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Product Identifiers

PublisherPrentice Hall PTR

ISBN-100130893137

ISBN-139780130893130

eBay Product ID (ePID)1900576

Product Key Features

Number of Pages304 Pages

LanguageEnglish

Publication NameDrawing As Expression : Techniques and concepts

Publication Year2001

SubjectTechniques / General, Techniques / Drawing, General

TypeTextbook

Subject AreaArt

AuthorSandy Brooke

FormatTrade Paperback

Dimensions

Item Height0.4 in

Item Weight22.4 Oz

Item Length10.8 in

Item Width8.2 in

Additional Product Features

Intended AudienceCollege Audience

LCCN2001-034597

Dewey Edition21

IllustratedYes

Dewey Decimal741.2

Table Of Content1. Introduction. A Brief History of Drawing. What is Drawing? Gender and Race Issues in Art. Profile of an Artist: Kathie Kollwitz. Left and Right Brain Thinking: Learning to See. 2. Media. Drawing Tools. Wet and Dry Drawing Media: Media List. 3. The Formal Elements. Gesture: Developing Visual Awareness and Beginning to Draw. Warming up to Gesture Drawing: Seeing Responses. Profile of an Artist: Willem deKooning. Choosing Drawing Tools for Gesture Drawing. Composing Drawings with Gesture. Time Required to make Gesture Drawings. Gesture Figure Drawing. Mass Gesture. Mass to Line. Gesture & Mass Gesture to Value Change. Gesture Line Drawing. Creating Space in Gesture Line Drawings. Subjects to Consider for Gesture Drawing. Major Points of Gesture Drawing. Sustained Gesture Drawing. Exercise. 4. Line: The Formal Elements. Outline Drawings. Contour Line Drawing. Line Tone and Quality. Loose Contour Line and Value Exercise. Contour & Gesture with Value. Scribbled Line Drawing. Rhythm Drawings. Rhythm Drawing Exercise. Continuous Line Drawing. Cross Contour. Expressive and Calligraphic Lines. Blind Contour. Profile of an Artist: Honore Daumier. Implied Line. 5. Value: The Formal Elements. Introduction to Value. Four Divisions of Light. Chiaroscuro. Applying Chiaroscuro to Form. Qualities of Light on Form: Planar Analysis. The Picture Plane. Qualities of Light in Space: Using Light and Dark to Create Space. Value Change Creates Form & Volume. Applying the Qualities of Light to a Drawing. Conte and Value. Profile of an Artist: Rembrandt Van Rijn. Value Creates Space: Reversed Charcoal Working from Dark to Light. Wet Charcoal. Line to Plane. Layering Value to Create Weight, Mass, and Volume. Cross Hatching: Pencil Drawing and Value. Rubbed and Erased Drawings to Pencil. Planar Analysis. Brush and Ink Wash. Wash Exercise. Pen, Line, and Ink Wash. Ink Wash by Plane. Profile of an Artist: Auguste Rodin. The Expressive Use of Value. 6. Perspective: The Formal Elements. Introduction. Do We See in Perspective? Perspective: Cone of Vision. The Picture Plane. Baseline. Focal Point and Vanishing Point. Drawing Exercise. The Horizon. Ground Plane. Circles. Common Errors Drawing Circles in Perspective. Drawing a Circle in Perspective. One-Point Perspective. Sighting. Perspective Grid. Measuring Depth. Drawing Exercise. Figures in Space to Atmospheric Perspective and Value. Two-Point Perspective. Inclined Planes. Drawing Exercise. Foreshortening. Three-Point Perspective. Shadows. Landscape Light and Shadow 7. Texture and Pattern: The Formal Elements. Rubbing and Rendering. Invented Texture: The Media and The Mark Line, Stippling. Hatching. Wax, Ink, and Pattern. Tromp L'Oeil and Actual Texture. Visual Texture. Observing Texture. Surface Textures and Expression. Defining Space With Texture. Scribble Line Landscape. Pattern. Ambiguous Pattern. Profile of an Artist: Vincent Van Gogh. 8. Composition: Space, Plane, and Shape. Profile of an Artist: Alberto Giacometti. Exercise in Seeing. Positive and Negative Space. Balancing Light and Dark in Space. Positive and Negative Abstract Shapes. Ambiguous Space. Ambiguous Relationships. Composing in the Picture Plane and the Edge. Selecting the Format: Open and Closed. Placement. The Space of the Picture Plane. Balance. Revising a Drawing. Evaluating the Composition. Drawing Exercise in Revising. Organizing the Composition with the Grid. The Grid and Flattening the Picture Plane. Profile of an Artist: Richard Diebenkorn. Plane. Shape. Cross-Hatching Compositions. &

SynopsisThe title draws attention to the tradition prior to 1900, and the break thereafter. Because the book is modular, it can serve as either a primary or secondary textbook, or as a student reference for an introductory class. The introduction discusses drawing as both right and left- brained and looks a, For an undergraduate course in Drawing I, Drawing Concepts or Creative Drawing. Incorporating over 400 professional art pieces, student drawings, and illustration throughout, this student-friendly instructional text covers all aspects of drawing from the Renaissance to present day from basic skills and formal elements to introductory figure drawing and the advanced concepts of contemporary drawing. Teaching students on all drawing levels how to combine their critical thinking skills with intuition and technical knowledge to create a visual language through drawing, it covers key drawing techniques, the function of drawing, and the concepts associated with good drawing. It incorporates an abundance of student examples and drawing exercises in each chapter to reinforce concepts and hone newly acquired skills, and includes historical profiles of artists throughout with discussions on their unique direction, style, and use of drawing., Human communication is grounded in fundamentally cooperative, even shared,intentions. In this original and provocative account of the evolutionary origins of humancommunication, Michael Tomasello connects the fundamentally cooperative structure of humancommunication (initially discovered by Paul Grice) to the especially cooperative structure of human(as opposed to other primate) social interaction. Tomasello argues that human cooperativecommunication rests on a psychological infrastructure of shared intentionality (joint attention,common ground), evolved originally for collaboration and culture more generally. The basic motivesof the infrastructure are helping and sharing: humans communicate to request help, inform others ofthings helpfully, and share attitudes as a way of bonding within the cultural group. Thesecooperative motives each created different functional pressures for conventionalizing grammaticalconstructions. Requesting help in the immediate you-and-me and here-and-now, for example, requiredvery little grammar, but informing and sharing required increasingly complex grammatical devices.Drawing on empirical research into gestural and vocal communication by great apes and human infants(much of it conducted by his own research team), Tomasello argues further that humans' cooperativecommunication emerged first in the natural gestures of pointing and pantomiming. Conventionalcommunication, first gestural and then vocal, evolved only after humans already possessed thesenatural gestures and their shared intentionality infrastructure along with skills of culturallearning for creating and passing along jointly understood communicative conventions. Challengingthe Chomskian view that linguistic knowledge is innate, Tomasello proposes instead that the mostfundamental aspects of uniquely human communication are biological adaptations for cooperativesocial interaction in general and that the purely linguistic dimensions of human communication arecultural conventions and constructions created by and passed along within particular culturalgroups.

LC Classification NumberNC650.B697 2002