Drawing, a Contemporary Approach: A Contemporary Approach

by BETTI

• ISBN13: 9780155015807
• ISBN10: 015501580X
• Edition: 4th
• Format: Paperback
• Copyright: 1996-12-23
• Publisher: Wadsworth Publishing

Summary

Going beyond conventional approaches, this drawing text featuring a wealth of professional examples emphasizes the emotional, intellectual, and spiritual significance of art. The development of today's art from that of the past is traced, giving a sense of meaning and continuity. Illustrations and analyses enable students to turn their energies to new and different directions, to give material form to their own ideas. Art of the last two decades is given broad coverage and analysis including work from self-taught artists and from a multitude of ethnic groups. All chapters have new introductory texts, innovative problems pertinent to our contemporary world, sketchbook projects, and new illustrations. New color plates and an expanded discussion of spatial relationships enhance Part II.

Table of Contents

Preface	v
PART I INTRODUCTION TO DRAWING
Drawing: Thoughts and Definitions	3	(28)
Subjective and Objective Drawing	10	(9)
Informational Drawing	13	(2)
Schematic Drawing	15	(1)
Pictorial Recording	16	(2)
Subjective Drawing	18	(1)
The Viewing Audience	19	(3)
Subject and Treatment	22	(7)
Conclusion	29	(2)
Learning to See: Gesture and Other Beginning Approaches	31	(48)
Gesture Drawing	33	(5)
Before Beginning to Draw	38	(3)
Types of Gesture Drawing	41	(11)
Mass Gesture Exercises	41	(4)
Line Gesture Exercises	45	(2)
Mass and Line Gesture Exercises	47	(1)
Scribbled Line Gesture Exercises	48	(2)
Sustained Gesture Exercises	50	(2)
Other Beginning Approaches	52	(7)
Continuous Line Drawing Exercises	52	(2)
Organizational Line Drawing Exercises	54	(2)
Blind Contour Exercises	56	(3)
Summary: The Benefits of Gesture, Continous Line, Organizational Line, and Blind Contour Drawing	59	(1)
Sketchbook Projects	60	(3)
Gesture Drawings	61	(1)
Continuous Line and Organizational Line Drawings	61	(1)
Blind Contour Drawings	62	(1)
PART II SPATIAL RELATIONSHIPS OF THE ART ELEMENTS
Development of Spatial Responses	63	(2)
Categories of Space	65	(3)
Precursors of Contemporary Spatial Development	68	(3)
Twentieth-Century Spatial Development	71	(7)
Sketchbook Project	78	(1)
Making a Space Folder	78	(1)
Shape/Plane and Volume	79	(26)
Shape	79	(5)
Positive and Negative Space	84	(8)
Composite Shape Problem	86	(2)
Interchangeable Positive and Negative Shapes	88	(1)
Geometric Positive and Negative Shapes	89	(1)
Invented Negative Shapes	90	(1)
Collaged Negative Spaces	90	(1)
Enclosed Invented Positive and Negative Shapes	91	(1)
The Shape of the Picture Plane	92	(1)
Shape as Plane and Volume	93	(9)
Shape as Plane and Volume	98	(1)
Planar Analysis	99	(1)
Rubbed Planar Drawing	100	(1)
Basic Volume	101	(1)
Modeling and Overlapping	102	(1)
Summary: Different Kinds of Space	102	(1)
Sketchbook Projects	103	(2)
Shaping the Composition to the Format	103	(1)
Experimenting with the Relationship Between Positive and Negative Space	104	(1)
Value	105	(32)
Ways of Creating Value	113	(2)
Arbitrary Use of Value	115	(3)
Using Value Arbitrarily	117	(1)
Descriptive Uses of Value	118	(1)
Value Used to Describe Structure	118	(3)
Using Value to Describe Structure	118	(1)
Using Value to Describe Planes	118	(3)
Value Used to Describe Weight	121	(3)
Using Value to Describe Weight	123	(1)
