.

Often with such books, the benefit you derive from them depends to some extent on whether you like the artistic style of the author. I happen to like it, but even if you don't, Maughan's tremendous skill and understanding of his subject is such that it would be a shame to miss the opportunity to learn from him. This book has improved my skill greatly.

Even if you don't draw, the book makes an excellent coffee table piece.

I've had my copy from Amazon for while, but at time of writing (21 Mar 2006) the price is an absolute bargain at £12.89.

A consistent and convincing approach, 11 Nov 2004
The value of any book on drawing technique is very much dependent on the experience of the reader, in particular the questions he or she brings to the book, the problems which are seeking solutions. The advantages of a book like this which takes one specific approach and deals with it in moderate depth are firstly that it is a document from which to work, not just a coffee table amusement, and secondly that one can see straight away whether it is addressing one's specific problems. As drawer of four or five years' experience with a preference for accuracy and what is misleadingly termed "realism", and having started drawing from life a little under a year ago, I found Maughan's approach consistent and convincing because it reinforced some of the directions in which I was naturally being led.

The emphasis is on the balancing of light and dark (chiaroscuro) as the fundamental units of composition rather than on line or gesture. These techniques work best with soft pencil or pastel crayon on a slightly toothy surface of intermediate tone. The light and dark are laid in with white and sanguine or sepia. A crucial distinction is drawn between soft and hard edges. The emphasis is on looking and on simplicity and economy.

But I have one caveat. Experience also teaches that there is no one right way to draw, that the technique depends on the material, that what convices the eye is how well the hand has rendered the imagined world. In the end line and gesture are as important as the play of the light on the dark.

Excellent, 11 Sep 2006
A real must for those who really want to understand what it is they are actually drawing. Each part of the body is studied in detail, from head to toe we are taken on a detailed journey through the inner landscapes that inform the outer.
The photography is superb, and the poses themselves are well considered, reflecting the considerations of the old masters in their attempt to show the body as a divine vehicle rather than a mundane cellular mass. After all a good deal of the masters were privy to the hermetic and timeless mystery that consciousness is not a result of cellular growth , but in fact cellular growth is a result of consciousness, which in its purest form is unconditioned light.
The pose of the body reflects the understanding of its inhabitant, a wisdom we have lost in this temporary age of darkness. Gooey eyed eroticism is lazy thinking, and thankfully the poses in this book do not succumb to that banality.
All in all a well thought out out and thoroughly useful book.

great pictures, usefull book, 01 Mar 2004
I think the pictures are a great help in understanding of the human body and why things looks like they do.
It has fantastic photos and great illustrations focusing on different parts of the body.

I'm very pleased with the book.

nearly but not quite, 09 Dec 2002
as a modeller working in the computer environment im constantly on the lookout for anatomical referance to help my work retain a believable quality. i was impressed with the photo overlays in the book but wish that they had pushed this feature further with more overlays of the muscles under the skin, in particular the muscles in action. there seamed to be plenty of opportunities to do this. it is a lovely book and shall remain on my coffe table, but unfortunatly not on my referance shelf.

howard sly
3D artist
framestore-cfc

An invaluable reference guide, 07 Jan 2002
After many years of looking for a really useful reference book of the human anatomy I have finally found an excellently produced publication. Anatomy for the Artist by Sarah Simblet is the next best thing to having a model in front of you. The book is full of excellent photographs of well chosen models and the inclusion of illustrations of bones and muscles on simulator paper over the photos is very useful. I only wish that this book Amazon's January sale as I'd like to buy another ten copies for all my artist friends! I would be pleased to know if the author has done a similar book on the anatomy of animals.

Useful, if Exaggerated, 24 Dec 2006
This is a very useful book to have around and very good for anatomy, in particular his directions in drawing perspective. Few other books cover this and tend to outline muscle and bone in a simple, boring, front - and - side view manner. Hogarth breaks all the rules and stretches and bends the human body to it's limits and I have learnt a few techniques that I still use today (I would probably learn a lot more if I drew more!)

The only downside to the book is probably the exaggeration to the human body. Hands and heads are suggested in very "over the top" dramatic poses while spines are twisted to the limit in some! This is fantastic for those of us drawing fantasy and super heroes but it makes it hard to translate these poses into every day life.

Still, its a great way to go and it's a fantastic reference for drawing 3d figures, and the musculature layout makes it very unique.

