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Introduction | |
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A Brief History of Drawing | |
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What is Drawing? Gender and Race Issues in Art | |
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Profile of an Artist: Kathie Kollwitz | |
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Left and Right Brain Thinking: Learning to See | |
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Media | |
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Drawing Tools | |
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Wet and Dry Drawing Media: Media List | |
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The Formal Elements | |
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Gesture: Developing Visual Awareness and Beginning to Draw | |
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Warming up to Gesture Drawing: Seeing Responses | |
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Profile of an Artist: Willem deKooning | |
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Choosing Drawing Tools for Gesture Drawing | |
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Composing Drawings with Gesture | |
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Time Required to make Gesture Drawings | |
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Gesture Figure Drawing | |
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Mass Gesture | |
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Mass to Line | |
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Gesture & Mass Gesture to Value Change | |
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Gesture Line Drawing | |
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Creating Space in Gesture Line Drawings | |
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Subjects to Consider for Gesture Drawing | |
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Major Points of Gesture Drawing | |
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Sustained Gesture Drawing | |
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Exercise | |
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Line: The Formal Elements | |
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Outline Drawings | |
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Contour Line Drawing | |
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Line Tone and Quality | |
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Loose Contour Line and Value Exercise | |
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Contour & Gesture with Value | |
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Scribbled Line Drawing | |
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Rhythm Drawings | |
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Rhythm Drawing Exercise | |
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Continuous Line Drawing | |
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Cross Contour | |
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Expressive and Calligraphic Lines | |
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Blind Contour | |
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Profile of an Artist: Honore Daumier | |
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Implied Line | |
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Value: The Formal Elements | |
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Introduction to Value | |
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Four Divisions of Light | |
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Chiaroscuro | |
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Applying Chiaroscuro to Form | |
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Qualities of Light on Form: Planar Analysis | |
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The Picture Plane | |
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Qualities of Light in Space: Using Light and Dark to Create Space | |
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Value Change Creates Form & Volume | |
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Applying the Qualities of Light to a Drawing | |
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Conte and Value | |
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Profile of an Artist: Rembrandt Van Rijn | |
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Value Creates Space: Reversed Charcoal Working from Dark to Light | |
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Wet Charcoal | |
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Line to Plane | |
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Layering Value to Create Weight, Mass, and Volume | |
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Cross Hatching: Pencil Drawing and Value | |
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Rubbed and Erased Drawings to Pencil | |
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Planar Analysis | |
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Brush and Ink Wash | |
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Wash Exercise | |
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Pen, Line, and Ink Wash | |
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Ink Wash by Plane | |
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Profile of an Artist: Auguste Rodin | |
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The Expressive Use of Value | |
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Perspective: The Formal Elements | |
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Introduction | |
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Do We See in Perspective? Perspective: Cone of Vision | |
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The Picture Plane | |
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Baseline | |
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Focal Point and Vanishing Point | |
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Drawing Exercise | |
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The Horizon | |
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Ground Plane | |
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Circles | |
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Common Errors Drawing Circles in Perspective | |
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Drawing a Circle in Perspective | |
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One-Point Perspective | |
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Sighting | |
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Perspective Grid | |
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Measuring Depth | |
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Drawing Exercise | |
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Figures in Space to Atmospheric Perspective and Value | |
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Two-Point Perspective | |
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Inclined Planes | |
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Drawing Exercise | |
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Foreshortening | |
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Three-Point Perspective | |
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Shadows | |
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Landscape Light and Shadow | |
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Texture and Pattern: The Formal Elements | |
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Rubbing and Rendering | |
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Invented Texture: The Media and The Mark Line, Stippling | |
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Hatching | |
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Wax, Ink, and Pattern | |
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Tromp L'Oeil and Actual Texture | |
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Visual Texture | |
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Observing Texture | |
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Surface Textures and Expression | |
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Defining Space With Texture | |
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Scribble Line Landscape | |
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Pattern | |
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Ambiguous Pattern | |
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Profile of an Artist: Vincent Van Gogh | |
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Composition: Space, Plane, and Shape | |
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Profile of an Artist: Alberto Giacometti | |
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Exercise in Seeing | |
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Positive and Negative Space | |
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Balancing Light and Dark in Space | |
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Positive and Negative Abstract Shapes | |
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Ambiguous Space | |
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Ambiguous Relationships | |
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Composing in the Picture Plane and the Edge | |
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Selecting the Format: Open and Closed | |
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Placement | |
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The Space of the Picture Plane | |
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Balance | |
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Revising a Drawing | |
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Evaluating the Composition | |
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Drawing Exercise in Revising | |
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Organizing the Composition with the Grid | |
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The Grid and Flattening the Picture Plane | |
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Profile of an Artist: Richard Diebenkorn | |
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Plane | |
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Shape | |
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Cross-Hatching Compositions | |
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Drapery | |
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Profile of an Artist: Antoine Watteau | |
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Drawing Drapery | |
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Cross-Hatching and Drapery | |