9780130893130

Drawing as Expression: Techniques and Concepts was written directly to the student in an effort to be user friendly. It covers all aspects of drawing from basic skills and formal elements, to introductory figure drawing and advanced concepts of contemporary drawing. It provides students with information about drawing techniques, the function of drawing, and the concepts associated with good drawing. There are drawing exercises throughout the chapters that reinforce the concepts and techniques the students are studying. Historical profiles of artists are distributed throughout the chapters that discuss an artist's direction, style, and use of drawing. Examples of student drawing as well as fresh and new images different from the currently available drawing books are used. Drawing as Expression: Techniques and Concepts is about thinking through drawing, to create a visual language from critical thinking skills, intuition, and technical knowledge.

Preface

xiii

Introduction Drawing Through Time: A Brief History of The Evolution of Drawing

1

(16)

Gender and Race Issues in Art

10

(4)

Profile of an Artist: Kathe Kollwitz

12

(2)

Left and Right-Brain Thinking: Learning to See

14

(3)

Media Drawing Tools

17

(17)

Drawing Tools and Paper

18

(16)

Supplies for Drawing Courses

18

(1)

Charcoal

19

(6)

Pen, Brush, and Ink

25

(4)

Paper

29

(5)

The Formal Elements: Gesture

34

(18)

Developing Visual Awarencess

34

(2)

Warming up With Gesture Drawing

36

(6)

Profile of an Artist: Willem de Koning

37

(4)

Composing Drawings with Gesture

41

(1)

Time Required to Make a Gesture Drawings

42

(1)

Mass Gesture

43

(3)

Mass to Line Gesture

43

(1)

Mass Gesture and Value Change

44

(2)

Creating Space in Gesture Drawings

46

(1)

Gesture Line Drawing

47

(1)

Subjects to Consider for Gesture Drawings

48

(1)

Major Points of Gesture Drawing

48

(1)

Sustained Gesture Drawing

49

(3)

The Formal Elements: Line

52

(18)

Outline Drawing

53

(1)

Contour Line Drawings

53

(1)

Line Tone and Quality

54

(1)

Contour and Gesture With Value

55

(1)

Wrapped Line Rhythm Drawings

56

(2)

Rhythm Drawings

56

(2)

Continuous-Line Drawings

58

(4)

Cross-Contour

60

(2)

Expressive and Calligraphic Lines

62

(8)

Blind Contour

64

(2)

Profile of an Artist: Honore Daumier

66

(2)

Implied Line

68

(2)

The Formal Elements: Value

70

(40)

Introduction to Value

71

(2)

Four Divisions of Light

73

(11)

Chiaroscuro

76

(2)

Applying Chiaroscuro

78

(2)

Qualities of Light on Form: Planar Analysis

80

(2)

Qualities of Light in Space

82

(1)

The Picture Plane

82

(2)

Creating Form and Volume by Changing Values: Applying The Qualities of Light to a Drawing

84

(2)

Conte and Value

86

(5)

Profile of an Artist: Rembrandt Van Rijn

88

(3)

Creating Space With Value

91

(4)

Working From Dark to Light With Reversed Charcoal

91

(1)

Wet Charcoal Drawings

92

(1)

Using Wet Charcoal To Go From Line to Plane

93

(1)

Layering Value to Create Weight

93

(2)

Crosshatching: Pencil Drawing and Value

95

(3)

Rubbed and Brased Pencil Drawings

98

(1)

Planar Analysis of the Figure

99

(2)

Brush and Ink

101

(1)

Pen and Ink Wash

102

(5)

Profile of an Artist: Auguste Rodin

104

(3)

Ink Wash and Plane

107

(1)

The Expressive Use of Value

108

(2)

The Formal Elements: Perspective

110

(30)

Introduction

111

(3)

Linear Perspective

111

(1)

Empirical Perspective

111

(2)

Do we See in Perspective?

