Drawing Distinctions

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ISBN: 9780801443244 | 0801443245
Cover: Hardcover
Copyright: 11/1/2005

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"If our procedure is to work steadily in the direction of drawing as fine art, rather than (as we so often find) beginning from examples of such art, where shall we begin?"

List of Illustrations	p. xi
Preface	p. xv
All Kinds of Drawings
Introduction	p. 3
Philosophy and Drawing	p. 3
Drawing and Arts of Drawing	p. 4
Picture of a Drawn World	p. 7
The Modern World: Drawing the Line	p. 7
"The Rationalization of Sight" I: Bold Claims	p. 12
Method: The Dialectical Engineer	p. 13
"The Rationalization of Sight" II: Naturalism	p. 15
Villard's Saw	p. 16
Instruments of Change	p. 19
Family Project	p. 20
Perspective	p. 28
Cartoon Cases	p. 30
Modelling Perspective: Durer's Devices	p. 32
Panofsky's Perspective I: Panofsky's Purposes	p. 35
Panofsky's Perspective II: "Post-perspective" Arguments	p. 39
Panofsky's Perspective III: Assessments	p. 41
Hands On: First and Second Geometries	p. 43
Geo 2 Practical: Fixing Durer's Urn	p. 47
Geo 2 Historical: What Is "Post-perspective"?	p. 48
Defending Panofsky: Distinctions of Scales	p. 49
Drawing and Graphic Displays	p. 53
Minding Gaps: Topological Values	p. 55
Correspondence	p. 57
Information Displays: Multivariation	p. 58
Drawing/Disegno	p. 61
What Is Drawing?	p. 62
Drawing Patterns	p. 64
Words for Drawing	p. 66
The Course of Drawing
The Forms of Shape	p. 71
Children's Drawing: Extended Studies	p. 71
Shape's Forms	p. 73
Shape as Contour	p. 76
Children's "Perspectives"	p. 79
Depictive Drawing	p. 84
Challenges of Depiction	p. 84
Walton's Theory of Depiction	p. 88
Vivacity	p. 92
Convincing Depiction	p. 94
Gombrich's Principles of Convincing Depiction: The First Trio	p. 94
Testing the Trio I: Contour	p. 98
Testing the Trio II: Perspective	p. 101
"The Beholder's Share": The Second Trio	p. 103
"The Riddle of Style": Gombrich and Panofsky	p. 105
Depictions as Depictions	p. 109
Perceptual Categories: Six Points about Pictures	p. 109
Faces in Strange Places: A Projective Challenge	p. 111
Fictional Worlds	p. 117
Our Objects of Imagining	p. 119
Pawahtun's Lessons	p. 120
Decorative Depiction	p. 126
Plane Relations	p. 127
Drawings on Things	p. 128
Location	p. 130
Rich Renaissance Contexts	p. 130
Drawing's Resources
Advancing the Drawing Course	p. 137
The Drawing Kit	p. 139
Rawson's Resources	p. 140
The Blob	p. 144
Western Lines	p. 144
Drawing Distinctions: Space and Relief	p. 148
Rendering Volume I: Depth-Slices and Plan-Sections	p. 150
Rendering Volume II: Bracelets, Bubbles, Facets, and Ovoids	p. 157
Shade and Shadow	p. 160
Shadows Steal	p. 165
Shadow's Paths	p. 168
Fields	p. 170
Forms and Frameworks	p. 173
The Floor	p. 173
Perspective Looks: A Qualification	p. 176
"Saint Jerome in His Study"	p. 176
Drawing's Own Devices	p. 184
Composition	p. 185
Drawing Dynamics I: Goya and Shifting	p. 186
Drawing Dynamics II: Cezanne's Shades	p. 187
Form and Facture I: Touch	p. 188
Form and Facture II: Time	p. 190
Meaning and Secondary Forms	p. 193
Metaphor and Caricature	p. 197
Twice Over	p. 198
Sustaining Recognition	p. 201
The Fullness of Drawing
Drawing's Dualisms	p. 207
Dialogues on Dualisms	p. 210
Biologically Normal	p. 214
Ampersand Aesthetics	p. 215
Drawings as Drawn	p. 217
Thought Balloons	p. 217
Ways of Seeing	p. 220
Appreciating Intention	p. 221
Seeing the Fun	p. 225
The Artist's Vision and Our Own	p. 227
"Like the effort of a philosopher"	p. 229
Notes	p. 233
Index of Personal Names	p. 259
Index of Subjects	p. 263
Table of Contents provided by Ingram. All Rights Reserved.

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Drawing Distinctions

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