To my sons Michael Robin Hogarth,Richard Panl Hogarth and Ross David Hogurth est set in 10-point New Beskerville captions in 6-point Akiden Grotesk Copyright e 2003 hy Bume Hogsrth Dynamic Media Worldwide 1I LARY OF CONGRESS CONTROL NUE02 NI-8 o mhakan ed in Hong Kong Fint printing.oo 156789/411000057
FOREWORD 7 PREFACE 9 ACKNOWLEDGMENTS 12 THE DUALISM OF ART AND SCIENCE 人 TOWARD THE LIBERATING CRITERIA OF ART≌ m. THE FIGURE IN ART HISTORICALLY DEVELOPED IV. OBSERVATIONS ON CHANGING PROPORTIONS DETAILS OF ANATOMYm VI. NINE PRINCIPLES OF FORESHORTENING 2 BIBLIOGRAPHY 248 INDEX 250
FOREWORD Was INTRODUCED To THE WoRLD of Burne Hogarth in 1977 when I was sixteen.I had decided to take the potential career path of being a comic book artist and was consuming literally thousands of comic books,trying to teach myself how to do superhero-type drawings.Up to that point,all I had done was doodle incessantly in the corners of my homework pages and during science classes. As I studied the work of some of the influential comic book artists of the time,one thing became apparent:I lacked the technical knowledge of how the human body actually worked,let alone how to move a character within the page.Clearly I needed to acquire that knowledge if I hoped tocreate work samples worthy of sending to the comic book companies in search of a job One day I went to a bookstore and happened to come across a copy of Burne Hogarth's Dynamic Anatomy.It provided my skill level in drawing with a jump star,teaching me how the human body was constructed through information laid out in fairly simple terms that made sense to a sixteen-year-old artist.Once I started putting the building blocks of the human body together and became familiar with how to construct male and female figures from any given angle.I then had to conquer the next level:I had to learn where the muscles and bones went,how to establish correct proportions.and how to make the figure relate convincingly to the surrounding space.Hogarth's book showed me how to foreshorten and how to twist and turn the human form,transforming my work into what he called"dynamic."During the years Hogarth drew the comic strip Tarzan,he often depicted the scantily clad hero swinging from vine to vine in the jungle,and his mas- tery of the human figure in motion obviously evolved through his own work in comics.his studies,and through decades of teaching. When eventually I broke into the comic book business,I continued to come back to the lessons I had learned from studying Hogarth's book.Now that I have enjoyed some success in the field,people often ask who my comic book influences were.I give them a handful of names of current and pioneering artists,but always credit Burne Hogarth as the one who most directly taught me how to ctually move iconic figures ona page and how to stage them in melodramatic fashion.It's terrific for me to be able to sit back now and watch as a whole new generation of budding artists becomes exposed to the ame teachings that so richly rewarded me.I hope all of you who read this book find the information it contains as valuable and inspiring as I did.I wish you good luck,and would like to thank Mr.Hogarth for his legacy. TODD MCFARLANE Spawn and former Spider-Man artist
