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Drawing A Contemporary Approach

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ISBN-10: 0495094919

ISBN-13: 9780495094913

Edition: 6th 2008 (Revised)

Authors: Teel Sale, Claudia Betti

List price: $199.95
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One of the best-selling drawing texts in the market, DRAWING: A CONTEMPORARY APPROACH goes beyond conventional approaches, emphasizing the emotional, intellectual, spiritual, and social significance of art. The authors trace the development of today's art from that of the past, showing drawing's meaning and continuity. DRAWING: A CONTEMPORARY APPROACH offers a combination of effective pedagogy, good exercises, and high-quality, contemporary drawings as models, focusing on contemporary artists who draw in a multicultural world.
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Book details

List price: $199.95
Edition: 6th
Copyright year: 2008
Publisher: Wadsworth
Publication date: 1/19/2007
Binding: Paperback
Pages: 336
Size: 8.50" wide x 10.75" long x 0.75" tall
Weight: 2.332
Language: English

Teel Sale is an artist, writer, and teacher, and has had a career of national and international shows (drawing, painting, printmaking, and performance art). She has served as art editor of Trilobite Press, book designer for university presses, book reviewer for Texas Books in Review, and visiting artist/lecturer at colleges and universities nationwide. Recipient of a Pouch Cove Foundation Grant (June, 2001) for drawing, Sale was a faculty member (drawing, painting, and honors) at the University of North Texas from 1975 through 1989.

