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Drawing: A Contemporary Approach 7th Revised edition [Loose-leaf]

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  • Formāts: Loose-leaf, 336 pages, height x width x depth: 246x189x20 mm
  • Sērija : Cengage Advantage Books
  • Izdošanas datums: 01-Jan-2011
  • Izdevniecība: Wadsworth Publishing Co Inc
  • ISBN-10: 1111343608
  • ISBN-13: 9781111343606
Citas grāmatas par šo tēmu:
Drawing: A Contemporary Approach 7th Revised editionPalielināt
  • Formāts: Loose-leaf, 336 pages, height x width x depth: 246x189x20 mm
  • Sērija : Cengage Advantage Books
  • Izdošanas datums: 01-Jan-2011
  • Izdevniecība: Wadsworth Publishing Co Inc
  • ISBN-10: 1111343608
  • ISBN-13: 9781111343606
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9781111343606.html
Keywords:
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. This Advantage Edition offers the same content in an economically priced, unbound, three-hole punch, loose-leaf format.
Preface iii
PART 1 Introduction to Drawing
Chapter 1 Drawing: Definitions and Purposes
3(19)
Drawing Across Time and Culture
4(2)
Some History of Drawing
6(4)
Types of Drawings
10(4)
Subjective and Objective Drawing
10(2)
Informational Drawing
12(2)
Schematic Drawing
14(1)
Subject and Treatment
14(7)
Conclusion
21(1)
Chapter 2 Learning to See: Gesture and Other Beginning Line Exercises
22(30)
Facture, Pochade, and Time
24(2)
Gestural Line Drawing
26(14)
Beginning to Draw
30(1)
Types of Gestural Line Drawing
31(1)
Line Gesture
31(2)
Mass Gesture
33(1)
Mass and Line Gesture
34(2)
Scribbled Line Gesture
36(1)
Sustained Gesture
37(3)
Other Beginning Approaches
40(6)
Continuous-Line Drawing
40(2)
Organizational-Line Drawing
42(2)
Contour-Line Drawing
44(1)
Blind Contour-Line Drawing
45(1)
Summary
46(2)
Sketchbook Projects
48(4)
Project 1 Gestural Line Drawings
49(1)
Project 2 Continuous-Line and Organizational-Line Drawings
49(1)
Project 3 Blind Contour Drawings
49(1)
Project 4 Automatic Drawing
50(2)
PART 2 Spatial Relationships of the Art Elements
Development of Spatial Response
52(3)
Categories of Space
55(4)
Twentieth-Century Innovations in Spatial Development
59(4)
The Influence of Electronic Space
63(1)
Emotive Space
63(2)
Conclusion
65(1)
Sketchbook Project
65(2)
Project 1 Making a Space Folder
66(1)
Chapter 3 Shape/Plane and Volume
67(25)
Shape
67(5)
Geometric and Organic Shapes
67(4)
Implied Shape
71(1)
Positive and Negative Shapes
72(8)
Positive/Negative Interchange
73(2)
Composite Shape
75(1)
Silhouette
75(1)
Problem 3.1 Geometric Shapes Used to Create Pattern
76(1)
Problem 3.2 Geometric and Organic Shapes
76(1)
Problem 3.3 Interchangeable Positive and Negative Shapes
77(2)
Problem 3.4 Invented Negative Shapes
79(1)
Problem 3.5 Composite Shape
79(1)
The Shape of the Picture Plane
80(2)
Problem 3.6 Shape of the Picture Plane
81(1)
Shape as Plane and Volume
82(8)
Problem 3.7 Shape as Plane and Volume
86(1)
Problem 3.8 Planar Analysis
87(2)
Problem 3.9 Modeling and Overlapping
89(1)
Summary: Spatial Characteristics of Shape
90(1)
Shape
90(1)
Sketchbook Project
90(1)
Project 1 Shaping the Composition to the Format
90(1)
Computer Project
90(2)
Project 1 Using a Computer to Determine and Modify Shapes/Experimenting with the Relationship between Positive and Negative Space
91(1)
Chapter 4 Value
92(23)
Definitions and Functions
92(4)
Ways of Creating Value
96(4)
Arbitrary Use of Value
100(1)
Problem 4.1 Using Value Arbitrarily
101(1)
Descriptive Uses of Value
101(1)
Value Used to Describe Structure
101(1)
Problem 4.2 Using Value to Describe Planes
101(1)
Value Used to Describe Weight
101(3)
Problem 4.3 Using Value to Describe Weight
103(1)
Value Used to Describe Light
104(4)
Problem 4.4 Value Reduction
107(1)
Problem 4.5 Four Divisions of Value
108(1)
Problem 4.6 Categories of Light
108(1)
Problem 4.7 Tonal Drawings
108(1)
Value Used to Describe Space
108(1)
Problem 4.8 Using Value to Describe Space
109(1)
