Drawing as Expression, Technique and Concepts (Heftet (myke permer))

For undergraduate courses in Drawing I, Drawing Concepts, or Creative Drawing. This student-friendly instructional text covers all aspects of drawing from basic skills and formal elements to introductory figure drawing and the advanced concepts of contemporary drawing. Having taught Drawing I for over a decade years, Sandy Brooke wrote this book to help students better understand the process, concepts, and techniques of drawing. Teaching students of all levels how to combine their critical thinking skills with intuition and technical knowledge to create a visual language through drawing, the text covers key drawing techniques, the function of drawing, and the concepts associated with successful drawing

Chapter 1 Drawing From the Beginning Drawing Today What is Looking and What is Seeing in Drawing Today The Possibilities of Drawing Today Profile of an Artist: Kathe Kollwitz Strategies for Learning to See Journal Focus CHAPTER 2 GESTURE Developing Visual Awareness: Beginning to Draw Techniques for Gesture Drawing: Profile of an Artist: Willem De Kooning Composing Drawings with Gesture Drawing Exercise 2.1: Testing Your Visual Memory Time Required to make a Gesture Drawing Mass Gesture Drawings Drawing Exercise 2.2: Creating the Mass Gesture Drawing Mass to Line Gesture Drawing Mass Gesture & Value Change Drawing Exercise 2.3: Value and Mass Gesture Drawing Sustained Gesture Drawing Drawing Exercise 2.4: Sustained Gesture Drawing Organizational Line Drawing Creating Space in Gesture Drawings Drawing Exercise 2.5: Gesture Drawing in Landscape Drawing Exercise 2.6: Gesture & Text Strategies for Gesture Drawing An Art Critique: Eugenio Lucas and Cy Twombly Journal Focus CHAPTER 3 LINE Line Evolves Contour Line Drawings Line, Tone and Quality Contour and Gesture with Value Drawing Exercise 3.1: Loose Contour Line and Value Exercise Wrapped Line Drawing Scribbled Line Drawing Rhythm Drawing Drawing Exercise: 3.2 A Rhythm Drawing Continuous-Line Drawings Drawing Exercise 3.3: Continuous Line in Still Life Cross Contour Line Drawing Drawing Exercise 3.4:Cross-Contour Drawing Organizational Line Drawing Exercise 3.5: Organizational Line Drawing Calligraphic and Expressive Line Drawing Blind Contour Drawing Profile of an Artist: Honore Daumier Implied Line Strategies for Line Drawing An Art Critique: Paternosto, Darraugh and Rivers Journal Focus CHAPTER 4 VALUE The Importance of Light and Dark Four Divisions of Light Light to Dark Chiaroscuro The Value Scale Drawing Exercise 4.1: Making a Value Scale Using Chiaroscuro in Drawing Drawing Exercise 4.2: Placing Light and Dark Planar Analysis Use of Light with Planar Analysis Drawing Exercise: 4.3 Planar Approach to Still Life Applying the Qualities of Light to a Drawing; The Artist Controls the Light Drawing Exercise 4.4: A Tonal Analysis Crosshatching Hatching and Drapery Drawing Exercise 4.5: Hatching Rubbed and Erased Pencil Drawings Drawing Exercise 4.6: Creating a Rubbed and Erased Drawing Conte and Value Profile of An Artist: Rembrandt Van Rijn Reversed Charcoal Drawing Drawing Exercise 4.7: Reversed Charcoal Wet Charcoal Drawings: Line to Plane Drawing Exercise 4.8: Wet Charcoal Layering Value to Create Weight Drawing Exercise 4.9: Layering Ink Drawing: The Brush Pen and Ink Wash Drawing Drawing Exercise 4.10: Ink Wash & Layering