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- ISBN: 9780495094913 | 0495094919
- Cover: Paperback
- Copyright: 1/19/2007
DRAWING: A CONTEMPORARY APPROACH takes you beyond conventional approaches, emphasizing the emotional, intellectual, spiritual, and social significance of art. The authors trace the evolution of today's art from that of the past, showing drawing's meaning and continuity. DRAWING: A CONTEMPORARY APPROACH offers a combination of effective pedagogy, good exercises, and high-quality, contemporary drawings as models, focusing on contemporary artists who draw in a multicultural world.
Preface | p. iii |
Introduction to Drawing | |
Drawing: Definitions and Purposes | p. 3 |
Drawing Across Time and Culture | p. 4 |
Some History of Drawing | p. 6 |
Types of Drawings | p. 10 |
Subjective and Objective Drawing | p. 10 |
Informational Drawing | p. 12 |
Schematic Drawing | p. 14 |
Subject and Treatment | p. 14 |
Conclusion | p. 21 |
Learning to See: Gesture and Other Beginning Line Exercises | p. 22 |
Facture, Pochade, and Time | p. 24 |
Gestural Line Drawing | p. 26 |
Beginning to Draw | p. 30 |
Types of Gestural Line Drawing | p. 31 |
Line Gesture | p. 31 |
Mass Gesture | p. 33 |
Mass and Line Gesture | p. 34 |
Scribbled Line Gesture | p. 36 |
Sustained Gesture | p. 37 |
Other Beginning Approaches | p. 40 |
Continuous-Line Drawing | p. 40 |
Organizational-Line Drawing | p. 42 |
Contour-Line Drawing | p. 44 |
Blind Contour-Line Drawing | p. 45 |
Summary | p. 46 |
Sketchbook Projects | p. 48 |
Gestural Line Drawings | p. 49 |
Continuous-Line and Organizational-Line Drawings | p. 49 |
Blind Contour Drawings | p. 49 |
Automatic Drawing | p. 50 |
Spatial Relationships of the Art Elements | |
Development of Spatial Response | p. 52 |
Categories of Space | p. 55 |
Twentieth-Century Innovations in Spatial Development | p. 59 |
The Influence of Electronic Space | p. 63 |
Emotive Space | p. 63 |
Conclusion | p. 65 |
Sketchbook Project | p. 65 |
Making a Space Folder | p. 66 |
Shape/Plane and Volume | p. 67 |
Shape | p. 67 |
Geometric and Organic Shapes | p. 67 |
Implied Shape | p. 71 |
Positive and Negative Shapes | p. 72 |
Positive/Negative Interchange | p. 73 |
Composite Shape | p. 75 |
Silhouette | p. 75 |
Geometric Shapes Used to Create Pattern | p. 76 |
Geometric and Organic Shapes | p. 76 |
Interchangeable Positive and Negative Shapes | p. 77 |
Invented Negative Shapes | p. 79 |
Composite Shape | p. 79 |
The Shape of the Picture Plane | p. 80 |
Problem 3.6 | p. 81 |
Shape as Plane and Volume | p. 82 |
Shape as Plane and Volume | p. 86 |
Planar Analysis | p. 87 |
Modeling and Overlapping | p. 89 |
Summary: Spatial Characteristics of Shape | p. 90 |
Shape | p. 90 |
Sketchbook Project | p. 90 |
Shaping the Composition to the Format | p. 90 |
Computer Project | p. 90 |
Project 1 | p. 91 |
Value | p. 92 |
Definitions and Functions | p. 92 |
Ways of Creating Value | p. 96 |
Arbitrary Use of Value | p. 100 |
Using Value Arbitrarily | p. 101 |
Descriptive Uses of Value | p. 101 |
Value Used to Describe Structure | p. 101 |
Using Value to Describe Planes | p. 101 |
Value Used to Describe Weight | p. 101 |
Using Value to Describe Weight | p. 103 |
Value Used to Describe Light | p. 104 |
Value Reduction | p. 107 |
Four Divisions of Value | p. 108 |
Categories of Light | p. 108 |
Tonal Drawings | p. 108 |
Value Used to Describe Space | p. 108 |
Using Value to Describe Space | p. 109 |
Expressive Uses of Value | p. 109 |
Value Reversal | p. 110 |
Value Used Subjectively | p. 111 |
Summary | p. 112 |
Spatial Characteristics of Value | p. 112 |
Sketchbook Projects | p. 113 |
Thumbnail Sketches | p. 113 |
Thumbnail Sketches Using Value Reduction | p. 113 |
Computer Project | p. 113 |
Converting Color to Value | p. 113 |
