Guide to Drawing

ISBN-10: 1111342725

ISBN-13: 9781111342722

Edition: 8th 2012

List price: $167.95 Buy it from $96.70
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Description: The best-seller for the introduction to drawing course, A GUIDE TO DRAWING provides an excellent balance of classic, historical examples from around the world coupled with the most current images that reflect the state of the art of drawing. The text provides a systematic and sound course of instruction, beginning with an introduction to the nature of drawing and an invitation into the initial experiences of drawing, both underscored by an emphasis on the importance of learning how to see. The text moves through chapters on art elements, drawing media and subject matter, concluding with more advanced topics that can be used in subsequent courses, encouraging readers to keep this text as a reference throughout their studies and into their careers as artists. The Eighth edition of A GUIDE TO DRAWING covers the most relevant drawing topics being taught today, with more emphasis on fundamentally expressive powers of drawing as a contemporary visual language, and more emphasis on coordinating sight and thought processes while drawing.

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Book details

List price: $167.95
Edition: 8th
Copyright year: 2012
Publisher: Wadsworth
Publication date: 1/26/2011
Binding: Paperback
Pages: 344
Size: 8.00" wide x 11.00" long x 0.76" tall
Weight: 2.530

Michael J. Caduto is an internationally known storyteller, ecologist, educator, and musician. He has received the New England Award for Excellence in Environmental Education, holds an M.S. in Natural Resources/Environmental Education from the University of Michigan, and is a Senior Education Fellow with the Atlantic Center for the Environment. Caduto lives in Vermont and travels extensively, presenting environmental and cultural programs for adults and children.Dianne Hales is one of the country's most widely published authors of books & articles on health subjects. Her husband, Robert E. Hales, M.D., is a nationally renowned psychiatrist. He is professor & chair of the Department of Psychiatry at the University of California, Davis, & the author of more than 125 scientific publications. Together, they are also the co-authors of the definitive, award-winning reference work "Caring for the Mind: The Comprehensive Guide to Mental Health."David L. Faber is an American master printmaker and Professor of Art and Head of Printmaking at Wake Forest University where he has taught since 1984. He is the lead-author of A GUIDE TO DRAWING. Faber has had 22 solo exhibitions of his work since 1976 and has exhibited in numerous group and invitational exhibitions since 1974. He has lectured and worked as a guest artist in Canada, England, Germany, Italy, and South America. Some of his most notable works include: the Aberdeen Headlands series of chine colle monotypes; the Holstein Poetry-Catenary Curve series of intaglio prints; Saint Anna of Silos and Air; the Germans in Brazil series of lithographs produced in Sao Paulo, Brazil at Ymagos Atelier; the Red Holstein Factor series of plaster-cast intaglio prints; and the Piano Sheaves series of intaglio prints. Among Faber's most practiced printmaking techniques are intaglio, lithography, monotype, and plaster-cast intaglio prints. He specializes in drypoint, engraving, mezzotint, and etching techniques. His prints are held in the permanent collections of The Corcoran Gallery of Art, Washington, DC, The National Gallery of Art, Washington, DC, The Metropolitan Museum of Art, New York, The San Francisco Museum of Modern Art, The National Art Museum of the Ukraine in Kiev, The U.S. State Department, Washington, DC, and The American Bar Association, Chicago.