Preface
Introduction to Drawing
Drawing: Definitions and Purposes
Drawing Across Time and Culture
Some History of Drawing
Types of Drawings
Subjective and Objective Drawing
Informational Drawing
Schematic Drawing
Subject and Treatment
Conclusion
Learning to See: Gesture and Other Beginning Line Exercises
Facture, Pochade, and Time
Gestural Line Drawing
Beginning to Draw
Types of Gestural Line Drawing
Line Gesture
Mass Gesture
Mass and Line Gesture
Scribbled Line Gesture
Sustained Gesture
Other Beginning Approaches
Continuous-Line Drawing
Organizational-Line Drawing
Contour-Line Drawing
Blind Contour-Line Drawing
Summary
Sketchbook Projects
Gestural Line Drawings
Continuous-Line and Organizational-Line Drawings
Blind Contour Drawings
Automatic Drawing
Spatial Relationships of the Art Elements
Development of Spatial Response
Categories of Space
Twentieth-Century Innovations in Spatial Development
The Influence of Electronic Space
Emotive Space
Conclusion
Sketchbook Project
Making a Space Folder
Shape/Plane and Volume
Shape
Geometric and Organic Shapes
Implied Shape
Positive and Negative Shapes
Positive/Negative Interchange
Composite Shape
Silhouette
Geometric Shapes Used to Create Pattern
Geometric and Organic Shapes
Interchangeable Positive and Negative Shapes
Invented Negative Shapes
Composite Shape
The Shape of the Picture Plane
Problem 3.6
Shape as Plane and Volume
Shape as Plane and Volume
Planar Analysis
Modeling and Overlapping
Summary: Spatial Characteristics of Shape
Shape
Sketchbook Project
Shaping the Composition to the Format
Computer Project
Project 1
Value
Definitions and Functions
Ways of Creating Value
Arbitrary Use of Value
Using Value Arbitrarily
Descriptive Uses of Value
Value Used to Describe Structure
Using Value to Describe Planes
Value Used to Describe Weight
Using Value to Describe Weight
Value Used to Describe Light
Value Reduction
Four Divisions of Value
Categories of Light
Tonal Drawings
Value Used to Describe Space
Using Value to Describe Space
Expressive Uses of Value
Value Reversal
Value Used Subjectively
Summary
Spatial Characteristics of Value
Sketchbook Projects
Thumbnail Sketches
Thumbnail Sketches Using Value Reduction
Computer Project
Converting Color to Value
Line
Introduction to Line
Determinants of Line Quality
Extended Contemporary Uses of Line
Types of Line
Contour Line
Slow Contour Line
Exaggerated Contour Line
Quick Contour Line
Cross-Contour Line
Contour with Tone
Mechanical Line
Using Mechanical Line
Structural Line
Using Structural Line
Lyrical Line
Using Lyrical Line
Constrictive, Aggressive Line
Using Constricted, Aggressive Line
Handwriting: Cursive and Calligraphic Line
Using Handwriting or Calligraphic Line
Implied Line
Using Implied Line
Blurred Line
Using Blurred Line
Whimsical Line
Using Whimsical Line
Summary
Spatial Characteristics of Line
Sketchbook Project
The Cadavre Exquis (The Exquisite Corpse)
Computer Project
Computer Drawing and Line Quality
Texture
The Role of Texture in Contemporary Art
Pattern and Decoration
Object as New Genre
Categories of Texture
Actual Texture
Simulated Texture
Invented, Conventional, or Symbolic Texture
Using Actual Texture
Using Simulated Texture
Using Invented Texture
Using Conventional or Symbolic Texture
Contemporary Textures
Additive Materials to Create Texture
Using Papier Colle
Using Collage
Using Photomontage
Transferred Texture
Using Rubbing
Transfer from a Printed Source
Conclusion
Summary
Spatial Characteristics of Texture
Sketchbook Projects
Identifying Textural Techniques Used in Depicting Water
Transcribing Textural Techniques
Computer Project
Creating Texture on the Computer
Color
Functions of Color
Color Media
Using Color Media
Color Terminology
Using Local and Optical Color
Color Schemes
Using a Monochromatic Color Scheme
Using a Complementary Color Scheme
Warm and Cool Colors
Using Warm and Cool Colors
Using a Warm or Cool Color to Create a Color-Field Composition
Summary
Spatial Characteristics of Color
Sketchbook Project
Using Color for Quick Landscape Sketches
Computer Project
Using the Computer to Create Matisse Cutouts
Antiperspective: The Triumph of the Picture Plane
Contemporary Challenges to Traditional Perspective
Antiperspective-The Flatbed Picture Plane and Superflat
Definitions and Guidelines
Eye Level and Baseline
Using Eye Level and Baselines
Aerial Perspective
Using Aerial Perspective
Linear Perspective
Using a See-Through Pane
Using a Viewer for Framing and Sighting
Locating Vanishing Points
One-Point Perspective
Using One-Point Perspective
Two-Point Perspective
Using Two-Point Perspective
Three-Point Perspective
Using Three-Point Perspective
Axonometric Perspective
Multiple Perspectives
Using Multiple Perspectives
Stacked Perspective
Using Stacked Perspective
Foreshortening
Using Foreshortening
Conclusion
Sketchbook Projects
Invented Spatially Illusionistic Forms
Employing Different Horizon Lines
A Contemporary View
Organizing the Picture Plane
Challenges to Traditional Compositional Approaches
Contemporary Treatment of the Picture Plane
Dominance of the Edge
Shaped Picture Planes
Confirming the Flatness of the Picture Plane
Continuous-Field Compositions
Continuous-Field Compositions
Arrangement of Images on the Picture Plane
Placing Images on the Picture Plane
Filling the Picture Plane
Division of the Picture Plane
Composing with a Grid
Dividing the Picture Plane
Using Inset Images
Using Linear Sequence
The Wall as Picture Plane
Conclusion
Sketchbook Projects
Crowding the Picture Plane
Attention to the Edge
Divided Picture Plane
Computer Project
Using Superimposed, Layered Images
Thematic Development
Developing a Body of Related Work
Word and Image
Word and Image
Frames of Reference
Pages from an Altered Book
The Figure/Body Art/Portraiture
Alternate Self-Portrait
Self-Portrait in Different Styles
A Psychological Portrait
Appropriated Images
Appropriation-An Art History Homage
A Series of Opposites
Summary
Sketchbook Projects
Visual and Verbal Descriptions
Juxtaposition of Word and Image
Computer Project
Transformation Using Computer-Generated Images
A Look at Drawing Today
What's New in the Twenty-First Century
Contemporary Trends in Drawing
Influence of Outsider Art
Illustration-Based Narrative Drawing
Ornamental Embellishment
Neo-Romantic Drawing
Abstraction
Alternative Worlds
Subcultures into Art
Nostalgia
Drawings with Social and Political Themes
Hand-Drawn Animation
Drawings Made from Direct Observation
Conclusion
Useful Websites
Practical Guides
Materials
The Importance of Materials
Paper
Selected Papers for Drawing
Some Suggested Oriental Papers
Speciality Papers
Sketchbooks
Charcoal, Crayons, and Chalks
Pencils and Graphite Sticks
Erasers
Inks and Pens
Paint and Brushes
Other Materials
Nonart Implements
Keeping a Sketchbook
Why Keep a Sketchbook?
Appropriate Subjects for a Sketchbook
Summary
Breaking Artistic Blocks and Making Critical Assessments
Correcting the Problem Drawing
Questions Dealing with Form
Critical Assessment
Inconsistency of Style, Idea, or Feeling
Failure to Determine Basic Structure
Tendency to Ignore Negative Space
Inability to Develop Value Range and Transition
Failure to Observe Accurately
Getting Started
Presentation
Some Contemporary Modes of Presentation
Acetate
Plastic Envelopes
Lamination
Dry Mounting
Matting
Materials for Matting
Instructions for Matting
Summary
Glossary
Suggested Readings
Index
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