Excellent visual reference, outdated language, 29 Dec 2004
Hogarth's drawings take some getting used to, and his use of language sounds like it's firmly rooted in the 50's, but his style of exagerated light and shade really helps to illustrate the landmarks of a figure much better than a "normal" drawing does. The cover illustrations should give you a fair idea of what to expect. By far the best book on the subject I have read.

ýbuy this book it will not disappointý., 11 Aug 2000
The chances are that you are already interested in drawing dynamic style figures before you even choose to look at this book. If this is the case once you have stopped marvelling at the fantastic drawings within, you will quickly start to understand and benefit from them and the accompanying text. It is a book that has already helped me introduce more movement, depth and dimension into the illustrations that I do. If drawing the human figure is essential to you then trust me when I say 'buy this book it will not disappoint'.

An excellent book that lacks the basics, 03 Dec 1999
Burne Hogarth is an excellent artist but DRAWING THE DYNAMIC FIGURE lacks clarity. The book has few if any explanations on breaking the human form into basic shapes and has little in the way of fundamental techniques. It does have some interesting analysis on anatomy etc and is overall of some use to an andvanced artist.

A staple for any artist.. struggling or otherwise, 07 Apr 1999
I've been Drawing Comics for the past eight years and i recomend this book to everyone. Gives great insight into anatomy and not the traditional rehash of 7 1/2 head tall three heads wide etc. This book has helped me out alot giving tips and tricks to prooblem areas like the back muscles and different perspectives and especially those pesky hands. Most other books concentrate on the every day anatomy, this book gives what it says "DYNAMIC!" A MUST if you enjoy drawing comics. Thanks Burne!!

Excelent book, classic, 24 Apr 2005
This book had been written from the perspective of an artist. There are no unnecessary detailed anatomical studies that show how individual muscles link to the bones. That would be far too detailed. Instead author, Burne Hogarth, just shows in many illustrations how muscles do appear on the surface from many angles.

As well, by using a human head as a standard relative length, he provides accepted proportions for other parts of the body. For example, human body is 8 1/2 heads tall, 2 to 2 1/3 heads wide over the sholders etc. This approach suits me, but you'll find lots of teaching web sites reference this book.

This book is worth every penny.

Perhaps the best ever "how to" book on creating action poses, 27 Aug 1999
The inimitable Burne Hogarth breaks down, with startling simplicity, the secrets and tricks behind inventing YOUR OWN dynamic action poses! Once you've mastered his techniques, you REALLY WON'T ever need reference again!

As an artist (15 years illustrating), I can whole-heartedly reccomend this book to any other artists (especially aspiring comic and sequential artists), struggling with the difficulties of posing the human figure in deep perspective (and making it look right).

While I'm not a big fan of Hogarth's style (all the drawings... hundreds of them... are rendered in his style), I was nonetheless SO blown away by the techniques he revealed that I went and bought ALL the other Hogarth books.

For the experienced artist... the benefit is this: Burne Hogarth doesn't try and teach you how to draw like HIM. He shows you how to use what he knows, to better serve your OWN art. And his tricks are time tested! Well worth the investment.

Great book with lots of reference, but some views not shown, 15 Jul 1999
I've referred to this book time and time again for details when drawing a figure to get correct muscle position. It comes in very handy. My only complaint is that some positions just aren't shown. Most drawings are drawn from an angled position so you still can't get a good idea of the depth of the muscle. Also at times, I'll refer to the book to see what a region looks like only to find that the piece I'm interested in is obscured in every rendering, the underside/back of the arm being one such place.

Pretty Good!, 14 Jul 1999
This guy is a good artist! If you are a beginner at drawing don't bother with this book, even if you have experience you will learn something new!

A pretty good start!, 24 Oct 2008
I got a fair bit out of this book and successfully pulled off a few paid gigs thanks to it and a free online course (that was a little more practical to be fair). I was looking to draw caricatures live, which is 5 minutes per drawing. This book isn't targeted at that audience so is reviewed with that in mind.
It's not the greatest book and one person's style, but does give you enough to start you off in drawing good caricatures and developing your own style. I used this in conjunction with some good online courses and do recommend it as a resource, even if live caricatures aren't your thing.

As good as it gets!, 06 Nov 2003
Being someone who is just starting out in the world of charicature, it was a pleasant surprise to find something like this on the market which gives you basic outline to the drawing process for charicature. It covers everything from basic head shapes through to expression and positioning.

I thoroughly recommend this book to anyone starting out. You'll need a little drawing skill before you start, but it will quickly fill in the rest of the gaps.