Introduction
The Nature and Purpose of Drawing
Developing Our Sight Skills
The Legacy of Seeing
What Is Drawing? What Should It Do? First Glimpses--Types of Drawings
Informative Drawings of Specific Purpose
The Expressive Nature of Drawing
The Expressive Mysteries of Drawing
First Encounters With Drawing
Initial Experiences: Looking, Seeing, and Drawing
Getting Started--Making the First Drawings
Looking at Other Drawings
Beginner�s Media
Charcoal
Graphite Pencil
Ballpoint and Felt-Tip Pens
Brush and Ink Drawing
Ink Wash Techniques and Effects
Learning to See Deeply
Coordinating Seeing and Thinking Skills
Atmospheric Seeing--Understanding Forms in Space
Perspective and Foreshortening
Mechanical Aids to Perception
Visualization with Vertical and Horizontal Alignments
Putting Visualization Skills into Practice
Proportional Relationships
Defining Forms with Negative Space
Modular Analysis--A Refined Approach
Seeing, Imagining--More than Physical Sight
The Inner Eye Overtaking Physical Sight
The Art Elements
Line: The Purest Power of Expression
Line Qualities
Gesture Line--Describing Motion
Contour and Blind Contour Line
Making Contour Drawings
Expressive Contour Line and Line Variation
Line--Lost and Found Edges
Searching and Cross-Contour Lines
The Tonal Line--Shading and Modeling
Hatching, Cross-Hatching, Scribbling, and Stippling
Texture: Expression, Perception, Sensual Response
The Textures of Familiar Surfaces
Drawing Textures and Their Likenesses
Inherent Textures of Drawing Media
Textured Line and Stippling
Actual and Simulated Textures
Uniform Texture
Invented or Synthetic Textures
Color: Value Delineation and Expressive Function
The Value Scale
Form Defined by Light and Shadow
Chiaroscuro--The Expressive Use of Value
Qualities of Light and Shadow
The Expressive Range of Value
High Key, Middle Key, Low Key
Full-Range Value Drawings
Value Contrasts for Emphasis
Color and Its Dimensions
Hue and the Value Scale
The Value Scale and Intensity
Color Schemes
Warm and Cool Colors
Mixing Colors
Composition: The Art Elements
Form and Shape--Mass and Volume
Positive Shape and Negative Space
Size and Scale Relationships
Open and Closed Composition
Balance--Harmony--Rhythm
Dominance--Subordination
Eye Movement--Spatial Dynamics
Pattern--Repetition; Rhythm--Unity
Linear Perspective: Drawing Forms in Space
Fixed Viewpoint and Cone of Vision
Picture Plane
Horizon Line and Ground Plane
Central Line of Vision--Central Vanishing Point
One-Point Perspective
Establishing a Grid
Two-Point Perspective
Inclined Planes
Uphill and Downhill Streets
Three-Point Perspective
Circles in Perspective--Ellipses
Ellipses in Varying Perspectives
Drawing Circular Objects
The Multiplicities of Drawing Media
Dry Media Expression
The Family of Dry Drawing Materials
Charcoal--Carbonized Wood
Types of Charcoal and Charcoal Techniques
Charcoal Papers of Varying Tooth and Weights
The Nature of Chalk
The Expressive Qualities of Pastels
Cont� Crayon
Wax Crayons--Their Capabilities
Lithographic Crayon
Graphite--Pencil, Powdered, Stick Forms
Soft Graphite, Hard Graphite, and Graphite Powder
Drawing Methods for Color Pencils
Burnishing and Wax Bloom
Water Soluble Color Pencils
Wet Media Expression
Pen and Ink
Types of Pens
Types of Paper for Wet Media
Value, Texture, Pattern with Wet Media
Stippling Effects of Wet Media
Brush and Ink
Drawing with Ink Wash
Modulating with Wash Drawing and Other Media
Monotype Methods and Drawing
Synthesis in Traditional and Contemporary Drawing
The Still Life: Our Love of Objects
Advantages of Still Life Drawing
Still Life Forms and Value Studies
Reducing Objects to Schematic Forms
Still Life Composition and Treatments
The Unmannered Still Life--Avoiding Clich�
Pushing the Still Life Envelope
Transparent and Reflective Surfaces
Expanded Still Life Subjects
Landscape Spaces, Skies, and Atmospheres
Landscapes--Varieties of Expression
The Deeper, Darker Moods of Landscape
Needs of the Landscape Artist
Selecting Landscape Imagery
Texture and Pattern in the Landscape
Spatial Relationships in Nature
Selecting Sky and Landscape Relationships
Rural Villages--Actual and Fantasized
Seascapes
The Human Figure
Drawing the Human Anatomy
Design Elements within Human Anatomy
Preparing to Draw the Live Model
Gesture Drawing and the Human Figure
The Extended Pose
The Human Figure and the Picture Plane
Hands, Feet, Limbs, Foreshortening
Deeper Explorations of Gesture Drawing
Drawing Human Figures in Action
The Clothed Figure in Action and Repose
Bodily Structures Supporting Drapery
Drawing the Human Portrait
The Human Head--Form and Proportion
The Facial Features
Drawing the Self-Portrait
The Objective Portrait
The Idealized Portrait
The Psychological Portrait
Capturing and Drawing a Caricature
Expressive Drawing
Forms of Expression
Empathy in Drawing
Memory and Emotion in Drawing
Imagination and Expression
Metaphor, Imagination, and Expression
Responding Subjectively--Making Media Choices
Perspective Thrusts and Expression
Representation and Abstraction
Expressive Style--More than Talent and Technique
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