Profile of an Artist: Auguste Rodin Where does Inspiration Come From? The Expressive Use of Value Strategies for Using Value in a Drawing An Art Critique: Diebenkorn and Degas on the use of Value Journal Focus Chapter 5 PERSPECTIVE Linear Perspective Empirical Perspective Seeing in Perspective Elements of Perspective Cone of Vision Picture Plane Horizon Baseline Focal Point and the Vanishing Point Drawing Exercise 5.1: Drawing in Perspective Ground Plane Drawing Exercise 5.2: Studying Relationships in a Still Life Parallel Baselines One-Point Perspective Drawing Exercise 5.3 Drawing Front to Back in Perspective Sighting Two-Point Perspective Inclined Planes Perspective Grid Determining Spacing with Repeated Intervals Drawing Exercise 5.4: Constructing Forms in Space with a Grid Figures in Perspective Drawing Exercise 5.5:Drawing in Proportion A Contemporary Interior Drawing Expression and Perspective: Distortions of Scale and View Drawing Exercise 5.6: Challenging Perspective Foreshortening Three-Point Perspective Drawing Exercise 5.7: Three Point Perspective Circles in Perspective Common Errors in Drawing Circles in Perspective Drawing Exercise 5.8: Ellipse Practice Drawing Exercise 5.9 Drawing A Circle in Perspective Drawing Exercise 5.10 Analyze Cylinders Drawing Exercise 5.11 Deconstruct a Machine Aerial Perspective Atmospheric Perspective Shadows Drawing Exercise 5.12: Studying Light Changes Landscape Light & Shadow Strategies for Drawing in Perspective An Art Critique of Perspective Drawing: Matisse and Christo Journal Focus CHAPTER 6 TEXTURE AND PATTERN Rubbing and Rendering Invented Texture Line Stippling Drawing Exercise 6.1: Interpreting Form in Marks Hatching Trompe L'oeil and Actual Texture Drawing Exercise 6.2: Mixed Media Profile of an Artist: Maria Sibylla Merian Visual Texture Drawing Exercise 6.3: Texture and Pattern Surface Textures & Expression Defining Space with Texture Drawing Exercise 6.4: Scribble Line Landscape Pattern Ambiguous Patterns Drawing Exercise 6.5: Ambiguous Pattern Profile of an Artist: Vincent Van Gogh Strategies for Texture Drawings An Art Critique : Philip Guston and Vincent van Gogh Journal Focus Chapter 7 COMPOSITION Space PROFILE OF AN ARTIST: ALBERTO GIACOMETTI Learning to See Space Drawing exercise 7.1: Drawing a Spatial Analysis Positive and Negative Space Drawing Exercise 7.2: Negative Space Figure-Ground Relationships Placement in the Picture Plane Drawing Exercise 7.3: Odd Shaped Picture Planes Shape Drawing Exercise 7.4: Shapes Abstract Shapes Ambiguous Space Drawing Exercise 7.5: Continuous Line Ambiguous Relationships Drawing Exercises 7.6: Photo Transfer Drawings Contemporary Composition The Contemporary Application of Rhythm & Repetition Balance in Composition Drawing Exercise 7.7:Using Balance Revising a Drawing Structural & Planar Considerations in Composition Drawing Exercise 7.8: Planar Analysis and Memory Organizing the Composition with the Grid Drawing Exercise 7.9: Drawing in Layers PROFILE OF AN ARTIST; RICHARD DIEBENKORN Strategies for Composition An Art Critique: Henri Matisse and William Kentridge Journal Focus Chapter 8 THE PORTRAIT, FIGURE & DRAPERY The Portrait Planar Analysis of the Head Drawing Exercise 8.1: Analyzing Planes in a Self-Portrait The Skull A Cubist Portrait Proportions of the Face and Head The Facial Features Drawing Exercise 8.2: Studying the Facial Features Self-Portrait