Good book and well worth the money.

A Reading Must!, 03 Jan 2008
This is a seriously wonderful book.

Charting the short, tragic life of Lizzie Siddal from youth to death and all the bits in between, this book is an absolute joy to read.

Impeccably researched and wonderfully written, it had me crying buckets at the end, but also taught me things I didn't know about her life and death, her relationships and what must have been an emotionally devastating love affair and marriage with the artist Dante Gabriel Rossetti.

If you are a student of Victoriana, have an interest in the Pre-Raphaelite world, or just enjoy an excellent biography, then this is most definitely the book for you. It's absolutely worth every penny I paid and I will be reading it again - just as soon as it's done the rounds of all my friends that want to read it!

Disappointing, 18 Jun 2007
The subject of the mysterious Elizabeth Siddal is always interesting but I found this book superficial and populist. The background information placing Siddal in her contemporary context (eg. the life of milliners in the 19th century) is perhaps the best thing about it. A lot of it seems to be based on supposition. For a far better, well-researched investigation of Siddal read Jan Marsh's biography 'The Legend of Elizabeth Siddal'.

Quite interesting... not great, 13 Oct 2006
This falls somewhere between the specialist art history texts (which it certainly is not) and fictionalised, pop culture biography. By which I mean I think you need to have some interest in pre raphaelite art to find it at all worthwhile - it's not just about the melodrama of Miss Siddall's life. Personally, I think if you're going to do an unhistorical, 'myth of the artist' type narrative you might as well go the whole hog and 'novelise' it. This is half and half. Neither Dante nor Lizzie come out of it very well, which is probably fairly accurate. They were both rather damaged, badly behaved weirdos. But a fairly light, interesting read nonetheless.

Surprisingly Absorbing Biography, 18 Feb 2006
Having a great interest in the world of the Pre-Raphaelites already, I thought at best it would be an interesting read - but it is such a well researched and absorbing book I could not put it down. Lizzie is seen here as human, her life the tragedy of it, and the fact that Rossetti did not cause all of her problems. However I could not leave the book with a dislike of her sometimes manipulative nature. Such is the success of this book. You will not be disappointed if you read it.

Thoughtful and interesting, 04 Jan 2006
Lizzie Siddal was so prominent in the works of the Pre-Raphaelites that I thought it would be interesting to find out more about her, and to my knowledge, this is the only biography available.
Although clearly written with interesting and relevant detail, the weakness of this book is that the biographer sets out with the 'tragedy' already in mind. Lizzie's faults (and there were a few of them) are glossed over as a result of her difficult life and love. Her whole life is seen through the hindsight of her death. It gets to be a bit tedius after a while. I know that the end of every biography is the death of the main character, but it shouldn't be the beginning and middle as well.

Helpful Book, 13 Apr 2008
This is a good book for those who can't draw with a good selection of positions and ideas.
The best use of this book is to trace the outline of the models in light pencil or scan into your computer and clear away the unsuitable shading and clothing lines in an art program. Then get creative!
With a little bravery you can change the proportions of the figures to fit your or someone elses body form.
The drawings are not the greatest but the book benefits from its simplicity.
Get it used for a bargain!



Best portrait book in the world!, 23 Apr 2008
I love this book, its made me much more aware of chiaroscuro and sfumato than ever before even my landscapes and other studies have improved from this book. The portraits are stunning and you could just admire those if nothing else. Get it, you won't regret it!

And I thought I could draw..., 07 Feb 2008
I don't know about you lot, but after a bit of a gap I find I need to rediscover the skills of drawing. Ten years, me. So when I got this little gem in the post, apart from thinking "S**t, this guy can do it," I found his text to be a little like sitting in a lecture. You can almost hear his voice. To benefit from the accompanying drawings, you have to read the introductory chapters - which, if you're serious about the art, is no great hardship. This is one of those "must-haves", a reference for those lazy gits who take their talent for granted. I know, 'cause I'm one of 'em.
Buy it. You won't regret it.

Easily the best book on this subject, 21 Mar 2006
I have many books on this subject, but this is by far the best. It is lavishly illustrated throughout, with page after page of delightfully competent examples by Maughan, demonstrating every aspect of the skill.

Maughan begins by explaining his methods and preferred materials. The Carbothello pencils he uses are wonderful to draw with. He moves on to explain chiaroscuro, value, form, shadow and so on, all of which I recommend you read it thoroughly before taking on his extensive chapters on the subject of drawing the head.