Expressive Uses of Value
109(3)
Problem 4.9 Value Reversal
110(1)
Problem 4.10 Value Used Subjectively
111(1)
Summary
112(1)
Spatial Characteristics of Value
112(1)
Sketchbook Projects
113(1)
Project 1 Thumbnail Sketches
113(1)
Project 2 Thumbnail Sketches Using Value Reduction
113(1)
Computer Project
113(2)
Project 1 Converting Color to Value
113(2)
Chapter 5 Line
115(28)
Introduction to Line
115(3)
Determinants of Line Quality
118(3)
Extended Contemporary Uses of Line
121(4)
Types of Line
125(14)
Contour Line
125(1)
Problem 5.1 Slow Contour Line
126(1)
Problem 5.2 Exaggerated Contour Line
126(2)
Problem 5.3 Quick Contour Line
128(1)
Problem 5.4 Cross-Contour Line
129(1)
Problem 5.5 Contour with Tone
129(1)
Mechanical Line
130(1)
Problem 5.6 Using Mechanical Line
131(1)
Structural Line
131(1)
Problem 5.7 Using Structural Line
131(1)
Lyrical Line
132(1)
Problem 5.8 Using Lyrical Line
133(1)
Constrictive, Aggressive Line
133(1)
Problem 5.9 Using Constricted, Aggressive Line
133(1)
Handwriting: Cursive and Calligraphic Line
134(1)
Problem 5.10 Using Handwriting or Calligraphic Line
135(1)
Implied Line
135(1)
Problem 5.11 Using Implied Line
136(1)
Blurred Line
136(2)
Problem 5.12 Using Blurred Line
138(1)
Whimsical Line
138(1)
Problem 5.13 Using Whimsical Line
139(1)
Summary
139(2)
Spatial Characteristics of Line
139(2)
Sketchbook Project
141(1)
Project 1 The Cadavre Exquis (The Exquisite Corpse)
141(1)
Computer Project
141(2)
Project 1 Computer Drawing and Line Quality
141(2)
Chapter 6 Texture
143(24)
The Role of Texture in Contemporary Art
143(4)
Pattern and Decoration
145(1)
Object as New Genre
145(2)
Categories of Texture
147(8)
Actual Texture
148(2)
Simulated Texture
150(1)
Invented, Conventional, or Symbolic Texture
150(3)
Problem 6.1 Using Actual Texture
153(1)
Problem 6,2 Using Simulated Texture
153(1)
Problem 6.3 Using Invented Texture
153(2)
Problem 6.4 Using Conventional or Symbolic Texture
155(1)
Contemporary Textures
155(8)
Additive Materials to Create Texture
155(2)
Problem 6.5 Using Papier Colle
157(1)
Problem 6.6 Using Collage
158(1)
Problem 6.7 Using Photomontage
159(1)
Transferred Texture
159(2)
Problem 6.8 Using Rubbing
161(1)
Problem 6.9 Transfer from a Printed Source
162(1)
Conclusion
163(1)
Summary
164(1)
Spatial Characteristics of Texture
164(1)
Sketchbook Projects
164(1)
Project 1 Identifying Textural Techniques Used in Depicting Water
164(1)
Project 2 Transcribing Textural Techniques
165(1)
Computer Project
165(2)
Project 1 Creating Texture on the Computer
165(2)
Chapter 7 Color
167(10)
Functions of Color
167(1)
Color Media
168(2)
Problem 7.1 Using Color Media
170(1)
Color Terminology
170(1)
Problem 7.2 Using Local and Optical Color
171(1)
Color Schemes
171(2)
Problem 7.3 Using a Monochromatic Color Scheme
172(1)
Problem 7.4 Using a Complementary Color Scheme
173(1)
Warm and Cool Colors
173(1)
Problem 7.5 Using Warm and Cool Colors
173(1)
Problem 7.6 Using a Warm or Cool Color to Create a Color-Field Composition
174(1)
Summary
174(1)
Spatial Characteristics of Color
174(1)
Sketchbook Project
174(1)
Project 1 Using Color for Quick Landscape Sketches
174(1)
Computer Project
175(2)
Project 1 Using the Computer to Create Matisse Cutouts
175(2)
Chapter 8 Antiperspective: The Triumph of the Picture Plane
177(26)
Contemporary Challenges to Traditional Perspective
177(2)
Antiperspective---The Flatbed Picture Plane and Superflat
179(1)
Definitions and Guidelines
180(1)
Eye Level and Baseline
180(3)
Problem 8.1 Using Eye Level and Baselines
183(1)
Aerial Perspective
183(2)
Problem 8.2 Using Aerial Perspective
185(1)
Linear Perspective
185(9)
Using a See-Through Pane
187(1)
Using a Viewer for Framing and Sighting
188(1)
Problem 8.3 Locating Vanishing Points
188(1)
One-Point Perspective
189(1)
Problem 8.4 Using One-Point Perspective
190(1)
Two-Point Perspective
191(1)
Problem 8.5 Using Two-Point Perspective
192(1)
Three-Point Perspective
193(1)
Problem 8.6 Using Three-Point Perspective
