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Drawing : A Contemporary Approach



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Wadsworth Publishing
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  • Drawing : A Contemporary Approach
    Drawing : A Contemporary Approach
  • Drawing, a Contemporary Approach: A Contemporary Approach
    Drawing, a Contemporary Approach: A Contemporary Approach
  • Drawing A Contemporary Approach (with InfoTrac)
    Drawing A Contemporary Approach (with InfoTrac)


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.

Table of Contents

Prefacep. iii
Introduction to Drawing
Drawing: Definitions and Purposesp. 3
Drawing Across Time and Culturep. 4
Some History of Drawingp. 6
Types of Drawingsp. 10
Subjective and Objective Drawingp. 10
Informational Drawingp. 12
Schematic Drawingp. 14
Subject and Treatmentp. 14
Conclusionp. 21
Learning to See: Gesture and Other Beginning Line Exercisesp. 22
Facture, Pochade, and Timep. 24
Gestural Line Drawingp. 26
Beginning to Drawp. 30
Types of Gestural Line Drawingp. 31
Line Gesturep. 31
Mass Gesturep. 33
Mass and Line Gesturep. 34
Scribbled Line Gesturep. 36
Sustained Gesturep. 37
Other Beginning Approachesp. 40
Continuous-Line Drawingp. 40
Organizational-Line Drawingp. 42
Contour-Line Drawingp. 44
Blind Contour-Line Drawingp. 45
Summaryp. 46
Sketchbook Projectsp. 48
Gestural Line Drawingsp. 49
Continuous-Line and Organizational-Line Drawingsp. 49
Blind Contour Drawingsp. 49
Automatic Drawingp. 50
Spatial Relationships of the Art Elements
Development of Spatial Responsep. 52
Categories of Spacep. 55
Twentieth-Century Innovations in Spatial Developmentp. 59
The Influence of Electronic Spacep. 63
Emotive Spacep. 63
Conclusionp. 65
Sketchbook Projectp. 65
Making a Space Folderp. 66
Shape/Plane and Volumep. 67
Shapep. 67
Geometric and Organic Shapesp. 67
Implied Shapep. 71
Positive and Negative Shapesp. 72
Positive/Negative Interchangep. 73
Composite Shapep. 75
Silhouettep. 75
Geometric Shapes Used to Create Patternp. 76
Geometric and Organic Shapesp. 76
Interchangeable Positive and Negative Shapesp. 77
Invented Negative Shapesp. 79
Composite Shapep. 79
The Shape of the Picture Planep. 80
Problem 3.6p. 81
Shape as Plane and Volumep. 82
Shape as Plane and Volumep. 86
Planar Analysisp. 87
Modeling and Overlappingp. 89
Summary: Spatial Characteristics of Shapep. 90
Shapep. 90
Sketchbook Projectp. 90
Shaping the Composition to the Formatp. 90
Computer Projectp. 90
Project 1p. 91
Valuep. 92
Definitions and Functionsp. 92
Ways of Creating Valuep. 96
Arbitrary Use of Valuep. 100
Using Value Arbitrarilyp. 101
Descriptive Uses of Valuep. 101
Value Used to Describe Structurep. 101
Using Value to Describe Planesp. 101
Value Used to Describe Weightp. 101
Using Value to Describe Weightp. 103
Value Used to Describe Lightp. 104
Value Reductionp. 107
Four Divisions of Valuep. 108
Categories of Lightp. 108
Tonal Drawingsp. 108
Value Used to Describe Spacep. 108
Using Value to Describe Spacep. 109
Expressive Uses of Valuep. 109
Value Reversalp. 110
Value Used Subjectivelyp. 111
Summaryp. 112
Spatial Characteristics of Valuep. 112
Sketchbook Projectsp. 113
Thumbnail Sketchesp. 113
Thumbnail Sketches Using Value Reductionp. 113
Computer Projectp. 113
