Drawing A Contemporary Approach (with InfoTrac)

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ISBN: 9780534613358 | 0534613357
Cover: Paperback
Copyright: 6/23/2003

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The number one, best-selling drawing text in the market, DRAWING: A CONTEMPORARY APPROACH goes beyond conventional approaches, emphasizing the emotional, intellectual, spiritual, and social significance of art. The authors trace the development of today's art from that of the past, showing drawing's meaning and continuity. The text succeeds by offering a combination of effective pedagogy, good exercises, and high-quality, contemporary drawings as models, while focusing on contemporary artists who draw in a multicultural world.

Preface

iii

PART I Introduction to Drawing

Drawing: Thoughts and Definitions

(30)

Subjective and Objective Drawing

(3)

Informational Drawing

(1)

Schematic Drawing

(1)

Pictorial Recording

(2)

Subjective Drawing

(1)

The Viewing Audience

(3)

Subject and Treatment

(6)

Conclusion

(1)

Learning to See: Gesture and Other Beginning Approaches

(66)

Gesture Drawing

(8)

Before Beginning to Draw

(2)

Types of Gesture Drawing

(10)

Line Gesture Exercises

(2)

Mass Gesture Exercises

(1)

Mass and Line Gesture Exercises

(3)

Scribbled Line Gesture Exercises

(2)

Sustained Gesture Exercises

(2)

Other Beginning Approaches

(9)

Continuous-Line Drawing Exercises

(3)

Organizational-Line Drawing Exercises

(2)

Blind Contour Exercises

(4)

Summary

(1)

Sketchbook Projects

(6)

Gesture Drawings

(1)

Continuous-Line and Organizational-Line Drawings

(1)

Blind Contour Drawings

(1)

Automatic Drawing

(4)

PART II Spatial Relationships of the Art Elements

Development of Spatial Response

(6)

Categories of Space

(3)

Precursors of Contemporary Spatial Development

(9)

Contemporary Spatial Development

(4)

The Influence of Electronic Space

(1)

Emotive Space

(1)

Sketchbook Project

(1)

Making a Space Folder

(1)

Shape / Plane and Volume

(30)

Shape

(7)

Positive and Negative Space

106

(9)

Composite Shape Problem

111

(1)

Interchangeable Positive and Negative Shapes

111

(1)

Geometric Positive and Negative Shapes

112

(1)

Invented Negative Shapes

113

(1)

Collaged Negative Shapes

114

(1)

Enclosed Invented Positive and Negative Shapes

114

(1)

The Shape of the Picture Plane

115

(2)

Shape as Plane and Volume

117

(8)

Shape as Plane and Volume

121

(1)

Planar Analysis

122

(1)

Rubbed Planar Drawing

122

(2)

Basic Volume

124

(1)

Modeling and Overlapping

125

(1)

Summary: Different Kinds of Space

125

(1)

Sketchbook Project

126

(1)

Shaping the Composition to the Format

126

(1)

Computer Project

126

(3)

Using a Computer to Determine and Modify Shapes / Experimenting with the Relationship between Positive and Negative Space

127

(2)

Value

129

(30)

Functions of Value

129

(7)

Ways of Creating Value

136

(4)

Arbitrary Use of Value

140

(1)

Using Value Arbitrarily

141

(1)

Descriptive Uses of Value

141

(1)

Value Used to Describe Structure

141

(1)

Using Value to Describe Structure

141

(1)

Using Value to Describe Planes

142

(1)

Value Used to Describe Weight

142

(3)

Using Value to Describe Weight

144

(1)

Value Used to Describe Light

145

(6)

Value Reduction

147

(1)

Four Divisions of Value

148

(1)

Categories of Light

149

(1)

Tonal Drawings

150

(1)

Value Used to Describe Space

151

(1)

Using Value to Describe Space

151

(1)

Expressive Uses of Value

152

(4)

Value Reversal

154

(1)

Value Used Subjectively

154

(1)

Value Used to Create a Nonobjective Drawing

154

(2)

Summary: Spatial Characteristics of Value

156

(1)

Sketchbook Projects

156

(1)

Using Thumbnail Sketches

156

(1)