Value Used to Describe Light	124	(5)
Value Reduction	126	(1)
Four Divisions of Value	127	(1)
Categories of Light	128	(1)
Tonal Drawings	129	(1)
Value Used to Describe Space	129	(1)
Using Value to Describe Space	130	(1)
Expressive Uses of Value	130	(5)
Value Reversal	131	(1)
Value Used Subjectively	132	(2)
Value Used to Create Abstract Patterns	134	(1)
Summary: Spatial Characteristics of Value	135	(1)
Sketchbook Projects	135	(2)
Using Thumbnail Sketches	135	(1)
Applying Thumbnail Sketches to Actual Subject Matter	136	(1)
Line	137	(32)
Determinants of Line Quality	138	(5)
Line in Other Art Disciplines	143	(2)
Line in Recent Decades	145	(3)
Types of Line	148	(1)
Contour Line	148	(7)
Slow Contour	150	(1)
Exaggerated Contour	151	(2)
Quick Contour	153	(1)
Cross-Contour	154	(1)
Contour with Tone	154	(1)
Mechanical Line	155	(1)
Using Mechanical Line	155	(1)
Structural Line	156	(1)
Using Structural Line	156	(1)
Lyrical Line	157	(1)
Using Lyrical Line	158	(1)
Constricted, Aggressive Line	158	(1)
Using Constricted, Aggressive Line	158	(1)
Handwriting: Cursive and Calligraphic Line	159	(2)
Using Handwriting or Calligraphic Line	160	(1)
Implied Line	161	(1)
Using Implied Line	161	(1)
Blurred Line	162	(3)
Using Blurred Line	164	(1)
Whimsical Line	165	(1)
Using Whimsical Line	165	(1)
Summary: Spatial Characteristics of Line	166	(1)
Sketchbook Projects	166	(3)
Conceptual Drawing	167	(1)
The Cadavre Exquis	167	(2)
Texture	169	(26)
The Role of Texture in Contemporary Art	169	(7)
Traditional Categories of Texture	176	(1)
Actual Texture	176	(1)
Simulated Texture	177	(1)
Invented, Conventional, or Symbolic Texture	178	(6)
Using Actual Texture	181	(1)
Using Simulated Texture	181	(1)
Using Invented Texture	181	(2)
Using Conventionalized or Symbolic Texture	183	(1)
Twentieth-Century Textures	184	(1)
Additive Materials to Create Texture	184	(5)
Using Papier Colle	188	(1)
Using Collage	188	(1)
Using Assemblage	189	(1)
Transferred Texture	189	(4)
Using Rubbing	191	(1)
Transfer from a Printed Surface	191	(2)
Summary: Spatial Characteristics of Texture	193	(1)
Sketchbook Projects	193	(2)
Identifying Textural Techniques Used in Depicting Water	193	(1)
Transcribing Textural Techniques	193	(2)
Color	195	(14)
Functions of Color	195	(2)
Color Media	197	(1)
Using Color Media	198	(1)
Color Terminology	198	(2)
Using Local and Optical Color	199	(1)
Color Schemes	200	(2)
Using a Monochromatic Color Scheme	201	(1)
Using a Complementary Color Scheme	201	(1)
Warm and Cool Colors	202	(1)
Using Warm and Cool Colors	202	(1)
How Color Functions Spatially	202	(1)
Some Early Influences on Contemporary Attitudes Toward Color	203	(3)
Studying Influences on Contemporary Color Attitudes	205	(1)
Using Symbolic Color	205	(1)
Using Color-Field Composition	206	(1)
Summary: Spatial Characteristics of Color	206	(1)
Sketchbook Projects	207	(2)
Using Color for Quick Landscape Sketches	207	(1)
Using Color to Convey Emotive Content	207	(2)
Conventions for Creating Spatial Illusion	209	(30)
Eye Level and Base Line	211	(6)
Using Eye Level and Base Lines	217	(1)
Aerial Perspective	217	(2)
Using Aerial Perspective	218	(1)
Linear Perspective	219	(2)
Locating Vanishing Points	220	(1)
One-Point Perspective	221	(2)
Using One-Point Perspective	221	(2)
Two-Point Perspective	223	(2)
Using Two-Point Perspective	224	(1)
Three-Point Perspective	225	(1)
Using Three-Point Perspective	225	(1)