Converting Color to Valuep. 113
Linep. 115
Introduction to Linep. 115
Determinants of Line Qualityp. 118
Extended Contemporary Uses of Linep. 121
Types of Linep. 125
Contour Linep. 125
Slow Contour Linep. 126
Exaggerated Contour Linep. 126
Quick Contour Linep. 128
Cross-Contour Linep. 129
Contour with Tonep. 129
Mechanical Linep. 130
Using Mechanical Linep. 131
Structural Linep. 131
Using Structural Linep. 131
Lyrical Linep. 132
Using Lyrical Linep. 133
Constrictive, Aggressive Linep. 133
Using Constricted, Aggressive Linep. 133
Handwriting: Cursive and Calligraphic Linep. 134
Using Handwriting or Calligraphic Linep. 135
Implied Linep. 135
Using Implied Linep. 136
Blurred Linep. 136
Using Blurred Linep. 138
Whimsical Linep. 138
Using Whimsical Linep. 139
Summaryp. 139
Spatial Characteristics of Linep. 139
Sketchbook Projectp. 141
The Cadavre Exquis (The Exquisite Corpse)p. 141
Computer Projectp. 141
Computer Drawing and Line Qualityp. 141
Texturep. 143
The Role of Texture in Contemporary Artp. 143
Pattern and Decorationp. 145
Object as New Genrep. 145
Categories of Texturep. 147
Actual Texturep. 148
Simulated Texturep. 150
Invented, Conventional, or Symbolic Texturep. 150
Using Actual Texturep. 153
Using Simulated Texturep. 153
Using Invented Texturep. 153
Using Conventional or Symbolic Texturep. 155
Contemporary Texturesp. 155
Additive Materials to Create Texturep. 155
Using Papier Collep. 157
Using Collagep. 158
Using Photomontagep. 159
Transferred Texturep. 159
Using Rubbingp. 161
Transfer from a Printed Sourcep. 162
Conclusionp. 163
Summaryp. 164
Spatial Characteristics of Texturep. 164
Sketchbook Projectsp. 164
Identifying Textural Techniques Used in Depicting Waterp. 164
Transcribing Textural Techniquesp. 165
Computer Projectp. 165
Creating Texture on the Computerp. 165
Colorp. 167
Functions of Colorp. 167
Color Mediap. 168
Using Color Mediap. 170
Color Terminologyp. 170
Using Local and Optical Colorp. 171
Color Schemesp. 171
Using a Monochromatic Color Schemep. 172
Using a Complementary Color Schemep. 173
Warm and Cool Colorsp. 173
Using Warm and Cool Colorsp. 173
Using a Warm or Cool Color to Create a Color-Field Compositionp. 174
Summaryp. 174
Spatial Characteristics of Colorp. 174
Sketchbook Projectp. 174
Using Color for Quick Landscape Sketchesp. 174
Computer Projectp. 175
Using the Computer to Create Matisse Cutoutsp. 175
Antiperspective: The Triumph of the Picture Planep. 177
Contemporary Challenges to Traditional Perspectivep. 177
Antiperspective-The Flatbed Picture Plane and Superflatp. 179
Definitions and Guidelinesp. 180
Eye Level and Baselinep. 180
Using Eye Level and Baselinesp. 183
Aerial Perspectivep. 183
Using Aerial Perspectivep. 185
Linear Perspectivep. 185
Using a See-Through Panep. 187
Using a Viewer for Framing and Sightingp. 188
Locating Vanishing Pointsp. 188
One-Point Perspectivep. 189
Using One-Point Perspectivep. 190
Two-Point Perspectivep. 191
Using Two-Point Perspectivep. 192
Three-Point Perspectivep. 193
Using Three-Point Perspectivep. 194
Axonometric Perspectivep. 194
Multiple Perspectivesp. 195
Using Multiple Perspectivesp. 195
Stacked Perspectivep. 196
Using Stacked Perspectivep. 197
Foreshorteningp. 197
Using Foreshorteningp. 198
Conclusionp. 199
Sketchbook Projectsp. 199