Line | p. 115 |
Introduction to Line | p. 115 |
Determinants of Line Quality | p. 118 |
Extended Contemporary Uses of Line | p. 121 |
Types of Line | p. 125 |
Contour Line | p. 125 |
Slow Contour Line | p. 126 |
Exaggerated Contour Line | p. 126 |
Quick Contour Line | p. 128 |
Cross-Contour Line | p. 129 |
Contour with Tone | p. 129 |
Mechanical Line | p. 130 |
Using Mechanical Line | p. 131 |
Structural Line | p. 131 |
Using Structural Line | p. 131 |
Lyrical Line | p. 132 |
Using Lyrical Line | p. 133 |
Constrictive, Aggressive Line | p. 133 |
Using Constricted, Aggressive Line | p. 133 |
Handwriting: Cursive and Calligraphic Line | p. 134 |
Using Handwriting or Calligraphic Line | p. 135 |
Implied Line | p. 135 |
Using Implied Line | p. 136 |
Blurred Line | p. 136 |
Using Blurred Line | p. 138 |
Whimsical Line | p. 138 |
Using Whimsical Line | p. 139 |
Summary | p. 139 |
Spatial Characteristics of Line | p. 139 |
Sketchbook Project | p. 141 |
The Cadavre Exquis (The Exquisite Corpse) | p. 141 |
Computer Project | p. 141 |
Computer Drawing and Line Quality | p. 141 |
Texture | p. 143 |
The Role of Texture in Contemporary Art | p. 143 |
Pattern and Decoration | p. 145 |
Object as New Genre | p. 145 |
Categories of Texture | p. 147 |
Actual Texture | p. 148 |
Simulated Texture | p. 150 |
Invented, Conventional, or Symbolic Texture | p. 150 |
Using Actual Texture | p. 153 |
Using Simulated Texture | p. 153 |
Using Invented Texture | p. 153 |
Using Conventional or Symbolic Texture | p. 155 |
Contemporary Textures | p. 155 |
Additive Materials to Create Texture | p. 155 |
Using Papier Colle | p. 157 |
Using Collage | p. 158 |
Using Photomontage | p. 159 |
Transferred Texture | p. 159 |
Using Rubbing | p. 161 |
Transfer from a Printed Source | p. 162 |
Conclusion | p. 163 |
Summary | p. 164 |
Spatial Characteristics of Texture | p. 164 |
Sketchbook Projects | p. 164 |
Identifying Textural Techniques Used in Depicting Water | p. 164 |
Transcribing Textural Techniques | p. 165 |
Computer Project | p. 165 |
Creating Texture on the Computer | p. 165 |
Color | p. 167 |
Functions of Color | p. 167 |
Color Media | p. 168 |
Using Color Media | p. 170 |
Color Terminology | p. 170 |
Using Local and Optical Color | p. 171 |
Color Schemes | p. 171 |
Using a Monochromatic Color Scheme | p. 172 |
Using a Complementary Color Scheme | p. 173 |
Warm and Cool Colors | p. 173 |
Using Warm and Cool Colors | p. 173 |
Using a Warm or Cool Color to Create a Color-Field Composition | p. 174 |
Summary | p. 174 |
Spatial Characteristics of Color | p. 174 |
Sketchbook Project | p. 174 |
Using Color for Quick Landscape Sketches | p. 174 |
Computer Project | p. 175 |
Using the Computer to Create Matisse Cutouts | p. 175 |
Antiperspective: The Triumph of the Picture Plane | p. 177 |
Contemporary Challenges to Traditional Perspective | p. 177 |
Antiperspective-The Flatbed Picture Plane and Superflat | p. 179 |
Definitions and Guidelines | p. 180 |
Eye Level and Baseline | p. 180 |
Using Eye Level and Baselines | p. 183 |
Aerial Perspective | p. 183 |
Using Aerial Perspective | p. 185 |
Linear Perspective | p. 185 |
Using a See-Through Pane | p. 187 |
Using a Viewer for Framing and Sighting | p. 188 |
Locating Vanishing Points | p. 188 |
One-Point Perspective | p. 189 |
Using One-Point Perspective | p. 190 |
Two-Point Perspective | p. 191 |
Using Two-Point Perspective | p. 192 |
Three-Point Perspective | p. 193 |
Using Three-Point Perspective | p. 194 |
Axonometric Perspective | p. 194 |
Multiple Perspectives | p. 195 |
Using Multiple Perspectives | p. 195 |
Stacked Perspective | p. 196 |
Using Stacked Perspective | p. 197 |
Foreshortening | p. 197 |
Using Foreshortening | p. 198 |
Conclusion | p. 199 |
Sketchbook Projects | p. 199 |
