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E-grāmata: Studio Seeing: A Practical Guide to Drawing, Painting, and Perception

  • Formāts: EPUB+DRM
  • Izdošanas datums: 09-Jun-2023
  • Izdevniecība: Intellect Books
  • Valoda: eng
  • ISBN-13: 9781789387919
  • Formāts - EPUB+DRM
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  • Formāts: EPUB+DRM
  • Izdošanas datums: 09-Jun-2023
  • Izdevniecība: Intellect Books
  • Valoda: eng
  • ISBN-13: 9781789387919

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Opens with several first-person anecdotes about the authors life as a practicing artist and a discussion of the intellectual lineage of his vision-based pedagogy. Many more anecdotes from the authors teaching appear in most chapters.





The author discusses perception as it benefits the artist in the studio. Perceptual laws govern both our experience of seeing and the artists process of creating. The book presents a proven process developed by the author over many decades of teaching and studio practice that the artist can apply to their own painting/drawing and/or teaching. The painting and drawing principles in the book are essential and yet not generally taught or understood. They will benefit anyone learning how to draw/paint or advance their practice. The book will also help practitioners to make rapid progress and to avoid clichéd, overused solutions. It also offers insights and discussions of interest to art lovers and Sunday painters. It is for everyone who enjoys viewing and thinking about art.





Integrated into the text are more than one hundred imagesworks of art by well-known historical and contemporary artists and students, photographs, and diagramsto reinforce the concepts presented. A recap section ends each chapter, followed by an exercise, or group of related exercises, to encourage and guide the practitioner in immediate application of the concepts.

Recenzijas

Studio Seeing is a great resource for artists and students or anyone who wants to learn about the mystery of painting and drawingessentially the making of flat shapes to communicate multi-dimensional perceptions, concepts, and meanings. This book is a wonderful exploration of that mystery as it so deftly explicates perception, material, and methods as applied to painting and drawing. It makes for good reading whether you want to use it as a teaching/learning aid or just as a pleasure to read. -- John Torreano, artist and NYU Professor Emeritus, New York University Studio Seeing is a timely work making a case for vison-based pedagogy. The book is filled with helpful anecdotes, clever and memorable analogies, and excellent exercises. More than just an instruction book or teachers manual, Torlen explains the reason and the context for the exercises included in the book, articulating many of the ideas that painters understand in making their work but are often less able to explain. -- Magnus Quaife, Professor of Artist Pedagogy, University of the Arts Helsinki Torlens experiences as a student, a teacher, and a practicing artist enhance his discussions of the psychology and physiological components in how we see. Studio Seeing is an informative examination of visual perception and the methods for advancing an individuals skills in drawing and painting. -- Honour Mack, Professor, Painting Department Chair, Maine College of Art & Design In this brilliant book, Michael Torlen sets out to create what he calls an Academy of Individuals, inviting artists to follow their individual interests and stylistic paths. Studio Seeing covers a lot of ground, from facing a bare canvas to chapters on perception, line, and value. By way of clear, well-wrought guidance, diverse illustrations, and engaging exercises, Torlen draws on a lifetime of art-making and teaching to enrich the creative lives of artists. The book is a gift to artists and those of us who want to know how the creative process works. Read this book and youll see. -- Carl Little, art critic and author Studio Seeing is a triumph. I dont believe anyone has written about seeing so clearly and completely. Seeing things entails more than copying things that you see. Seeing things is not understanding things unless you see them in relation to what is adjacent to them, in front of them, behind them or even things that are not there. It is the context of things that gives the viewer (or the artist) understanding. How you perceive things can control meaning; and meaning can vary from person to person. Therein lies the power of art. Having Michael Torlen as a teacher was a gift. It is thrilling to have a book that puts his lifetime of experience and thoughts in one place for artists, young and old, to learn from and enjoy. -- Fred Wilson, 1999 MacArthur Fellow and conceptual/installation artist Michael Torlens Studio Seeing, an assemblage of pedagogical postulates honed over a career of interacting with artists, is an essential volume for those interested in art, perception, artists, or the education of people with these interests. -- Ravi S. Rajan, President, California Institute of the Arts (CalArts) A must have book for anyone who wants to learn how to see. -- Michael Scott, artist