He deals with the subject in ample detail, and to his credit he writes very well too. There is a lot to read but every word of it is useful. His examples (and there are very many) are not the unusably rough pieces found in other books, but are in large scale, often in close-up and annotated, so you can really see in detail what he's doing and how he does it. He also rather cleverly provides equally high quality examples of how NOT to draw - for example, showing what happens when the proportions are incorrect or the lighting is poor. You could use this book to merely ape the Maughan style, but I believe it has much more value than that if you take the time to understand his methods and apply them to your work.

Often with such books, the benefit you derive from them depends to some extent on whether you like the artistic style of the author. I happen to like it, but even if you don't, Maughan's tremendous skill and understanding of his subject is such that it would be a shame to miss the opportunity to learn from him. This book has improved my skill greatly.

Even if you don't draw, the book makes an excellent coffee table piece.

I've had my copy from Amazon for while, but at time of writing (21 Mar 2006) the price is an absolute bargain at £12.89.

A consistent and convincing approach, 11 Nov 2004
The value of any book on drawing technique is very much dependent on the experience of the reader, in particular the questions he or she brings to the book, the problems which are seeking solutions. The advantages of a book like this which takes one specific approach and deals with it in moderate depth are firstly that it is a document from which to work, not just a coffee table amusement, and secondly that one can see straight away whether it is addressing one's specific problems. As drawer of four or five years' experience with a preference for accuracy and what is misleadingly termed "realism", and having started drawing from life a little under a year ago, I found Maughan's approach consistent and convincing because it reinforced some of the directions in which I was naturally being led.

The emphasis is on the balancing of light and dark (chiaroscuro) as the fundamental units of composition rather than on line or gesture. These techniques work best with soft pencil or pastel crayon on a slightly toothy surface of intermediate tone. The light and dark are laid in with white and sanguine or sepia. A crucial distinction is drawn between soft and hard edges. The emphasis is on looking and on simplicity and economy.

But I have one caveat. Experience also teaches that there is no one right way to draw, that the technique depends on the material, that what convices the eye is how well the hand has rendered the imagined world. In the end line and gesture are as important as the play of the light on the dark.

Excellent, 11 Sep 2006
A real must for those who really want to understand what it is they are actually drawing. Each part of the body is studied in detail, from head to toe we are taken on a detailed journey through the inner landscapes that inform the outer.
The photography is superb, and the poses themselves are well considered, reflecting the considerations of the old masters in their attempt to show the body as a divine vehicle rather than a mundane cellular mass. After all a good deal of the masters were privy to the hermetic and timeless mystery that consciousness is not a result of cellular growth , but in fact cellular growth is a result of consciousness, which in its purest form is unconditioned light.
The pose of the body reflects the understanding of its inhabitant, a wisdom we have lost in this temporary age of darkness. Gooey eyed eroticism is lazy thinking, and thankfully the poses in this book do not succumb to that banality.
All in all a well thought out out and thoroughly useful book.

great pictures, usefull book, 01 Mar 2004
I think the pictures are a great help in understanding of the human body and why things looks like they do.
It has fantastic photos and great illustrations focusing on different parts of the body.

I'm very pleased with the book.

nearly but not quite, 09 Dec 2002
as a modeller working in the computer environment im constantly on the lookout for anatomical referance to help my work retain a believable quality. i was impressed with the photo overlays in the book but wish that they had pushed this feature further with more overlays of the muscles under the skin, in particular the muscles in action. there seamed to be plenty of opportunities to do this. it is a lovely book and shall remain on my coffe table, but unfortunatly not on my referance shelf.

howard sly
3D artist
framestore-cfc

An invaluable reference guide, 07 Jan 2002
After many years of looking for a really useful reference book of the human anatomy I have finally found an excellently produced publication. Anatomy for the Artist by Sarah Simblet is the next best thing to having a model in front of you. The book is full of excellent photographs of well chosen models and the inclusion of illustrations of bones and muscles on simulator paper over the photos is very useful. I only wish that this book Amazon's January sale as I'd like to buy another ten copies for all my artist friends! I would be pleased to know if the author has done a similar book on the anatomy of animals.

Useful, if Exaggerated, 24 Dec 2006
This is a very useful book to have around and very good for anatomy, in particular his directions in drawing perspective. Few other books cover this and tend to outline muscle and bone in a simple, boring, front - and - side view manner. Hogarth breaks all the rules and stretches and bends the human body to it's limits and I have learnt a few techniques that I still use today (I would probably learn a lot more if I drew more!)

