A Guide To Drawing,9780495006947

A Guide To Drawing

by
Edition: 7th
ISBN13: 9780495006947
ISBN10: 0495006947
Format: Paperback
Pub. Date: 2006-02-09
Publisher(s): Cengage Learning
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Summary

The best-seller for the introduction to drawing course, A GUIDE TO DRAWING provides an excellent balance of classic, historical examples from around the world coupled with the most current images that reflect the state of the art of drawing. The text provides a systematic and sound course of instruction, beginning with an introduction to the nature of drawing, an invitation into the initial experiences of drawing, both underscored by an emphasis on the importance of learning how to see and see deeply. The text moves through chapters on art elements, drawing media and subject matter, concluding with more advanced topics that can be used in subsequent courses, encouraging students to keep this text as a reference through their program and on into their careers as artists.

Table of Contents

Part I Introduction
The Nature of Drawing
1(14)
Seeing Deeply
1(3)
What Is Drawing?
4(2)
Types of Drawings
6(3)
Expressive Drawing
9(3)
The Role of Drawing Today
12(3)
Part II Initial Experiences
Initial Experiences
15(23)
Making Drawings
15(1)
Looking at Drawings
16(1)
Beginner's Media
17(18)
Presentation of Drawings
35(3)
Learning to See Deeply
38(19)
Identifying Sight Skills
38(4)
Perspective, Foreshortening
42(3)
Mechanical Aids to Perception
45(5)
Defining Forms with Negative Space
50(3)
Modular Analysis
53(1)
Seeing---More than Physical Sight
54(3)
Copying, Sketching, and the Power of Influences
57(16)
The Tradition of Copying
57(6)
The Tradition of Sketching
63(10)
Part III The Art Elements
Line and Its Expression
73(23)
The Gesture Line
76(2)
The Contour Line
78(2)
Contour and Line Variation
80(1)
Lost and Found Edges
81(3)
The Searching Line
84(2)
The Modeled Line
86(2)
Hatching, Cross-Hatching, and Scribbled Tones
88(4)
The Calligraphic Line
92(1)
Experiencing Different Line Qualities
93(3)
Value and Color
96(26)
The Value Scale
96(3)
Form Defined by Light
99(1)
Chiaroscuro
100(4)
Qualities of Light
104(1)
Form and Space
105(2)
Pattern
107(1)
Texture
108(1)
Range of Values and Expressive Use of Value
109(4)
Value Contrasts for Emphasis
113(1)
Color
114(3)
Color Schemes
117(2)
Drawing in Color
119(3)
Texture and Expression
122(16)
Familiar Surfaces
122(4)
Rendering Textures
126(2)
Textures of the Artist's Media
128(2)
Actual and Uniform Texture
130(5)
Invented or Synthetic Texture
135(1)
Expressive Use of Texture
136(2)
Composition
138(23)
Selecting Format
139(1)
Closed and Open Composition
140(1)
Balance
140(1)
Directional Lines
141(2)
Shapes
143(3)
Repetition-Unity; Multiplicity-Pattern
146(1)
Invention-Variation-Contrast
146(2)
Dominance-Subordination
148(1)
Movement
149(2)
Rhythm
151(1)
Depth
152(1)
Value
153(4)
Point of View
157(4)
Perspective and Forms in Space
161(23)
Fixed Viewpoint and Cone of Vision
163(1)
Picture Plane
164(1)
Horizontal Line, Ground Plane
164(1)
Central Line of Vision, Central Vanishing Point
165(1)
One-Point Perspective
166(5)
Two-Point Perspective
171(4)
Three-Point Perspective
175(1)
Circles in Perspective
176(5)
Shadows
181(1)
Drawing Designs in Perspective
181(1)
Seeing and Using Perspective
181(3)
Part IV Drawing Media
Dry Media
184(24)
Papers
185(1)
Drawing Media
186(22)
Wet Media
208(21)
Pen and Ink
209(9)
Brush, Pen, and Ink
218(1)
Brush and Ink
219(2)
Wash Drawing
221(5)
Drawing and Monotype
226(3)
Part V Traditional Areas
Still Life and Composition
229(16)
Advantages of Still Life
230(2)
Still-Life Forms and Value Studies
232(2)
Schematic Form
234(1)
Composition and Treatment
235(5)
Transparency and Reflective Surfaces
240(2)
Expanded Subject Matter
242(3)
Landscape, Atmosphere, and Space
245(18)
Landscape Imagery
248(1)
Needs of the Landscapist
248(2)
Texture and Pattern
250(2)
Spatial Relationships in Nature
252(4)
Landscape Imagery
256(1)
Rural Villages and Cityscapes
257(3)
Seascape
260(1)
Abstraction
261(2)
The Human Figure
263(28)
Anatomical Drawings
265(3)
Life Drawing---The Nude Model
268(8)
Gesture Drawing
276(3)
The Figure in Action
279(5)
Drawing the Clothed Figure
284(3)
Synesthesia
287(1)
Temperament and the Human Figure
287(1)
Imagination and the Figure
288(3)
The Portrait
291(19)
Form and Proportion
293(5)
The Features
298(1)
The Self-Portrait
299(2)
The Objective Approach
301(2)
The Idealized Portrait
303(1)
The Psychological Portrait
304(3)
Caricature
307(3)
Part VI Synthesis in Drawing
Illustration and Drawing
310(16)
Illustration and Fine Art
310(4)
Types of Illustration
314(10)
Art Directors
324(1)
Research Resources
324(1)
Preparing a Portfolio
324(2)
Expressive Drawing
326(21)
Empathy
327(5)
Representation and Abstraction
332(2)
Professional Artist or Dilettante
334(1)
Responding Subjectively
335(1)
Making Choices
336(2)
Art Is More than Technique
338(2)
Visual Metaphor
340(2)
Imagination and Expression
342(1)
Mastery of Craft
343(3)
Expanding Expressive Awareness
346(1)
Mixed Media and Its Expression
347(22)
Drawing, Creativity, and Imagination
347(1)
Tools and Surfaces within a Landscape of Mixed Media
348(2)
Collage, Multiplicities, and Compositional Tensions
350(2)
Expressionism and Media Considerations
352(2)
Leonardo and Media of Previous Centuries
354(1)
Economy of Mark---Past and Present
354(1)
Experimentation
355(1)
Fusions of Dry Media and Surface Variations
356(3)
Fusions of Dry and Wet Media and Surface Variations
359(2)
Clarity of Surface and Visual Statement
361(4)
Directness and Indirectness of Materials
365(1)
Visual Order
366(3)
Glossary 369(12)
Index 381(15)
Illustration Credits 396

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