Invented Spatially Illusionistic Forms | p. 199 |
Employing Different Horizon Lines | p. 200 |
A Contemporary View | |
Organizing the Picture Plane | p. 203 |
Challenges to Traditional Compositional Approaches | p. 203 |
Contemporary Treatment of the Picture Plane | p. 205 |
Dominance of the Edge | p. 205 |
Shaped Picture Planes | p. 206 |
Confirming the Flatness of the Picture Plane | p. 207 |
Continuous-Field Compositions | p. 207 |
Continuous-Field Compositions | p. 208 |
Arrangement of Images on the Picture Plane | p. 208 |
Placing Images on the Picture Plane | p. 214 |
Filling the Picture Plane | p. 214 |
Division of the Picture Plane | p. 214 |
Composing with a Grid | p. 217 |
Dividing the Picture Plane | p. 218 |
Using Inset Images | p. 218 |
Using Linear Sequence | p. 219 |
The Wall as Picture Plane | p. 219 |
Conclusion | p. 220 |
Sketchbook Projects | p. 220 |
Crowding the Picture Plane | p. 220 |
Attention to the Edge | p. 221 |
Divided Picture Plane | p. 221 |
Computer Project | p. 221 |
Using Superimposed, Layered Images | p. 221 |
Thematic Development | p. 222 |
Developing a Body of Related Work | p. 222 |
Word and Image | p. 223 |
Word and Image | p. 228 |
Frames of Reference | p. 229 |
Pages from an Altered Book | p. 230 |
The Figure/Body Art/Portraiture | p. 230 |
Alternate Self-Portrait | p. 232 |
Self-Portrait in Different Styles | p. 232 |
A Psychological Portrait | p. 233 |
Appropriated Images | p. 233 |
Appropriation-An Art History Homage | p. 235 |
A Series of Opposites | p. 236 |
Summary | p. 236 |
Sketchbook Projects | p. 237 |
Visual and Verbal Descriptions | p. 237 |
Juxtaposition of Word and Image | p. 238 |
Computer Project | p. 238 |
Transformation Using Computer-Generated Images | p. 238 |
A Look at Drawing Today | p. 240 |
What's New in the Twenty-First Century | p. 240 |
Contemporary Trends in Drawing | p. 241 |
Influence of Outsider Art | p. 241 |
Illustration-Based Narrative Drawing | p. 243 |
Ornamental Embellishment | p. 243 |
Neo-Romantic Drawing | p. 244 |
Abstraction | p. 244 |
Alternative Worlds | p. 245 |
Subcultures into Art | p. 245 |
Nostalgia | p. 246 |
Drawings with Social and Political Themes | p. 248 |
Hand-Drawn Animation | p. 249 |
Drawings Made from Direct Observation | p. 250 |
Conclusion | p. 250 |
Useful Websites | p. 251 |
Practical Guides | |
Materials | p. 255 |
The Importance of Materials | p. 255 |
Paper | p. 256 |
Selected Papers for Drawing | p. 257 |
Some Suggested Oriental Papers | p. 257 |
Speciality Papers | p. 258 |
Sketchbooks | p. 258 |
Charcoal, Crayons, and Chalks | p. 258 |
Pencils and Graphite Sticks | p. 259 |
Erasers | p. 259 |
Inks and Pens | p. 259 |
Paint and Brushes | p. 260 |
Other Materials | p. 260 |
Nonart Implements | p. 261 |
Keeping a Sketchbook | p. 263 |
Why Keep a Sketchbook? | p. 264 |
Appropriate Subjects for a Sketchbook | p. 268 |
Summary | p. 273 |
Breaking Artistic Blocks and Making Critical Assessments | p. 275 |
Correcting the Problem Drawing | p. 275 |
Questions Dealing with Form | p. 276 |
Critical Assessment | p. 277 |
Inconsistency of Style, Idea, or Feeling | p. 277 |
Failure to Determine Basic Structure | p. 278 |
Tendency to Ignore Negative Space | p. 278 |
Inability to Develop Value Range and Transition | p. 278 |
Failure to Observe Accurately | p. 278 |
Getting Started | p. 279 |
Presentation | p. 281 |
Some Contemporary Modes of Presentation | p. 281 |
Acetate | p. 284 |
Plastic Envelopes | p. 284 |
Lamination | p. 284 |
Dry Mounting | p. 285 |
Matting | p. 285 |
Materials for Matting | p. 285 |
Instructions for Matting | p. 286 |
Summary | p. 287 |
Glossary | p. 289 |
Suggested Readings | p. 295 |
Index | p. 305 |
Table of Contents provided by Ingram. All Rights Reserved. |
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