The only downside to the book is probably the exaggeration to the human body. Hands and heads are suggested in very "over the top" dramatic poses while spines are twisted to the limit in some! This is fantastic for those of us drawing fantasy and super heroes but it makes it hard to translate these poses into every day life.

Still, its a great way to go and it's a fantastic reference for drawing 3d figures, and the musculature layout makes it very unique.

Excellent visual reference, outdated language, 29 Dec 2004
Hogarth's drawings take some getting used to, and his use of language sounds like it's firmly rooted in the 50's, but his style of exagerated light and shade really helps to illustrate the landmarks of a figure much better than a "normal" drawing does. The cover illustrations should give you a fair idea of what to expect. By far the best book on the subject I have read.

ýbuy this book it will not disappointý., 11 Aug 2000
The chances are that you are already interested in drawing dynamic style figures before you even choose to look at this book. If this is the case once you have stopped marvelling at the fantastic drawings within, you will quickly start to understand and benefit from them and the accompanying text. It is a book that has already helped me introduce more movement, depth and dimension into the illustrations that I do. If drawing the human figure is essential to you then trust me when I say 'buy this book it will not disappoint'.

An excellent book that lacks the basics, 03 Dec 1999
Burne Hogarth is an excellent artist but DRAWING THE DYNAMIC FIGURE lacks clarity. The book has few if any explanations on breaking the human form into basic shapes and has little in the way of fundamental techniques. It does have some interesting analysis on anatomy etc and is overall of some use to an andvanced artist.

A staple for any artist.. struggling or otherwise, 07 Apr 1999
I've been Drawing Comics for the past eight years and i recomend this book to everyone. Gives great insight into anatomy and not the traditional rehash of 7 1/2 head tall three heads wide etc. This book has helped me out alot giving tips and tricks to prooblem areas like the back muscles and different perspectives and especially those pesky hands. Most other books concentrate on the every day anatomy, this book gives what it says "DYNAMIC!" A MUST if you enjoy drawing comics. Thanks Burne!!

Excelent book, classic, 24 Apr 2005
This book had been written from the perspective of an artist. There are no unnecessary detailed anatomical studies that show how individual muscles link to the bones. That would be far too detailed. Instead author, Burne Hogarth, just shows in many illustrations how muscles do appear on the surface from many angles.

As well, by using a human head as a standard relative length, he provides accepted proportions for other parts of the body. For example, human body is 8 1/2 heads tall, 2 to 2 1/3 heads wide over the sholders etc. This approach suits me, but you'll find lots of teaching web sites reference this book.

This book is worth every penny.

Perhaps the best ever "how to" book on creating action poses, 27 Aug 1999
The inimitable Burne Hogarth breaks down, with startling simplicity, the secrets and tricks behind inventing YOUR OWN dynamic action poses! Once you've mastered his techniques, you REALLY WON'T ever need reference again!

As an artist (15 years illustrating), I can whole-heartedly reccomend this book to any other artists (especially aspiring comic and sequential artists), struggling with the difficulties of posing the human figure in deep perspective (and making it look right).

While I'm not a big fan of Hogarth's style (all the drawings... hundreds of them... are rendered in his style), I was nonetheless SO blown away by the techniques he revealed that I went and bought ALL the other Hogarth books.

For the experienced artist... the benefit is this: Burne Hogarth doesn't try and teach you how to draw like HIM. He shows you how to use what he knows, to better serve your OWN art. And his tricks are time tested! Well worth the investment.

Great book with lots of reference, but some views not shown, 15 Jul 1999
I've referred to this book time and time again for details when drawing a figure to get correct muscle position. It comes in very handy. My only complaint is that some positions just aren't shown. Most drawings are drawn from an angled position so you still can't get a good idea of the depth of the muscle. Also at times, I'll refer to the book to see what a region looks like only to find that the piece I'm interested in is obscured in every rendering, the underside/back of the arm being one such place.

Pretty Good!, 14 Jul 1999
This guy is a good artist! If you are a beginner at drawing don't bother with this book, even if you have experience you will learn something new!

A pretty good start!, 24 Oct 2008
I got a fair bit out of this book and successfully pulled off a few paid gigs thanks to it and a free online course (that was a little more practical to be fair). I was looking to draw caricatures live, which is 5 minutes per drawing. This book isn't targeted at that audience so is reviewed with that in mind.
It's not the greatest book and one person's style, but does give you enough to start you off in drawing good caricatures and developing your own style. I used this in conjunction with some good online courses and do recommend it as a resource, even if live caricatures aren't your thing.