113

(1)

Cone of Vision

114

(1)

Picture Plance

114

(1)

Baseline

115

(1)

Focal Point and Vanishing Point

115

(1)

Horizon

115

(1)

Ground Plane

116

(1)

Circles

117

(3)

Common Errors in Drawing Circles in Perspective

118

(1)

A Circle in Perspective

119

(1)

Parallel Balseline

120

(1)

One-Point Perspective

121

(2)

Sighting

123

(1)

Two-Point Perspective

124

(1)

Inclined Planes

125

(2)

Perspective Grid

127

(2)

Measuring Depth

129

(1)

Figures in Space

130

(1)

Atmospheric Perspective and Value

131

(5)

Foreshortening

136

(1)

Three-Point Perspective

137

(1)

Shadows

138

(1)

Landscape Light and Shadow

139

(1)

The Formal Elements: Texture and pattern

140

(14)

Rubbing and Rendering

141

(1)

Invented Texture

142

(2)

Line

142

(1)

Stippling

142

(1)

Hatching

143

(1)

Trompe L'Oeil and Actual Texture

144

(2)

Visual Texture

146

(2)

Observing Texture

148

(1)

Surface Texture and Expression

148

(1)

Defining Space with Texture

149

(1)

Pattern

150

(1)

Ambiguous Patterns

151

(3)

Profile of an Artist: Vincent Van Gogh

152

(2)

Composition: Space, Plane, and Shape

154

(36)

Profile of an Artist: Alberto Giacometti

155

(5)

Positive and Negative Space

160

(3)

Figure-Ground Relationship

163

(1)

Balancing Light and Dark

164

(1)

Positive and Negative Abstract Shapes

164

(1)

Ambiguous Space

165

(1)

Ambiguous Relationships

166

(2)

Composing in the Picture Plane and the Edge

168

(8)

Selecting the Format

169

(2)

Placement

171

(1)

Space of the Picture Plane

172

(2)

Balance

174

(2)

Revising a Drawing

176

(14)

Evaluating the Composition

177

(1)

Organizing the Picture Plane With the Grid

178

(2)

Flattening the Picture Plane with the Grid

180

(2)

Profile of an Artist: Richard Diebenkorn

182

(3)

Plane

185

(2)

Crosshatching Compositions

187

(1)

Shape

188

(2)

Drapery

190

(8)

Profile of an Artist: Antoine Watteau

191

(1)

Drawing Drapery

192

(4)

Hatching and Drapery

196

(2)

The Protrait

198

(14)

Introduction

199

(1)

Planar Analysis of the Head

200

(1)

The Skull

201

(1)

Three-Dimensional Study of the Face

201

(3)

Proportions of the Face and Head

202

(1)

The Features

203

(1)

Self-Portrait

204

(4)

Drawing a Portrait

205

(1)

Portrait of an Artist: Louise-Elisabeth Vigee-Lebrun

206

(2)

Photographic Realism

208

(1)

Expressive Portraits

209

(3)

Profile of an Artist: Elaine de Kooning

210

(2)

Figure

212

(24)

Beginning Figure Studies

214

(1)

Gesture

214

(1)

Mass Gesture

215

(1)

Cross-Contour

216

(1)

Contour

216

(1)

The Figure as a Cylinder

217

(1)

Light and Planar analysis

218

(1)

Planar Analysis

219

(1)

Foreshortening

220

(2)

Value and Space

222

(2)

Placing the figure in Space

224

(2)

The Clothed Figure

226

(1)

Proportions of the Figure

227

(1)

Drawing, the Nude Model

228

(1)

Two Figures

229

(2)

Composition

231

(1)

Contemporary Figures Abstraction and Realism

232

(2)

Modernism in Art Since 1900

234

(2)

Landscape

236

(14)

Landscape and Wash

237

(2)

Working Outdoors

239

(1)

Pictorial Elements in Landscape

239

(1)

Composition

240

(3)

Establishing The Space

240

(1)

Value

240

(2)

Texture and and Pattern

242

(1)

Imaginative Drawings

243

(5)

Seascape

244

(2)

Profile of an Artist: John Constable

246

(2)

