Drawing: A Contemporary Approach / Edition 4

Drawing: A Contemporary Approach / Edition 4

by Claudia W. Betti, Teel Sale, Teel Sale
     
 

ISBN-10: 015501580X

ISBN-13: 9780155015807

Pub. Date: 12/01/1996

Publisher: Wadsworth

Going beyond conventional approaches, this drawing text featuring a wealth of professional examples emphasizes the emotional, intellectual, and spiritual significance of art. The development of today's art from that of the past is traced, giving a sense of meaning and continuity. Illustrations and analyses enable students to turn their energies to new and different

Overview

Going beyond conventional approaches, this drawing text featuring a wealth of professional examples emphasizes the emotional, intellectual, and spiritual significance of art. The development of today's art from that of the past is traced, giving a sense of meaning and continuity. Illustrations and analyses enable students to turn their energies to new and different directions, to give material form to their own ideas. Art of the last two decades is given broad coverage and analysis including work from self-taught artists and from a multitude of ethnic groups. All chapters have new introductory texts, innovative problems pertinent to our contemporary world, sketchbook projects, and new illustrations. New color plates and an expanded discussion of spatial relationships enhance Part II.

Product Details

ISBN-13:
9780155015807
Publisher:
Wadsworth
Publication date:
12/01/1996
Edition description:
Older Edition
Pages:
320
Product dimensions:
8.06(w) x 9.98(h) x 0.65(d)

