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