Cityscape

248

(1)

Expressionism

248

(1)

Abstraction

249

(1)

Modern to Contemporary Drawing

250

(52)

Profile of an Artist: Arshile Gorky

251

(5)

Introduction

256

(3)

Cubism and Surrealism

259

(5)

Profile of an Artist: Pat Passlof

261

(3)

Innovations

264

(3)

Color

267

(3)

Color Experiments

269

(1)

Color Harmonics

269

(1)

Social and Political Subjects

270

(4)

Abstraction in Paris

274

(2)

Abstract Expressionism

276

(6)

Pop Art

282

(2)

Parody

284

(2)

Minimalism

286

(4)

Process Art

290

(1)

Earthworks and Site Specific Art

291

(3)

Post Modernism

294

(1)

Funk

295

(3)

Profile of Artists: Goat Island

296

(2)

Conceptual Art and Installation

298

(3)

Conclusion

301

(1)

Index

302

What is included with this book?

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.

The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.

The titleDrawing as Expressiondirectly refers to both the tradition of drawing prior to 1900 and the change in the direction that drawing has undertaken since the beginning of the twentieth century. Drawing has changed even more dramatically since 1940, when the possibilities of drawing expanded across media and disciplines. But in addition to discussing this historical division,Drawing as Expressionis about thinking through drawing. Through drawing we express our ideas, create a visual language, a narrative, and use critical thinking skills in addition to our intuition. Drawing is equally a function of the left brain--structure and logic--and the right brain--chaos, deconstruction, and dreams. The book is addressed directly to the student and designed to be user-friendly. It was not intended to cover only what an instructor might complete in one term or one semester. It covers all aspects of drawing to help professors with instruction from basic skills to the figure, and concepts. It can be used in many ways. If instructors want students to gain more knowledge about an aspect of drawing that they can only touch on with a couple of lessons in class, they can assign the students to read a few pages of the book. This will reinforce their teaching and increase the students' understanding of the material. The book is not written sequentially. Instructors may use any chapter in any order they prefer. Instructors may also use any amount of the chapter that fits their curriculum. Students can use the book as a resource to look up what the instructor is teaching or to better understand the concepts and techniques of drawing. The book was written with a running glossary. The vocabulary of art is defined as it is used in the text. Some words are defined two or three times because the chapters may not be read in order. Therefore, a student may encounter the word "chiaroscuro" first in Chapter 5, The Formal Elements: Value, and again in a later chapter. The book was designed to provide instruction on many levels. It provides students information about drawing techniques, the function of drawing, and the concepts associated with good drawing. Drawing exercises are placed throughout the chapters providing students lessons to reinforce the concepts and techniques they are studying. Chapters 3 through 12 of the book cover the basic skills from the tradition of drawing. Historical profiles of artists are distributed through the chapters in which the profiled artist's direction, style, and use of drawing are discussed. Chapter 1 is a brief overview of the history of drawing to orient the students from the beginning of drawing through the changes in its purpose and function. Chapter 2 covers the various drawing media defining them in depth to help students understand the different characteristics of the tools of drawing. I have tried to keep the writing in the book direct, factual, and short, neither flowery nor ambiguous. I have used quite a few student examples of drawing that I hope will relate to the students and provide them a window into the process of drawing. These student drawings were made in a Drawing I course. There are many new examples of drawing by professional artists. An effort was made to locate fresh, new images different from those available in other drawing books. In addition I have written an in-depth discussion of certain drawing processes, such as hatching and crosshatching, the process of drawing drapery, and foreshortening. Professional and student drawings are analyzed in the book to explain drawing concepts such as the picture plane, the importance of value, and the qualities of line. Drawing Exercises generally follow the discussions about the drawings in the book to give students an experience in dealing with the concepts that were discussed. I have expanded the discussion of contemporary art into installation and performance. Chapter 13, Modern to Contempor

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Drawing as Expression : Techniques and Concepts

Drawing as Expression : Techniques and Concepts

0130893137

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