Applying Thumbnail Sketches to Actual Subject Matter

157

(1)

Computer Project

157

(2)

Converting Color to Value

157

(2)

Line

159

(34)

Determinants of Line Quality

162

(4)

Line in Other Art Disciplines

166

(1)

Line in Recent Decades

167

(3)

Types of Line

170

(1)

Contour Line

170

(8)

Slow Contour Line

172

(1)

Exaggerated Contour Line

173

(2)

Quick Contour Line

175

(1)

Cross-Contour Line

176

(1)

Contour with Tone

177

(1)

Mechanical Line

178

(1)

Using Mechanical Line

178

(1)

Structural Line

179

(1)

Using Structural Line

179

(1)

Lyrical Line

180

(1)

Using Lyrical Line

181

(1)

Constricted, Aggressive Line

181

(1)

Using Constricted, Aggressive Line

181

(1)

Handwriting: Cursive and Calligraphic Line

182

(1)

Using Handwriting or Calligraphic Line

183

(1)

Implied Line

183

(1)

Using Implied Line

184

(1)

Blurred Line

184

(2)

Using Blurred Line

186

(1)

Whimsical Line

186

(2)

Using Whimsical Line

187

(1)

Summary: Spatial Characteristics of Line

188

(1)

Sketchbook Projects

189

(2)

Conceptual Drawing

190

(1)

The Cadavre Exquis (The Exquisite Corpse)

190

(1)

Computer Project

191

(2)

Computer Drawing and Line Quality

191

(2)

Texture

193

(30)

The Role of Texture in Contemporary Art

193

(11)

Traditional Categories of Texture

204

(1)

Actual Texture

204

(1)

Simulated Texture

205

(1)

Invented, Conventional, or Symbolic Texture

206

(4)

Using Actual Texture

207

(1)

Using Simulated Texture

207

(1)

Using Invented Texture

208

(1)

Using Conventional or Symbolic Texture

209

(1)

Twentieth-Century Textures

210

(1)

Additive Materials to Create Texture

210

(6)

Using Papier Colle

214

(1)

Using Collage

215

(1)

Using Assemblage

216

(1)

Transferred Texture

216

(3)

Using Rubbing

218

(1)

Transfer from a Printed Surface

218

(1)

Summary: Spatial Characteristics of Texture

219

(1)

Sketchbook Projects

220

(1)

Identifying Textural Techniques Used in Depicting Water

220

(1)

Transcribing Textural Techniques

220

(1)

Computer Project

221

(2)

Creating Texture on the Computer

221

(2)

Color

223

(18)

Functions of Color

223

(2)

Color Media

225

(2)

Using Color Media

227

(1)

Color Terminology

227

(1)

Using Local and Optical Color

228

(1)

Color Schemes

228

(4)

Using a Monochromatic Color Scheme

230

(1)

Using a Complementary Color Scheme

231

(1)

Warm and Cool Colors

232

(1)

Using Warm and Cool Colors

232

(1)

How Color Functions Spatially

232

(1)

Some Early Influences on Contemporary Attitudes Toward Color

233

(4)

Studying Influences on Contemporary Color Attitudes

236

(1)

Using Symbolic Color

237

(1)

Using Color-Field Composition

237

(1)

Summary: Spatial Characteristics of Color

237

(1)

Sketchbook Projects

238

(1)

Using Color for Quick Landscape Sketches

238

(1)

Using Color to Convey Emotive Content

239

(1)

Computer Project

239

(2)

Using the Computer to Create Matisse Cutouts

239

(2)

Antiperspective: The Triumph of the Picture Plane

241

(32)

Eye Level and Baseline

246

(3)

Using Eye Level and Baselines

248

(1)

Aerial Perspective

249

(2)

Using Aerial Perspective

250

(1)

Linear Perspective

251

(2)

Locating Vanishing Points

253

(1)

One-Point Perspective

253

(3)

Using One-Point Perspective

254

(2)

Two-Point Perspective

256

(2)

Using Two-Point Perspective

257

(1)

Three-Point Perspective

258

(1)

Using Three-Point Perspective

258

(1)

Multiple Perspective

259

(3)

Using Multiple Perspective

261

(1)

