Drawing from Life

ISBN-10: 0155015117
ISBN-13: 9780155015111
Edition: 2nd 1997
List price: $83.95
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Book details

List price: $83.95
Edition: 2nd
Copyright year: 1997
Publisher: Harcourt College Publishers
Publication date: 8/2/1996
Binding: Paperback
Pages: 272
Size: 7.92" wide x 10.01" long x 0.44" tall
Weight: 1.056
Language: English

Cheryl McLeandiscovered many of the Oregon's lesser-known attractions during travels with her husband and daughter. She lives in Corvallis, Oregon.

The Fundamentalsp. 1
Learning to Seep. 2
An Important Traditionp. 4
The Mind's Eyep. 9
The Right Frame of Mindp. 11
A Sketch to Build Onp. 12
The Drawing Processp. 12
Learning from the Old Mastersp. 14
The Sketch as Part of the Creative Processp. 19
The Figure's Gesture, The Artist's Handp. 20
Expressing Volume, Weight, and Massp. 23
The Schematic Sketchp. 26
The Compositional Sketch: Figure-Frame Relationshipp. 28
The Expressive Content of a Sketchp. 33
In the Studiop. 35
Proportions, Perception, and Perspectivep. 38
The Search for a Standard of Proportionsp. 38
The Eight-Heads-High Standard of Proportionsp. 43
Sight Measuring Proportionsp. 44
Plotting the Body's Proportionsp. 45
Learning to See: Beyond Preperceptionp. 46
Perspective and Its Influence on Proportionsp. 47
The Development of Linear Perspectivep. 48
Structural and Planar Analysisp. 56
In the Studiop. 59
The Magic of Linep. 62
The Function of Linep. 62
The Phrasing of Linep. 65
In the Studiop. 78
Value as Light and Formp. 80
Rendering Light and Modeling Formp. 82
Continuous Tonep. 84
Hatch and Cross-hatchp. 92
Integrating Value Techniquesp. 97
Toned Paper and Color Mediap. 99
In the Studiop. 104
Anatomyp. 109
Foundations of the Human Structurep. 112
A Brief History of Artistic Anatomyp. 112
Learning from the Mastersp. 115
Anatomy as a Wholep. 118
Anatomy of the Torsop. 124
Articulation of the Limbs and Trunkp. 133
Anatomical Differences Between Male and Female Figuresp. 134
In the Studiop. 139
Anatomy of the Limbsp. 142
The Legp. 142
The Armp. 153
The Handsp. 158
The Feetp. 165
In the Studiop. 168
Heads and Portraitsp. 170
The Proportions of the Headp. 172
The Anatomy of the Headp. 173
Variations in Orientation of the Headp. 177
Age and Gender Differencesp. 178
Portrait Variationsp. 180
Self-Portraitsp. 185
In the Studiop. 190
Composition and Expressionp. 192
Composition and the Figurative Formalistp. 194
A Figurative-Formalist Biasp. 194
Compositionp. 196
Breaking Up the Pictorial Spacep. 198
The Abstract Concerns of the New Realistp. 202
Light as Structure: The Camera's Influencep. 207
Toward Expressionp. 212
In the Studiop. 215
Expression and the Figurative Humanistp. 218
Expressing Empathyp. 218
Expressing Social Concernsp. 222
Self-Expressionp. 230
Expressing Sensuality: Nude versus Nakedp. 233
Expressing Cultural Identityp. 236
Expressing Subconscious Realityp. 240
Expression and Compositionp. 243
In the Studiop. 245
Becoming Your Own Best Criticp. 247
Drawing Tools and Materialsp. 250
Endnotesp. 253
Glossaryp. 256
Indexp. 261
Useful Websitesp. 266
Table of Contents provided by Ingram. All Rights Reserved.

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