9780395530078

The Natural Way to Draw: A Working Plan for Art Study

by
  • ISBN13:

    9780395530078

  • ISBN10:

    0395530075

  • Format: Paperback
  • Copyright: 1990-02-01
  • Publisher: Houghton Miff

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  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
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Summary

Great for the beginner and the expert, this book offers readers exercises to improve their work.

Author Biography

Kimon Nicolaides was born in Washington D.C., in 1891. His first contact with art was a subconscious familiarity with the oriental objects imported by his father. He decided early that he wished to paint, but he had to run away from home to study art because his parents were unsympathetic to the idea. He supported himself in New York by whatever came to hand - framing pictures, writing for a newspaper, even acting the part of an art student as a movie extra. His father was finally won over by his obvious seriouness and financed his instruction at the Art Students' League - under Bridgman, Miller, and Sloan.
When the United States entered the first World War, Nicolaides volunteered in the Camouflage Corps and served in France for over a year, receiving a citation. One of his assignments, involving the study of geographical contour maps, first opened up for him the conception of "contour" which constitutes Exercise One in this book.
After a period of work in Paris (1922-23), he was given his first one-man show by the famous Bernheim Jeune gallery there. Back in New York, he held his first exhibit at the Old Whitney Studio Club, now the museum, and settled down to painting and teaching. As a painter, choosing to work painstakingly and exhibit seldom, he became known to the critics gradually but unmistakably for "the range of his work," "originality of technical approach," "richness of mental concepts" and his "eager, restless pursuit of new aesthetic experience." As a teacher, during the next fifteen years, he became, as the Art Digest put it, "second father" to hundreds of students who passed through his classes at the Art Students' League of New York. Scrupulously honest and high-principled, endowed with humor, richness and warmth of personality, sanity and balance, his extraordinary talent for human relationships grew with his wide contact with increasing numbers of students. Although he died in 1938, at a tragically early age, he left behind a tremendously devoted following of brilliant young artists, as well as the unique and concrete system of art teaching presented in this book.

Table of Contents

How to Use This Book 1(5)
Section 1. Contour and Gesture 5(18)
Contour Drawing
9(5)
Gesture Drawing
14(6)
Cross Contours
20(3)
Section 2. The Comprehension of Gesture 23(9)
Potential Gesture
24(4)
The Flash Pose
28(4)
Section 3. Weight and the Modelled Drawing 32(8)
Weight
33(3)
The Modelled Drawing
36(4)
Section 4. Memory Drawing and Other Quick Studies 40(8)
Memory Drawing
41(2)
Moving Action
43(2)
Descriptive Poses
45(1)
Reverse Poses
45(1)
Group Poses
46(2)
Section 5. The Modelled Drawing in Ink --- The Daily Composition 48(19)
The Modelled Drawing in Ink
51(1)
The Daily Composition
52(15)
Section 6. The Modelled Drawing in Water Color --- Right-Angle Study 67(6)
The Modelled Drawing in Water Color
68(3)
Right-Angle Study
71(2)
Section 7. Emphasis on Contour --- The Head 73(18)
The Five-Hour Contour
74(1)
Quick Contour
75(3)
The Head
78(2)
The Gesture of the Features
80(1)
Right-Angle Contours
81(10)
Section 8. Special Form Studies 91(6)
Part of the Form
92(1)
Ten-Minute Form Studies
92(5)
Section 9. An Approach to the Subject of Technique 97(5)
The Modelled Drawing in Ink --- Continued
97(4)
Back to the Model
101(1)
Section 10. The Simple Proportions --- Effort 102(7)
The Modelled Drawing in Water Color --- Continued
102(7)
Section 11. The Study of Drapery 109(10)
Quick Studies of Drapery
110(2)
Long Study of Drapery
112(7)
Section 12. The Figure with Drapery --- The Subjective Impulse 119(6)
The Figure with Drapery
119(2)
The Daily Composition --- Continued
121(4)
Section 13. The Sustained Study 125(14)
The Extended Gesture Study
126(1)
The Sustained Study
127(12)
Section 14. Light and Shade 139(5)
Section 15. An Approach to the Study of Anatomy 144(5)
Study of the Bones
145(4)
Section 16. The Long Composition 149(8)
The Long Composition
151(6)
Section 17. Exercises in Black and White Crayon 157(9)
The Sustained Study in Crayon
157(6)
Gesture in Black and White
163(2)
Drapery in Black and White
165(1)
Section 18. Studies of Structure 166(7)
Gesture Studies of Anatomy
166(1)
Hand and Arm
166(2)
The Shoulder Girdle
168(1)
Leg and Knee
168(2)
The Foot
170(1)
The Eye
171(1)
The Ear
171(2)
Section 19. Analysis Through Design 173(7)
Contrasting Lines
174(1)
Straight and Curved Lines
174(6)
Section 20. Study from Reproductions 180(4)
Composition from Reproductions
182(1)
Anatomy from Reproductions
182(1)
Analysis of Reproductions
183(1)
Section 21. The Muscles 184(5)
Study of the Muscles
185(4)
Section 22. Exercises in Black and White Oil Color 189(8)
Sustained Study in Oil Color
189(6)
Gesture Drawing in Oil
195(1)
Half-Hour Study in Oil
196(1)
Section 23. Analysis Through Design --- Continued 197(9)
The Predominating Shape
197(1)
Modelling the Straight and Curve
198(2)
Straight and Curve in Frames
200(6)
Section 24. The Subjective Element 206(7)
The Subjective Study
207(6)
Section 25. An Approach to the Use of Color 213
Gesture on Colored Paper
214
Straight and Curve in Color
215
The Subjective Study --- Continued
215
The Sustained Study in Oil (Variations)
218
The Sustained Study in Oil --- Continued
218
Full Color
220
Arbitrary Color
220

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