100 Ways To Create Fantasy Figures by Francis Tsai PDF

By Francis Tsai

ISBN-10: 1600611192

ISBN-13: 9781600611193

Provides a hundred fascinating and creative how one can layout and draw larger fable figures—from constructing characters to including costumes, props and backdrops. Hollywood thought fashion designer Francis Tsai stocks counsel and tips for growing resourceful figures, giving readers a distinct chance to realize information from a true seasoned. hugely obtainable and that includes a wealth of principles, this sourcebook comprises an inspirational mixture of kinds and ways, with impacts starting from Celtic, Greek, Roman, Oriental and Medieval to nineteenth Century Gothic—something for each myth artist!

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Furthermore, they make up the girl’s dark skirt, and of course the large white sleeve above the skirt. Again, these movements are inferred by our three rules – they are processes along symmetry axes leading to extrema. Now, let us turn to the crucial role of the arm, on which her face rests. In fact, this factor is so significant that it is referred to in the most frequent title of the painting, Italian Girl Resting on Her Elbow. The "elbow" referred to in the title is in fact a curvature extremum.

By the Symmetry-Curvature Duality Theorem, these two extrema each have a symmetry axis. In fact, Raphael ensures that they share the same symmetry axis – which is the horizontal line linking the two extrema. Raphael strongly emphasizes this line by presenting it as the highlighted waist-line of the Madonna – see the painting, Plate 2. Now, since our rules dictate that there must be a process running along any symmetry axis leading to an extremum, we must have an arrow pointing along the axis to the child’s ear on the left, and an arrow pointing in the opposite direction along the axis to the Madonna’s elbow on the right.

We can further understand this proposal by recognizing the fact that the word emotion consists of two components: e meaning out, and motion meaning movement. That is, emotion means outward movement. Therefore, the rules for recovering the processhistories, are the rules for recovering the outward movements (the e-motions) of the artist. Quite literally: The arrows that our rules draw on the paintings are the e-motions of the artist. 2. EXPRESSIVENESS OF LINE This chapter will demonstrate the above theory, with complete mathematical rigor, by working through an extremely important example: the expressiveness of line.

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100 Ways To Create Fantasy Figures by Francis Tsai


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