Profile of an Artist: Marie-Louise-Elisabeth Vigee-Le Brun Drawing Exercise 8.3: Photo Realism and the Grid Transfer Expressive Portraits Photographic Realism Profile of an Artist: Elaine De Kooning Figure Drawing Beginning Figure Studies Gesture Figure Drawing The Figure as a Cylinder Drawing Exercise 8.4: The Figure as Connected Cylinders Light and Planar Analysis of the Figure Drawing Exercise 8.5: Rubbed and Erased Values in Planar Analysis Foreshortening Drawing the Figure in Proportion Drawing Exercise 8.6: Copying a Master Drawing Drawing Exercise 8.7: Drawing The Nude Model Placing the Figure in Space Profile of An Artist: Antoine Watteau Drawing Drapery Drawing Exercise 8.8: Drawing Clothed People Strategies for Portrait, Figure, and Drapery Drawing An Art Critique: Mary Cassatt and Willem de Kooning Journal Focus CHAPTER 9 LANDSCAPE Landscape, Wash and Watercolor Profile of an Artist: John Constable Working Outdoors Drawing Exercise 9.1 Composing Real Space Pictorial Elements in Landscape Composition Value Drawing Exercise 9.2 Working En Plein Air Texture and Pattern Drawing Exercise 9.3: Pointillism Drawing from the Imagination Seascape Drawing Exercise 9.4: Drawing Reflections Drawing Exercise 9.5: Drawing Water Cityscape & Industrial Landscape Expressionism & Abstraction A Contemporary Approach to Landscape Strategies for Landscape Drawing An Art Critique: Vija Celmins and Richard Diebenkorn Journal Focus CHAPTER 10 COLOR AND MODERN ART Seeing in Color The Basic Color Vocabulary Drawing Exercise 10.1 Gradations of Color Intensities Color Harmonies Drawing Exercise 10.2: Triad Harmony & Simultaneous Color Contrast Cezanne's Planes of Color Profile of an Artist: Pat Passlof Innovations in Color Color Goes Primitive Drawing Exercise 10.3: Multiple Perspectives Strategies for Drawing in Color A Drawing Critique; Kevin Appel & Shahzia Sikander Journal Focus CHAPTER 11: MODERN TO CONTEMPORARY DRAWING Cubism and Surrealism Drawing Exercise: 11.1: Cubist Drawing Portrait of an Artist: Arshile Gorky The New York School: Abstract-Expressionism Drawing Exercise 11.2 The Process as Art Pop Art Parody Drawing Exercise 11.3 Drawing from Culture Minimalism Serial Imagery and Process Art Earthworks and Site Specific Art Drawing Exercise 11.4 Drawing with Black Postmodernism Funk Drawing Exercise 11.5 Shaped Picture Planes & Repetition Profile of Artists: Goat Island Conceptual Art and Installation Strategies for Critiquing & Thinking about Contemporary Drawing A Drawing Critique: Jaune Quick-To-See Smith, Brice Marden and Laurie Reid. Journal Focus Chapter 12: Media Graphic Thinking Drawing Tools Beginning Supplies for Drawing DRY MEDIA Charcoal: Vine Charcoal, Compressed Charcoal Drawing Exercise 12.1: Using Wet Charcoal Charcoal Pencils Drawing Exercise 12.2: Experimenting with Charcoal Conte Graphite Drawing Pencils: Ebony Pencils Woodless Pencils Drawing Exercise 12.3: Practice Using Pencils Graphite Sticks & Powdered Graphite Silverpoint Colored Pencils Chalk Pastels Oil Pastels Oil Sticks WET MEDIA Ink, Pen, & Brush Ball-point Pens, Felt Tip Pens & Roller Ball Pens DRAWING PAPERS Newsprint White Drawing Paper or Bond Hot Pressed Paper Cold Pressed Paper Rough Rag Paper Charcoal Paper Rice Paper I Watercolor Papers Paper for Class work Bristol Board Illustration Board OTHER DRAWING TOOLS Erasers Kneaded Eraser Plastic Eraser Spray Fix INDEX