In ein paar Minuten können Sie die hohe Kunst des Zeichnens erlernen. Direkt von einer der größten Kapazitäten der Theorie und Praxis des Zeichnens!

Sie können nun endlich Lernen wie ein Profi zu zeichnen, ohne eine teure Kunstschule zu besuchen zu müssen!

Diese Schritt für Schritt Anleitung zeigt Ihnen wie Sie ein Experte im Zeichnen werden, selbst wenn Sie in Kunst immer durchgefallen sind!

Dienstag 9:12 morgens
Von: Daniel

Lieber Kunstfreund,

es ist niemals zu spät das Zeichnen zu erlernen, und noch besser, es muss nicht viel Geld kosten!

Endlich können Sie Zeichnen lernen ohne eine teure Kunstakademie besuchen zu müssen.

Erlernen Sie diese Kunst bequem in Ihrer Freizeit und Ihren eigenen vier Wänden zu einem Bruchteil der Kosten die eine Kunstakademie verlangen würde. Dies alles ist leicht möglich mit diesem Klassiker
"Theorie und Praxis des Zeichnens" von Harold Speed (Associé de la Société Nationale des Beaux-Arts, Paris; Member of the Royal Society of Portrait Painters).

Keine Anfahrten zur Akademie oder Kunstschule. Sie müssen nichts von Ihrer wertvollen und knappen Freizeit opfern!

Lernen Sie das Zeichnen Schritt für Schritt!

Die "Theorie und Praxis des Zeichnens" ist ein unfassendes Handbuch mit über 100 Illustrationen, um Sie Schritt für Schritt zu führen und zu helfen von Null zur Meisterschaft im Zeichnen zu gelangen.

Let the author’s illustrations guide you through the various stages of drawing. With this step-by-step manual learning the art of drawing would be enjoyable and easy!

The illustration below shows the different stages of mass drawing with the brush (Plate I. The Practice and Science of Drawing).

"The Practice and Science of Drawing" is an extraordinarily brilliant work that also contains extensive discussions about modern art and various styles, techniques and philosophies of different artists.

In Chapter I for instance the author talks about the various studies about different artists’ styles and points of views.

In describing the works of different artists for instance, the author writes:

"If anybody looks at a picture by Claude Monet from the point of view of a Raphael, he will see nothing but a meaningless jargon of wild paint-strokes. 

And if anybody looks at a Raphael from the point of view of a Claude Monet, he will, no doubt, only see hard, tinny figures in a setting devoid of any of the lovely atmosphere that always envelops form seen in nature. So wide apart are some of the points of view in painting."

Learn The Science of Drawing!

More importantly , "The Practice and Science of Drawing" is also a scientific investigation about the art of drawing.  

Take for instance how the author expounds on the art of drawing:

"The best things in an artist’s work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist. 

Intuitions are shy things and apt to disappear if looked into too closely. And there is undoubtedly a danger that too much knowledge and training may supplant the natural intuitive feeling of a student, leaving only a cold knowledge of the means of expression in its place. 

For the artist, if he has the right stuff in him, has a consciousness, in doing his best work, of something, as Ruskin has said, "not in him but through him." He has been, as it were, but the agent through which it has found expression."

Table Of Contents 

I..........................INTRODUCTION 
II.........................DRAWING 
III........................VISION 
IV.........................LINE DRAWING 
V..........................MASS DRAWING 
VI.........................THE ACADEMIC AND CONVENTIONAL 
VII........................THE STUDY OF DRAWING 
VIII.......................LINE DRAWING: PRACTICAL 
IX.........................MASS DRAWING: PRACTICAL 
X..........................RHYTHM 
XI.........................RHYTHM: VARIETY OF LINE 
XII........................RHYTHM: UNITY OF LINE 
XIII.......................RHYTHM: VARIETY OF MASS 
XIV.......................RHYTHM: UNITY OF MASS 
XV........................RHYTHM: BALANCE 
XVI.......................RHYTHM: PROPORTION 
XVII......................PORTRAIT DRAWING 
XVIII.....................THE VISUAL MEMORY 
XIX.......................PROCEDURE 
XX........................MATERIALS 
XXI.......................CONCLUSION 
APPENDIX....................... 
INDEX....................... 

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