Stacked Perspective

262

(2)

Using Stacked Perspective

263

(1)

Antiperspective / The Flatbed Picture Plane and Superflat

264

(1)

Foreshortening

265

(2)

Using Foreshortening

266

(1)

Summary: Spatial Illusion

267

(1)

Sketchbook Projects

268

(5)

Invented Spatially Illusionistic Forms

268

(1)

Employing Different Horizon Lines

268

(5)

PART III A Contemporary View

Organizing the Picture Plane

273

(26)

Challenges to Traditional Compositional Approaches

273

(2)

Contemporary Approaches to the Picture Plane

275

(1)

Dominance of the Edge

276

(3)

Shaped Pictures Planes

278

(1)

Confirming the Flatness of the Picture Plane

278

(1)

Continuous-Field Compositions

279

(2)

Continuous-Field Compositions

280

(1)

Arrangement of Images on the Picture Plane

281

(7)

Placing Images on the Picture Plane

287

(1)

Filling the Picture Plane

287

(1)

Division of the Picture Plane

288

(7)

Composing with a Grid

293

(1)

Dividing the Picture Plane

294

(1)

Using Inset Images

294

(1)

Using Linear Sequence

295

(1)

Summary: Personal Solutions / Different Kinds of Order

295

(1)

Sketchbook Projects

295

(1)

Crowding the Picture Plane

295

(1)

Attention to the Edge

296

(1)

Divided Picture Plane

296

(1)

Computer Project

296

(3)

Using Superimposed, Layered Images

296

(3)

Thematic Development

299

(28)

Developing a Body of Related Work

299

(1)

Shared Themes

300

(1)

Words as Image

300

(7)

Appropriated Images

307

(1)

The Figure / Body Art / Portraiture

308

(7)

Word and Image

311

(1)

Frames of Reference

312

(1)

Appropriation / An Art History Homage

313

(1)

Alternate Self-Portrait

313

(1)

Self-Portrait in Different Styles

314

(1)

A Psychological Portrait

314

(1)

Individual Motifs and Themes

315

(5)

Individual Theme: A Series of Opposites / Transformation

317

(1)

Developing a Motif

318

(2)

Group Themes

320

(1)

Style / Visual Research Project

320

(1)

Summary: Development of a Theme

321

(1)

Sketchbook Projects

322

(1)

Visual and Verbal Descriptions

322

(1)

Juxtaposition of Word and Image

323

(1)

Computer Project

323

(4)

Transformation Using Computer-Generated Images

323

(4)

A Look at Art Today

327

(54)

Why Look at Contemporary Art?

327

(1)

Modernism and Post-Modernism / Options

328

(5)

New Subject Matter, New Strategies

333

(1)

Appropriation and Recontextualization

333

(2)

Installations

335

(2)

Film

337

(2)

Body Art / Exploring Identity

339

(2)

Maps / Charts / Plans

341

(2)

Systems / Structures / Information Art

343

(2)

Outsider Art

345

(1)

Conclusion

346

(3)

PART IV Practical Guides

Guide A Materials

349

(1)

Paper

350

(2)

Charcoal, Crayons, and Chalks

352

(1)

Pencils and Graphite Sticks

353

(1)

Erasers

353

(1)

Inks and Pens

354

(1)

Paint and Brushes

354

(1)

Other Materials

354

(1)

Nonart Implements

355

(2)

Guide B Keeping a Sketchbook

357

(1)

Why Keep a Sketchbook?

358

(3)

Appropriate Subjects for a Sketchbook

361

(5)

Conclusion

366

(1)

Guide C Breaking Artistic Blocks and Making Critical Assessments

367

(1)

Correcting the Problem Drawing

367

(1)

Questions Dealing with Form

368

(1)

Critical Assessment

369

(2)

Getting Started

371

(2)

Guide D Presentation

373

(2)

Acetate

375

(1)

Plastic Envelopes

376

(1)

Lamination

376

(1)

Dry Mounting

376

(1)

Matting

377

(3)

Summary: Selecting a Method of Presentation

380

(1)

Glossary

381

(6)

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Drawing A Contemporary Approach (with InfoTrac)

Summary

Table of Contents

Supplemental Materials