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