Table of Contents

Preface v
PART I INTRODUCTION TO DRAWING
Drawing: Thoughts and Definitions
3(28)
Subjective and Objective Drawing
10(9)
Informational Drawing
13(2)
Schematic Drawing
15(1)
Pictorial Recording
16(2)
Subjective Drawing
18(1)
The Viewing Audience
19(3)
Subject and Treatment
22(7)
Conclusion
29(2)
Learning to See: Gesture and Other Beginning Approaches
31(48)
Gesture Drawing
33(5)
Before Beginning to Draw
38(3)
Types of Gesture Drawing
41(11)
Mass Gesture Exercises
41(4)
Line Gesture Exercises
45(2)
Mass and Line Gesture Exercises
47(1)
Scribbled Line Gesture Exercises
48(2)
Sustained Gesture Exercises
50(2)
Other Beginning Approaches
52(7)
Continuous Line Drawing Exercises
52(2)
Organizational Line Drawing Exercises
54(2)
Blind Contour Exercises
56(3)
Summary: The Benefits of Gesture, Continous Line, Organizational Line, and Blind Contour Drawing
59(1)
Sketchbook Projects
60(3)
Gesture Drawings
61(1)
Continuous Line and Organizational Line Drawings
61(1)
Blind Contour Drawings
62(1)
PART II SPATIAL RELATIONSHIPS OF THE ART ELEMENTS
Development of Spatial Responses
63(2)
Categories of Space
65(3)
Precursors of Contemporary Spatial Development
68(3)
Twentieth-Century Spatial Development
71(7)
Sketchbook Project
78(1)
Making a Space Folder
78(1)
Shape/Plane and Volume
79(26)
Shape
79(5)
Positive and Negative Space
84(8)
Composite Shape Problem
86(2)
Interchangeable Positive and Negative Shapes
88(1)
Geometric Positive and Negative Shapes
89(1)
Invented Negative Shapes
90(1)
Collaged Negative Spaces
90(1)
Enclosed Invented Positive and Negative Shapes
91(1)
The Shape of the Picture Plane
92(1)
Shape as Plane and Volume
93(9)
Shape as Plane and Volume
98(1)
Planar Analysis
99(1)
Rubbed Planar Drawing
100(1)
Basic Volume
101(1)
Modeling and Overlapping
102(1)
Summary: Different Kinds of Space
102(1)
Sketchbook Projects
103(2)
Shaping the Composition to the Format
103(1)
Experimenting with the Relationship Between Positive and Negative Space
104(1)
Value
105(32)
Ways of Creating Value
113(2)
Arbitrary Use of Value
115(3)
Using Value Arbitrarily
117(1)
Descriptive Uses of Value
118(1)
Value Used to Describe Structure
118(3)
Using Value to Describe Structure
118(1)
Using Value to Describe Planes
118(3)
Value Used to Describe Weight
121(3)
Using Value to Describe Weight
123(1)
Value Used to Describe Light
124(5)
Value Reduction
126(1)
Four Divisions of Value
127(1)
Categories of Light
128(1)
Tonal Drawings
129(1)
Value Used to Describe Space
129(1)
Using Value to Describe Space
130(1)
Expressive Uses of Value
130(5)
Value Reversal
131(1)
Value Used Subjectively
132(2)
Value Used to Create Abstract Patterns
134(1)
Summary: Spatial Characteristics of Value
135(1)
Sketchbook Projects
135(2)
Using Thumbnail Sketches
135(1)
Applying Thumbnail Sketches to Actual Subject Matter
136(1)
Line
137(32)
Determinants of Line Quality
138(5)
Line in Other Art Disciplines
143(2)
Line in Recent Decades
145(3)
Types of Line
148(1)
Contour Line
148(7)
Slow Contour
150(1)
Exaggerated Contour
151(2)
Quick Contour
153(1)
Cross-Contour
154(1)
Contour with Tone
154(1)
Mechanical Line
155(1)
Using Mechanical Line
155(1)
Structural Line
156(1)
Using Structural Line
156(1)
Lyrical Line
157(1)
Using Lyrical Line
158(1)
Constricted, Aggressive Line
158(1)
Using Constricted, Aggressive Line
158(1)
Handwriting: Cursive and Calligraphic Line
159(2)
Using Handwriting or Calligraphic Line
160(1)
Implied Line
161(1)
Using Implied Line
161(1)
Blurred Line
162(3)
Using Blurred Line
164(1)
Whimsical Line
165(1)
Using Whimsical Line
165(1)
Summary: Spatial Characteristics of Line
166(1)
Sketchbook Projects
166(3)
Conceptual Drawing
167(1)
The Cadavre Exquis
167(2)
Texture
169(26)
The Role of Texture in Contemporary Art
169(7)
Traditional Categories of Texture
176(1)
Actual Texture
176(1)
Simulated Texture
177(1)
Invented, Conventional, or Symbolic Texture
178(6)
Using Actual Texture
181(1)
Using Simulated Texture
181(1)
Using Invented Texture
181(2)
Using Conventionalized or Symbolic Texture
183(1)
Twentieth-Century Textures
184(1)
Additive Materials to Create Texture
184(5)
Using Papier Colle
188(1)
Using Collage
188(1)
Using Assemblage
189(1)
Transferred Texture
189(4)
Using Rubbing
191(1)
Transfer from a Printed Surface
191(2)
Summary: Spatial Characteristics of Texture
193(1)
Sketchbook Projects
193(2)
Identifying Textural Techniques Used in Depicting Water
193(1)
Transcribing Textural Techniques
193(2)
Color
195(14)
Functions of Color
195(2)
Color Media
197(1)