Figures



Foreword



   Julian Kreimer



   A Practical-Meditative Lineage XVII



   Teaching XVIII



   Learning to See the Ground



Preface



   Learning to See



   The Brick



   The Lineage



Introduction



1. The Fear Factor



   The Bare Canvas



   Into the Void



   Course of Action



   Fears Tyranny



   Mistakes and Accidents



   Part-to-part



   Recap



2. How We See It, How We Dont



   The 3D Cues



      Perspective



      Binocular Vision



      Light and Shadow



      Relative Motion



   Recap



   Exercises Two or One Eyed



3. The Artists Vision



   The Monocular Cues



   Constancy



   2D Visual Cues



      Position



      Shape-Size



      Overlap



      Value Contrast



      Color Contrast



   Hierarchy and Interaction



   Recap



   Exercises 2D Cues



4. More About Seeing



   Parts and Wholes



   The Gestalt Contribution



   Think Ahead



   Arnheim



   Where and What



   Figuring the Ground



   Object-Directed vs. Ground-Directed Seeing



   Past Experience, Purpose, and Action



   Recap



   Exercises Parts and Whole



 5. Beyond Face or Vase



   Head First



   Figure-Ground



   Not Negative and Positive



   Edge-condition



   Yes and No



   Intentions, Meanings, and Context



   Recap



   Exercises F/G



6. Forces in the Field



   Inner Necessity



   Closure



   Coincidence of Edge and Continuity



   Locales



   Recap



   Exercises Three Cs



7. Line



   Positioning Line



   Contour



   Gesture



   Blind-contour



   Cross-contour



   Recap



   Exercises DYI



8. Value



   Positioning Value



   Reserving the Light



   Adding and Subtracting



   On Readymade



   Adding Wash and Brush



   Elegance or Clumsiness



   Recap



   Exercises Plus and Minus



9. Brush, Paint, Process



   Shape Paint, Dont Paint Shapes



   Color Studies



   Bridging Triangle



   DLWCDI



   Recap



   ExercisesDLM



 10. Muscles and Marks



   The Body Against Itself



   Four Variables



      Pressure



      Tempo



      Duration



      Direction



   Deliberate Practice



   Recap



   ExercisesPTDD



 11. Figuring Where



   Plumb, Level, and Square



   The Frame



   Sighting and Measuring



   2D to 2D



   Linear Perspective



   Aerial Perspective



   Sfumato



   Recap



   ExercisesDevices



 12. Unmediated Response



   Focal Point



   Approximation



   The Great Law



   Recap



   ExercisesFocal Point



13. Fixing



   Jumping Parts



   Add More of It



   Build a Bridge



   Reverse the Overlap



   Adjust the Scale



   Do Something Else



   Recap



   ExercisesGround-Directed



 14. The End is The Beginning



   Limits of Language



   Nothing Changes if Nothing Changes



   Meaning, Metaphor, Myth



   Last Words



Endnotes



Bibliography



Acknowledgments



About the Author



Index
Michael Torlen is a visual artist, author, and Professor Emeritus of the School of Art+Design, Purchase College, State University of New York, where he taught painting and drawing, and received the Chancellors Award for Excellence in Teaching. He earned his BFA at Cranbrook Academy of Art and his MFA at The Ohio State University.





Although known for his seascapes of Maine, he also has a body of semi-abstract work about family, cancer, love, and death. Torlen maintains a studio and lives in Westbrook, Maine, with his wife, author and educator, Eleanor

Phillips Brackbill.









For more information:

www.michaeltorlen.com

www.michaeltorlenauthor.com