offers considerably more. No one book is perfect and this one is no exception. There are some lessons that I feel are difficult to understand but I'll get to those in a few paragraphs.
Ross' intro serves as a perfect syllabus as to what one can expect to be taught by throughout the book. Ross starts off with a truncated and very well explained lesson on perspective. Ross delivers the information in a straightforward and informative manner. I am one of those artists that has always had a hard time with the concept of perspective once one gets past one point and two point. Ross presented the more difficult aspects of perspective such as three point bird's eye or worm's eye views in such a way as to make it easier for me to grasp, especially concerning the human figure. That's not to say I suddenly mastered the subject but I certainly have a better understanding. At the end of each lesson Ross gives drawing exercises to help one learn and ingrain the lesson in one's mind.
From there Ross starts to delve into the human figure beginning with what he calls the " Glass Mannequin" This is a simplified model of the human figure that, unlike traditional mannequins, is drawn semitransparent so one can see hidden attachment points of the limbs to better plot the poses in which one can place the figure. He follows this with examples of foreshortening and the rotation of the trunk and pelvis when designing poses. He starts with the gesture drawing such as whether the figure is based on an S curve or a C curve. This is one of the lessons in which I learned some new methods to have more dynamic poses in the figures I draw. Ross teaches these in a clear and concise manner. He shows the core of the mannequin in various angles and viewpoints to show the relationships of the different parts. He shows us the differences in the male and female figures as well. He feels this will help the artist learn to be able to draw a figure from memory without reference or a model needed.
Ross insists that not all figures need to start with the head but perhaps with the arm if it is causing the action the figure is doing. It could start with the leg if necessary. I have to admit I found this to be a revelation as this was how I drew figures when I was younger before I learned the "right" way to do art. I am of the opinion that sometimes one can learn oneself out of the spontaneity comic book figures need to be dynamic and interesting. Ross' preferred method is to start with the torso and the hips and draw out from there, reminiscent of Bridgman.
One aspect I feel is lacking in the lessons is the proportions of the figure. Because of the method he uses Ross never really gets into this lesson and thus some confusion may occur for novice artists picking up the book. However the way he presents the lessons should allow the artist to glean the information needed. Since the focus is on dynamic action with considerable foreshortening of the limbs and other body parts, I wonder that proportion lessons might just get in the way. Plus, almost every anatomy book shows the basic proportions and is readily available to learn. Again, the lessons at the end of each chapter will help the artist cement this information in his or her brain.
Another flaw that Ross falls prey to as do so many other anatomy books, some of the progression drawings go from the rough or simplified glass mannequin to finished drawing with not enough of the process in between shown to help the novice make this leap. Speaking from experience, this can frustrate the beginner and lead to self-consciousness and feelings of failure.
Ross has separate chapters for the head, the hands and the feet as these are all complicated parts of the figure and hardest to master for some. In the chapter on the head Ross does get into the proportions of the features and highlights some of the common beginning mistakes. His section on how the ear shape changes depending on viewpoint and angle is enlightening and not something many would think to include.
The hands Chapter was a bit confusing for me and I've been at this for a while now. The concept of what he shows is simple enough to understand and he does offer great information it is just so complex and involved I'm not sure I'll be able to do it. I read the whole book and will be going back to do the exercises later so I guess I'll find out. The feet chapter is straightforward and presented well.
Ross then gets into the skeleton, the muscles and surface anatomy. This was another chapter where I learned something new as I thought a particular muscle attached in a particular spot but it actually attaches somewhere else. I've been drawing legs incorrectly all these years even though it "looks right". The one problem this section has, in my opinion, is that it gets a little technical with naming the bones and muscles by there anatomical names. It gets confusing as he explains how the muscles and bones get together and all the latin and medical terminology flies towards my brain in a frenzy. Again, I understand the importance of knowing what goes where and what the names are but it comes in such a burst that it can numb the brain and make one check out mentally. I feel that's more for a classroom setting than in a book.
For me, one of the most beneficial chapters is the Dynamic Action chapter that goes into just that, running, lunging, flying and of course the combat and battle poses. Combat has always been hard for me to draw. This is where starting with the arms and drawing out would be the logical way to start. Ross presents these lessons in such a way that I feel confident when I next sit down to the drawing board I will have better results. The parts about action and reaction in battle were especially well presented.
Ross' conclusion statement is one of the best written, most encouraging and motivating one I've ever read. He does not sugar coat the amount of work one will have to do to achieve the desired results but he also doesn't discourage one from making that effort and succeeding. His process is not to be learned and applied quickly but with the effort and perseverance of a true artist.
Overall Anatomy for the Illustrator is most certainly worth adding to your library. It offers far more than the average anatomy books for artists, both beginners and seasoned vets. I can't picture any artist buying this book and regretting it. I would definitely give it 4 out of 5 stars.