Multiple Perspective	225	(2)
Using Multiple Perspective	226	(1)
Stacked Perspective	227	(4)
Using Stacked Perspective	231	(1)
Foreshortening	231	(1)
Using Foreshortening	232	(1)
Summary: Spatial Illusion	232	(1)
Sketchbook Projects	233	(1)
Invented Spatially Illusionistic Forms	233	(1)
Employing Different Horizon Lines	233	(6)
PART III A CONTEMPORARY VIEW
The Picture Plane	239	(20)
Challenges to Traditional Compositional Approaches	239	(2)
Contemporary Approaches to the Picture Plane	241	(1)
Dominance of the Edge	242	(3)
Shaped Pictures Planes	243	(1)
Confirming the Flatness of the Picture Plane	244	(1)
Continuous-Field Compositions	245	(1)
Continuous-Field Compositions	245	(1)
Arrangement of Images on the Picture Plane	246	(5)
Placing Images on the Picture Plane	251	(1)
Filling the Picture Plane	251	(1)
Division of the Picture Plane	251	(6)
Composing with a Grid	255	(1)
Dividing the Picture Plane	256	(1)
Using Inset Images	256	(1)
Using Linear Sequence	257	(1)
Summary: Personal Solutions/Different Kinds of Order	257	(1)
Sketchbook Projects	257	(2)
Crowding the Picture Plane	257	(1)
Attention to the Edge	258	(1)
Divided Picture Plane	258	(1)
Thematic Development	259	(24)
Developing a Body of Related Work	259	(1)
Shared Themes	260	(13)
Word and Image	269	(3)
Frames of Reference	272	(1)
Art History Series	273	(1)
Individual Themes	273	(5)
Individual Theme: A Series of Opposites/Transformation	275	(1)
Transformation/Using Computer-Generated Images	276	(1)
Developing a Motif	277	(1)
Group Themes	278	(2)
Style/Visual Research Project	278	(2)
Summary: Development of a Theme	280	(1)
Sketchbook Projects	281	(2)
Visual and Verbal Descriptions	281	(1)
Juxtaposition of Word and Image	281	(2)
A Look at Art Today	283	(62)
Why Look at Contemporary Art?	284	(1)
Definitions of Modernism and Post-Modernism	285	(2)
Precursors of Post-Modernism	287	(1)
Pop Art	287	(1)
Minimalism/Conceptual Art/Earth Art	287	(1)
Photo-Realism	288	(1)
Early Development of Post-Modernism	288	(5)
Influences of Feminist Art on Post-Modernism	289	(2)
European Influence: The Development of Neo-Expressionism	291	(2)
Post-Modernism: New Subject Matter, New Strategies	293	(21)
Appropriation and Recontextualization	293	(3)
Myth and Allegory	296	(1)
Humor and Irony	297	(1)
Popular or Commercial Tactics	298	(2)
Social and Political Themes	300	(2)
Performance and Body Art	302	(3)
Multiculturalism and a New Inclusiveness	305	(2)
Collaborative Art	307	(2)
Semiotics: Words and Images/Narrative Content	309	(1)
Landscape	310	(2)
Abstraction	312	(2)
Conclusion	314	(2)
PART IV PRACTICAL GUIDES
Guide A Materials	316	(6)
Papers	316	(2)
Charcoal, Crayons, and Chalks	318	(1)
Pencils and Graphite Sticks	319	(1)
Erasers	319	(1)
Inks and Pens	320	(1)
Paint and Brushes	320	(1)
Other Materials	320	(1)
Nonart Implements	321	(1)
Guide B Keeping A Sketchbook	322	(10)
Why Keep a Sketchbook?	323	(3)
Appropriate Subjects for Sketchbook	326	(5)
Conclusion	331	(1)
Guide C Breaking Artistic Blocks	332	(6)
Correcting the Problem Drawing	332	(1)
Questions Dealing with Form	333	(1)
Critical Assessment	334	(1)
Getting Started	335	(3)
Guide D Presentation	338	(7)
Acetate	338	(1)
Plastic Envelopes	339	(1)
Lamination	339	(1)
Dry Mounting	339	(1)
Matting	340	(3)
Summary: Selecting a Method of Presentation	343	(2)
Glossary	345	(4)
Suggested Readings	349	(6)
Photographic Sources	355	(4)
Index	359