Using Color Media
198(1)
Color Terminology
198(2)
Using Local and Optical Color
199(1)
Color Schemes
200(2)
Using a Monochromatic Color Scheme
201(1)
Using a Complementary Color Scheme
201(1)
Warm and Cool Colors
202(1)
Using Warm and Cool Colors
202(1)
How Color Functions Spatially
202(1)
Some Early Influences on Contemporary Attitudes Toward Color
203(3)
Studying Influences on Contemporary Color Attitudes
205(1)
Using Symbolic Color
205(1)
Using Color-Field Composition
206(1)
Summary: Spatial Characteristics of Color
206(1)
Sketchbook Projects
207(2)
Using Color for Quick Landscape Sketches
207(1)
Using Color to Convey Emotive Content
207(2)
Conventions for Creating Spatial Illusion
209(30)
Eye Level and Base Line
211(6)
Using Eye Level and Base Lines
217(1)
Aerial Perspective
217(2)
Using Aerial Perspective
218(1)
Linear Perspective
219(2)
Locating Vanishing Points
220(1)
One-Point Perspective
221(2)
Using One-Point Perspective
221(2)
Two-Point Perspective
223(2)
Using Two-Point Perspective
224(1)
Three-Point Perspective
225(1)
Using Three-Point Perspective
225(1)
Multiple Perspective
225(2)
Using Multiple Perspective
226(1)
Stacked Perspective
227(4)
Using Stacked Perspective
231(1)
Foreshortening
231(1)
Using Foreshortening
232(1)
Summary: Spatial Illusion
232(1)
Sketchbook Projects
233(1)
Invented Spatially Illusionistic Forms
233(1)
Employing Different Horizon Lines
233(6)
PART III A CONTEMPORARY VIEW
The Picture Plane
239(20)
Challenges to Traditional Compositional Approaches
239(2)
Contemporary Approaches to the Picture Plane
241(1)
Dominance of the Edge
242(3)
Shaped Pictures Planes
243(1)
Confirming the Flatness of the Picture Plane
244(1)
Continuous-Field Compositions
245(1)
Continuous-Field Compositions
245(1)
Arrangement of Images on the Picture Plane
246(5)
Placing Images on the Picture Plane
251(1)
Filling the Picture Plane
251(1)
Division of the Picture Plane
251(6)
Composing with a Grid
255(1)
Dividing the Picture Plane
256(1)
Using Inset Images
256(1)
Using Linear Sequence
257(1)
Summary: Personal Solutions/Different Kinds of Order
257(1)
Sketchbook Projects
257(2)
Crowding the Picture Plane
257(1)
Attention to the Edge
258(1)
Divided Picture Plane
258(1)
Thematic Development
259(24)
Developing a Body of Related Work
259(1)
Shared Themes
260(13)
Word and Image
269(3)
Frames of Reference
272(1)
Art History Series
273(1)
Individual Themes
273(5)
Individual Theme: A Series of Opposites/Transformation
275(1)
Transformation/Using Computer-Generated Images
276(1)
Developing a Motif
277(1)
Group Themes
278(2)
Style/Visual Research Project
278(2)
Summary: Development of a Theme
280(1)
Sketchbook Projects
281(2)
Visual and Verbal Descriptions
281(1)
Juxtaposition of Word and Image
281(2)
A Look at Art Today
283(62)
Why Look at Contemporary Art?
284(1)
Definitions of Modernism and Post-Modernism
285(2)
Precursors of Post-Modernism
287(1)
Pop Art
287(1)
Minimalism/Conceptual Art/Earth Art
287(1)
Photo-Realism
288(1)
Early Development of Post-Modernism
288(5)
Influences of Feminist Art on Post-Modernism
289(2)
European Influence: The Development of Neo-Expressionism
291(2)
Post-Modernism: New Subject Matter, New Strategies
293(21)
Appropriation and Recontextualization
293(3)
Myth and Allegory
296(1)
Humor and Irony
297(1)
Popular or Commercial Tactics
298(2)
Social and Political Themes
300(2)
Performance and Body Art
302(3)
Multiculturalism and a New Inclusiveness
305(2)
Collaborative Art
307(2)
Semiotics: Words and Images/Narrative Content
309(1)
Landscape
310(2)
Abstraction
312(2)
Conclusion
314(2)
PART IV PRACTICAL GUIDES
Guide A Materials
316(6)
Papers
316(2)
Charcoal, Crayons, and Chalks
318(1)
Pencils and Graphite Sticks
319(1)
Erasers
319(1)
Inks and Pens
320(1)
Paint and Brushes
320(1)
Other Materials
320(1)
Nonart Implements
321(1)
Guide B Keeping A Sketchbook
322(10)
Why Keep a Sketchbook?
323(3)
Appropriate Subjects for Sketchbook
326(5)
Conclusion
331(1)
Guide C Breaking Artistic Blocks
332(6)
Correcting the Problem Drawing
332(1)
Questions Dealing with Form
333(1)
Critical Assessment
334(1)
Getting Started
335(3)
Guide D Presentation
338(7)
Acetate
338(1)
Plastic Envelopes
339(1)
Lamination
339(1)
Dry Mounting
339(1)
Matting
340(3)
Summary: Selecting a Method of Presentation
343(2)
Glossary 345(4)
Suggested Readings 349(6)
Photographic Sources 355(4)
Index 359

Customer Reviews

Average Review:

Write a Review

and post it to your social network

     

Most Helpful Customer Reviews

See all customer reviews >