Ideal for those looking to develop a realistic drawing style, Lucy Swinburne demystifies the subject of drawing clothed figures through use of dozens of inspirational examples in a variety of drawing media. Step-by-step projects walk the reader through interesting and varied subjects, from all walks of life - from ballerinas to buskers. Drawing people can be intimidating -- unlike other subjects, even the tiniest error can give a staged or forced result. This book explains how to get your clothed figures looking alive, dynamic and characterful; and produce successful, dynamic results. Lucy Swinburne is the author of the popular book on animals in this series.

This richly illustrated book presents a selection of the rich and varied iconographic material from the Scandinavian Late Iron Age (AD 400-1050) depicting clothed human figures, from an archaeological textile and clothing perspective. The source material consists of five object categories: gold foils, gold bracteates, helmet plaques, jewelry, and textile tapestries and comprises over 1000 different images of male and female costumes which are then systematically examined in conjunction with our present knowledge of archaeological textiles. In particular, the study explores the question of whether the selected images complement the archaeological clothing sources, through a new analytical tool which enables us to compare and contrast the object categories in regard to material, function, chronology, context and interpretation. The tool is used to record and analyze the numerous details of the iconographic costumes, and to facilitate a clear and easy description. This deliberate use of explicit costume shapes enhances our interpretation and understanding of the Late Iron Age clothing tradition. Thus, the majority of the costumes depicted are identified in the Scandinavian archaeological textile record, demonstrating that the depictions are a reliable source of research for both iconographical costume and archaeological clothing. The book contributes with new information on social, regional and chronological differences in clothing traditions from ca. AD 400 to the Viking Age.

The Western Han dynasty (202 BCE–9 CE) was a foundational period for the artistic culture of ancient China, a fact particularly visible in the era’s funerary art. Iconic forms of Chinese art such as dazzling suits of jade; cavernous, rock-cut mountain tombs; fancifully ornate wall paintings; and armies of miniature terracotta warriors were prepared for the tombs of the elite during this period. Many of the finest objects of the Western Han have been excavated from the tombs of kings, who administered local provinces on behalf of the emperors. Allison R. Miller paints a new picture of elite art production by revealing the contributions of the kings to Western Han artistic culture. She demonstrates that the kings were not mere imitators of the imperial court but rather innovators, employing local materials and workshops and experimenting with new techniques to challenge the artistic hegemony of the imperial house. Tombs and funerary art, Miller contends, functioned as an important vehicle of political expression as kings strove to persuade the population and other elites of their legitimacy. Through case studies of five genres of royal art, Miller argues that the political structure of the early Western Han, with the emperor as one ruler among peers, benefited artistic production and innovation. Kingly Splendor brings together close readings of funerary art and architecture with nuanced analyses of political and institutional dynamics to provide an interdisciplinary revisionist history of the early Western Han.

The ability to draw the human form accurately and competently is a primary goal for many aspiring artists, despite the current trend in the art establishment away from figurative subjects. The book is intended for anyone who wants to discover every aspect of what for centuries was regarded as the real test of an artist's mettle. Renowned teacher and artist Barrington Barber begins his exploration with anatomy, an understanding which is vital if the artist is to handle form and translate what he sees into a believable representation of life. He goes on to look at the whole figure: clothed, drawn from life, in action and in detail. Supported by sections on composition, styles and a step-by-step guide to a final composition, he has once again achieved a brilliantly inspirational art book. Comprehensive, easy to follow and packed with over 300 of Barrington Barber's illustrations, The Fundamentals of Figure Drawing is a must for artists of all abilities.

Bringing together a wealth of primary sources and with contributions from leading experts, Dress History of Korea presents the most recent approaches to the interpretation of dress and fashion of Korea. Through close analysis of visual, written, and material sources-some newly excavated or recently re-discovered in global museums-the book reveals how dress and adornment evolved from the period of state formation to the modern era. Authors with a range of academic and curatorial experience discuss the close relation of dress and adornments to the socio-political and cultural history of Korea and place the dress history of Korea within broader contexts in studies of fashion, material culture, museology, and costume design. As in other cultures, modern Korean fashion owes many of its styles to historic dress and this process of adaptation is explored within high fashion and popular culture contexts in ways that benefit historians, curators, and designers alike. With key materials newly available to global readers, Dress History of Korea is the indispensable guide to the study of Korean dress and fashion.