As good as it gets!, 06 Nov 2003
Being someone who is just starting out in the world of charicature, it was a pleasant surprise to find something like this on the market which gives you basic outline to the drawing process for charicature. It covers everything from basic head shapes through to expression and positioning.

I thoroughly recommend this book to anyone starting out. You'll need a little drawing skill before you start, but it will quickly fill in the rest of the gaps.

Good book and well worth the money.

A Reading Must!, 03 Jan 2008
This is a seriously wonderful book.

Charting the short, tragic life of Lizzie Siddal from youth to death and all the bits in between, this book is an absolute joy to read.

Impeccably researched and wonderfully written, it had me crying buckets at the end, but also taught me things I didn't know about her life and death, her relationships and what must have been an emotionally devastating love affair and marriage with the artist Dante Gabriel Rossetti.

If you are a student of Victoriana, have an interest in the Pre-Raphaelite world, or just enjoy an excellent biography, then this is most definitely the book for you. It's absolutely worth every penny I paid and I will be reading it again - just as soon as it's done the rounds of all my friends that want to read it!

Disappointing, 18 Jun 2007
The subject of the mysterious Elizabeth Siddal is always interesting but I found this book superficial and populist. The background information placing Siddal in her contemporary context (eg. the life of milliners in the 19th century) is perhaps the best thing about it. A lot of it seems to be based on supposition. For a far better, well-researched investigation of Siddal read Jan Marsh's biography 'The Legend of Elizabeth Siddal'.

Quite interesting... not great, 13 Oct 2006
This falls somewhere between the specialist art history texts (which it certainly is not) and fictionalised, pop culture biography. By which I mean I think you need to have some interest in pre raphaelite art to find it at all worthwhile - it's not just about the melodrama of Miss Siddall's life. Personally, I think if you're going to do an unhistorical, 'myth of the artist' type narrative you might as well go the whole hog and 'novelise' it. This is half and half. Neither Dante nor Lizzie come out of it very well, which is probably fairly accurate. They were both rather damaged, badly behaved weirdos. But a fairly light, interesting read nonetheless.

Surprisingly Absorbing Biography, 18 Feb 2006
Having a great interest in the world of the Pre-Raphaelites already, I thought at best it would be an interesting read - but it is such a well researched and absorbing book I could not put it down. Lizzie is seen here as human, her life the tragedy of it, and the fact that Rossetti did not cause all of her problems. However I could not leave the book with a dislike of her sometimes manipulative nature. Such is the success of this book. You will not be disappointed if you read it.

Thoughtful and interesting, 04 Jan 2006
Lizzie Siddal was so prominent in the works of the Pre-Raphaelites that I thought it would be interesting to find out more about her, and to my knowledge, this is the only biography available.
Although clearly written with interesting and relevant detail, the weakness of this book is that the biographer sets out with the 'tragedy' already in mind. Lizzie's faults (and there were a few of them) are glossed over as a result of her difficult life and love. Her whole life is seen through the hindsight of her death. It gets to be a bit tedius after a while. I know that the end of every biography is the death of the main character, but it shouldn't be the beginning and middle as well.

truly a complete guide!!, 04 Aug 2005
Brigdeman's a genius when it comes to life drawing. This is a complete book covering whatever he taught through his lifetime, and a must for every life drawing student. The illustrations are a bit fuzzy, but you should expect them as they are copies of the Bridgeman's original works. But I would still give it five stars, as life drawing is more of a person's own passion than beautiful illustrations to inspire you. This is a book for people starting at all levels, and something you'd love to go back to again and again.
This book features complete structural study, incorporating muscle and skeletal studies to give you a complete idea of how a human body behaves in rest or in motion. Yes, its a physics of its own kind, but don't be deterred by it, but be inspired and keep your pencils and charcoal flowing.
So, if you're passionate about life drawing and want to make your efforts worthwhile, get this book and get hooked to it.

just what I needed.., 04 Dec 2004
wow, this book is just great!! it really teaches you how to draw the human figure.
The ilustrations are just perfect, focusing in what is needed when you learn the figure, the movement of it, the relationships between limbs, proportion....and they are just beautiful!!!
I recomend it to every serious artist learning to draw people, figure.
smashing!!