Drawing : A Contemporary Approach

Note: Supplemental materials are not guaranteed with Rental or Used book purchases.

ISBN: 9780495094913 | 0495094919
Cover: Paperback
Copyright: 1/19/2007

Buy Used

Usually Ships in 2-4 Business Days

$147.00

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.

Please wait while the item is added to your bag...

FREE SHIPPING

Amazon no longer offers textbook rentals. We do!

Drawing : A Contemporary Approach

Summary

Table of Contents

Supplemental Materials