194(1)
Axonometric Perspective
194(1)
Multiple Perspectives
195(1)
Problem 8.7 Using Multiple Perspectives
195(1)
Stacked Perspective
196(1)
Problem 8.8 Using Stacked Perspective
197(1)
Foreshortening
197(2)
Problem 8.9 Using Foreshortening
198(1)
Conclusion
199(1)
Sketchbook Projects
199(4)
Project 1 Invented Spatially lllusionistic Forms
199(1)
Project 2 Employing Different Horizon Lines
200(3)
PART 3 A Contemporary View
Chapter 9 Organizing the Picture Plane
203(19)
Challenges to Traditional Compositional Approaches
203(2)
Contemporary Treatment of the Picture Plane
205(3)
Dominance of the Edge
205(1)
Problem 9.1 Shaped Picture Planes
206(1)
Problem 9.2 Confirming the Flatness of the Picture Plane
207(1)
Continuous-Field Compositions
207(1)
Problem 9.3 Continuous-Field Compositions
208(1)
Arrangement of Images on the Picture Plane
208(6)
Problem 9.4 Placing Images on the Picture Plane
214(1)
Problem 9.5 Filling the Picture Plane
214(1)
Division of the Picture Plane
214(5)
Problem 9.6 Composing with a Grid
217(1)
Problem 9.7 Dividing the Picture Plane
218(1)
Problem 9.8 Using Inset Images
218(1)
Problem 9.9 Using Linear Sequence
219(1)
The Wall as Picture Plane
219(1)
Conclusion
220(1)
Sketchbook Projects
220(1)
Project 1 Crowding the Picture Plane
220(1)
Project 2 Attention to the Edge
221(1)
Project 3 Divided Picture Plane
221(1)
Computer Project
221(1)
Project 1 Using Superimposed, Layered Images
221(1)
Chapter 10 Thematic Development
222(18)
Developing a Body of Related Work
222(1)
Word and Image
223(7)
Problem 10.1 Word and Image
228(1)
Problem 10.2 Frames of Reference
229(1)
Problem 10.3 Pages from an Altered Book
230(1)
The Figure/Body Art/Portraiture
230(3)
Problem 10.4 Alternate Self-Portrait
232(1)
Problem 10.5 Self-Portrait in Different Styles
232(1)
Problem 10.6 A Psychological Portrait
233(1)
Appropriated Images
233(3)
Problem 10.7 Appropriation---An Art History Homage
235(1)
Problem 10.8 A Series of Opposites
236(1)
Summary
236(1)
Sketchbook Projects
237(1)
Project 1 Visual and Verbal Descriptions
237(1)
Project 2 Juxtaposition of Word and Image
238(1)
Computer Project
238(2)
Project 1 Transformation Using Computer-Generated Images
238(2)
Chapter 11 A Look at Drawing Today
240(15)
What's New in the Twenty-First Century
240(1)
Contemporary Trends in Drawing
241(9)
Influence of Outsider Art
241(2)
Illustration-Based Narrative Drawing
243(1)
Ornamental Embellishment
243(1)
Neo-Romantic Drawing
244(1)
Abstraction
244(1)
Alternative Worlds
245(1)
Subcultures into Art
245(1)
Nostalgia
246(2)
Drawings with Social and Political Themes
248(1)
Hand-Drawn Animation
249(1)
Drawings Made from Direct Observation
250(1)
Conclusion
250(1)
Useful Websites
251(4)
PART 4 Practical Guides
Guide A Materials
255(8)
The Importance of Materials
255(1)
Paper
256(1)
Selected Papers for Drawing
257(1)
Some Suggested Oriental Papers
257(1)
Speciality Papers
258(1)
Sketchbooks
258(1)
Charcoal; Crayons, and Chalks
258(1)
Pencils and Graphite Sticks
259(1)
Erasers
259(1)
Inks and Pens
259(1)
Paint and Brushes
260(1)
Other Materials
260(1)
Nonart Implements
261(2)
Guide B Keeping a Sketchbook
263(12)
Why Keep a Sketchbook?
264(4)
Appropriate Subjects for a Sketchbook
268(5)
Summary
273(2)
Guide C Breaking Artistic Blocks and Making Critical Assessments
275(6)
Correcting the Problem Drawing
275(1)
Questions Dealing with Form
276(1)
Critical Assessment
277(1)
Inconsistency of Style, Idea, or Feeling
277(1)
Failure to Determine Basic Structure
278(1)
Tendency to Ignore Negative Space
278(1)
Inability to Develop Value Range and Transition
278(1)
Failure to Observe Accurately
278(1)
Getting Started
279(2)
Guide D Presentation
281(8)
Some Contemporary Modes of Presentation
281(3)
Acetate
284(1)
Plastic Envelopes
284(1)
Lamination
284(1)
Dry Mounting
285(1)
Matting
285(1)
Materials for Matting
285(1)
Instructions for Matting
286(1)
Summary
287(2)
Glossary 289(6)
Suggested Readings 295(10)
Index 305