Invented Spatially Illusionistic Formsp. 199
Employing Different Horizon Linesp. 200
A Contemporary View
Organizing the Picture Planep. 203
Challenges to Traditional Compositional Approachesp. 203
Contemporary Treatment of the Picture Planep. 205
Dominance of the Edgep. 205
Shaped Picture Planesp. 206
Confirming the Flatness of the Picture Planep. 207
Continuous-Field Compositionsp. 207
Continuous-Field Compositionsp. 208
Arrangement of Images on the Picture Planep. 208
Placing Images on the Picture Planep. 214
Filling the Picture Planep. 214
Division of the Picture Planep. 214
Composing with a Gridp. 217
Dividing the Picture Planep. 218
Using Inset Imagesp. 218
Using Linear Sequencep. 219
The Wall as Picture Planep. 219
Conclusionp. 220
Sketchbook Projectsp. 220
Crowding the Picture Planep. 220
Attention to the Edgep. 221
Divided Picture Planep. 221
Computer Projectp. 221
Using Superimposed, Layered Imagesp. 221
Thematic Developmentp. 222
Developing a Body of Related Workp. 222
Word and Imagep. 223
Word and Imagep. 228
Frames of Referencep. 229
Pages from an Altered Bookp. 230
The Figure/Body Art/Portraiturep. 230
Alternate Self-Portraitp. 232
Self-Portrait in Different Stylesp. 232
A Psychological Portraitp. 233
Appropriated Imagesp. 233
Appropriation-An Art History Homagep. 235
A Series of Oppositesp. 236
Summaryp. 236
Sketchbook Projectsp. 237
Visual and Verbal Descriptionsp. 237
Juxtaposition of Word and Imagep. 238
Computer Projectp. 238
Transformation Using Computer-Generated Imagesp. 238
A Look at Drawing Todayp. 240
What's New in the Twenty-First Centuryp. 240
Contemporary Trends in Drawingp. 241
Influence of Outsider Artp. 241
Illustration-Based Narrative Drawingp. 243
Ornamental Embellishmentp. 243
Neo-Romantic Drawingp. 244
Abstractionp. 244
Alternative Worldsp. 245
Subcultures into Artp. 245
Nostalgiap. 246
Drawings with Social and Political Themesp. 248
Hand-Drawn Animationp. 249
Drawings Made from Direct Observationp. 250
Conclusionp. 250
Useful Websitesp. 251
Practical Guides
Materialsp. 255
The Importance of Materialsp. 255
Paperp. 256
Selected Papers for Drawingp. 257
Some Suggested Oriental Papersp. 257
Speciality Papersp. 258
Sketchbooksp. 258
Charcoal, Crayons, and Chalksp. 258
Pencils and Graphite Sticksp. 259
Erasersp. 259
Inks and Pensp. 259
Paint and Brushesp. 260
Other Materialsp. 260
Nonart Implementsp. 261
Keeping a Sketchbookp. 263
Why Keep a Sketchbook?p. 264
Appropriate Subjects for a Sketchbookp. 268
Summaryp. 273
Breaking Artistic Blocks and Making Critical Assessmentsp. 275
Correcting the Problem Drawingp. 275
Questions Dealing with Formp. 276
Critical Assessmentp. 277
Inconsistency of Style, Idea, or Feelingp. 277
Failure to Determine Basic Structurep. 278
Tendency to Ignore Negative Spacep. 278
Inability to Develop Value Range and Transitionp. 278
Failure to Observe Accuratelyp. 278
Getting Startedp. 279
Presentationp. 281
Some Contemporary Modes of Presentationp. 281
Acetatep. 284
Plastic Envelopesp. 284
Laminationp. 284
Dry Mountingp. 285
Mattingp. 285
Materials for Mattingp. 285
Instructions for Mattingp. 286
Summaryp. 287
Glossaryp. 289
Suggested Readingsp. 295
Indexp. 305
Table of Contents provided by Ingram. All Rights Reserved.

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