The Practice and Science of Drawing (Dover Art Instruction) Paperback – June 1, 1972

The content is very dense but extremely practical. I’m moving through it very slowly and supplementing it with classical drawing exercises, the improvements I’m seeing with my drawing and observational accuracy have been increasing at a rate that’s rather unbelievable in a relatively short time. I love this book, but it requires very careful reading and understanding. Lovvvvveeeee it

Before art instructors of the late 20th and early 21st century Betty Edwards or Mona Brookes shared their insights with us, Harold Speed wrote this profoundly analytical handbook explaining the psychological and technical foundations of drawing and observation, i.e. line drawing and mass drawing, and much, much more. Although his English is stiff, and perhaps colloquial to the locale where his style of English English was spoken (where he was raised or lived) and the 19th and 20th century periods in which he lived, it is still readable and understandable.I found his tightly dissected views of how the (young person's) mind starts to perceive objects and to draw them, and how early artists approached drawing to be very helpful.It contains clear explanations that methodically lay out the appoaches by which artists apply their talents. In doing so, he helps us to become more analytical and more understanding of art and the world around us. This work by Harold Speed helps us become better observers. It is the most penetrating book on drawing techniques I have found. This book is an excellent investment at about $10.00 on Amazon.con.

Discusses balance, line, movement and what makes a good composition

I'm a hobbyist (for the sake of your perspective). The author does a great job of explaining what this "art" is all about. Hint: It's not about copying what you see, but more about copying what you feel, or wish to attribute--the "essence". Over the course of 300 pages, or so, he revisits this concept from various vantage points.To further illustrate how abstract/sophisticated the book is, the author simply explains, "Painting is just drawing with paint." If you are looking for an elementary book about "materials", this isn't the one.On the downside, some of the illustrations were missing or poorly copied. Also, there is no bibliography (which disappointed me). The older English writing style may be a negative to some, but I was already accustomed to it and I find it warm (gentle reader).I found the book refreshingly articulate and enjoyable reading because it contributed to my knowledge about art, in general.I hope you find this review helpful.

This book is a must have for any serious representational artist. Speed's talent for breaking the artistic process down and putting it into words is unrivaled. His illustrations are perfectly matched to the lesson and his incredible talent as a teacher is apparent in his explanations.Where the book is most helpful to the artist are the sections on Line Drawing: Practical and Mass Drawing: Practical. In the chapter on line drawing, Speed sets out, in a succinct style, to explain practical methods of measuring, applying these systems to the figure, the mechanics of light, and foreshortening. He always supplements the technical knowledge he is imparting with a larger aesthetic insight.The chapter on Mass Drawing: Practical is essentially a primer for painting. He simplifies the process by reducing it to drawing with charcoal and using two colors: white and raw umber. By isolating the process in this way, he allows the student to focus on brushwork, drawing, and paint quality. The highlight of this chapter is the excellent portrait demonstration where Speed illustrates his methods of drawing in charcoal, massing in the tones, and refining until the portrait is achieved.The remainder of the book relates more to layout and composition with the exception of the extremely enlightening chapter on portrait drawing. In this chapter, Speed explains what it means to achieve a likeness versus a masterful portrait and details several different approaches in portraiture.My copy of this book is dog eared, underlined, and worn. I've read it again and again and will continue to read it as I progress as an artist. This book is such a bargain considering the depth of content and quality of instruction. I would not hesitate to recommend this to anyone who truly is seeking to grow as an artist. Buy this book, read it again and again as you draw and paint to benefit from one of the most gifted art teachers in print.