Drawing Essentials

With unparalleled clarity, Drawing Essentials: A Complete Guide to Drawing, Fourth Edition, explains in depth the essentials of depicting form and space on a two-dimensional surface, focusing on the cultivation of observational skills, increased sensitivity, critical thinking, technical refinement, and knowledge of materials. This richly illustrated text is appropriate for use in all levels of drawing classes, from introductory to advanced levels, as well as for figure and life drawing classes.

Table of Contents:
1. GETTING STARTED: DRAWING WITH LINE AND THE PROCESS OF SIGHTING Line Variation and Sensitivity Working from General to Specific The Medium and Surface What is Meant by "Sensitive" Line? Achieving Line Variation and Line Sensitivity Light and Dark or Light Source Weight and Tension "Speed" of Contours and Edges High and Low Points, or Dips and Swells, in Contours Strength or Force of an Edge Spatial Sequence Degrees of Importance Combining Different Methods Different Kinds and Functions of Line Gesture Line Contour Line Modified Contour Line Cross-Contour Line Classical Line Anatomical Line Organizational Line Structural Line Mechanical Line Angular Line Decorative Line Calligraphic Line Broken or Implied Line Altered Line Agitated or Angry Line Process or Searching Line Tonal or Dimensional Line Straight-Line Construction Planar Construction Sighting and the Use of a Sighting Stick Why Use Sighting? Guidelines for Sighting Applications of Sighting First Application: Sighting for Relative Proportions Second Application: Sighting for Angles and Axis Lines Third Application: Sighting for Vertical and/or Horizonal Alignments Transferring Sighting Observations to a Drawing Surface 2. THE PRINCIPLES OF COMPOSITION Theory Versus Application Review of Some Simple Definitions Composition Elements (formal elements) Positive Space Negative Space Format Visual Principles of Composition Balance Harmony Variety Emphasis/Domination Movement/Directional Forces Proportion Economy Unity Variable Compositional Elements to Consider Size Position Direction Number Density Interval Proximity or Nearness Similarity Using a Viewfinder: What Does It Do for You? General Guidelines Concerning Composition Pay Attention to Both Positive and Negative Space Consider How the Forms Occupy the Format Watch General Placement of the Forms Consider the Kind of Space You Wish to Establish Consider Viewpoint in Your Composition Consider Options for the Development of Negative Space or Environment Thumbnail Studies as a Method for Exploring Composition 3. DEVELOPING VALUE STRUCTURE AND THE ILLUSION OF VOLUME Working With Light and Shadow A General-to-Specific Approach to Building Value Structure Imagine Building a House Using Value to Establish an Effect or a Mood Chiaroscuro Tenebrism Plastic Value Low-Key Value Middle-Key Value High-Key Value Value and Texture Some Different Kinds of Texture --Actual Texture --Simulated Texture --Uniform Texture --Invented Texture --Frottage Four Things to Look for When Identifying Value Structure The Light Source The Shape of Areas of Shadow and Light Variations of Value Within Larger Shapes of Value Edge Quality of Shapes of Value Various Methods for Applying Value Continuous Tone Hatching --Parallel Hatching --Contour Hatching --Cross-Hatching Stippling Mark Making Subtractive Drawing An Alternative Subtractive Process Toned Paper Exercises for Promoting a General-to-Specific Approach Projecting an Inverted, Out-of-Focus Image as a Drawing Reference A Sustained Approach to Gesture Drawing Controlling Some Variables of Value Structure 4. THE ILLUSION OF SPACE AND DEPTH ON A FLAT SURFACE Methods for Indicating Space and Depth Consider the Variables Size Baseline or Position Overlapping Sharp and Diminishing Detail Value Contrast Converging Parallels Linear Perspective Different Kinds of Space Decorative Space Shallow Space Plastic Space Deep or Infinite Space Ambiguous Space The Technique of Scaling to Determine Accurate Size Relationships Establishing Scale Successfully Scale or Unit of Measure Height of Eye Level or Horizon Line Station Point The Process of Scaling General Guidelines for Scaling Creating an Effective Still Life What Kinds of Objects Should be Included? Regular Forms Irregular or Natural Forms Cubic Forms Additional Considerations for Still Lifes The Meaning of Things You Include in a Drawing Using Photographic References 5. SPATIAL THINKING AND VISUALIZATION: ESSENTIAL PRINCIPLES OF PERSPECTIVE DRAWING An Introduction to Perspective What Is Perspective? Different Types of Perspective Technical or Mechanical Perspective Freehand Perspective Linear Perspective Atmospheric Perspective Basic Principles of Linear Perspective Perspective and Sighting Limitations of Linear Perspective Recommended Sequencing for Maximum Comprehension Suggestions for Effective Perspective Drawing Determining the Variable Elements of Perspective Drawing --Scale --Eye Level (EL) --Ground Line (GL) --Station Point (SP) --Central Vanishing Point (CVP) and Special Vanishing Point (SVP) Left or Right --Vanishing Point Left (VPL) and Vanishing Point Right (VPR) --Key Cube or "Mother Cube" --Keeping Things Simple Perspective Materials List Optional Items The Terminology of Perspective Primary Working Terminology One-Point Perspective (1-PT) Two-Point Perspective/Oblique Perspective (2-PT) Eye Level (EL) Horizon Line (HL) Scale Station Point (SP) Picture Plane (PP) Ground Plane (GP) Ground Line (GL) Cone of Vision (COV) Vanishing Point (VP) Central Vanishing Point (CVP) Special Vanishing Point (SVP) Auxiliary Vanishing Point (AVP) Vanishing Point Three (VP3) Measuring Line (ML) Diagonal Measuring Line (DML) Related Terminology Foreshortening Convergence Position or Base Line Overlap Diminution Additional Useful Terminology Convergence Perpendicular Parallel Diagonal Vertical Horizontal Plane Square Rectangle Circle Ellipse Axis Cube Pyramid Cylinder Cone Sphere Vessel Right Angle Acute Angle Oblique Diameter Circumference Vertex Tangent Point Perspectives and Cubes Constructing a Cube in One-Point Perspective Constructing a Cube in Two-Point Perspective Based on Estimation of Cube Depth in Relation to Cube Height Estimating Cube Depth in Two-Point Perspective Respecting the Cone of Vision Proximity to Vanishing Points Left and Right and Proximity to the Central Vanishing Point The Leading Edge of a Cube Using Perspective Grids Constructing a Gridded Ground Plane in One-Point Perspective Constructing a Gridded Ground Plane in Two-Point Perspective To Continue Using the Measuring Line Method To Continue Using the Fencepost Method To Continue Using the "Converging Diagonals" Method Increasing Complexity in the Perspective Environment Multiple or Sliding Vanishing Points Cube Multiplication The Fencepost Method for Cube Multiplication The Measuring Line Method for Cube Multiplication Distortion in Cube Multiplication Cube Division Constructing Ellipses in One-Point and Two-Point Perspective The Eight-Point Tangent System for Ellipse Construction Major and Minor Axes, Distortion, and Fullness of Ellipses 6. ESSENTIAL PRINCIPLES FOR DRAWING THE HUMAN FIGURE Why Study the Human Figure? Classroom Etiquette When Drawing from a Model The Process of Sighting in Relation to the Human Body Sighting the Human Body for Relative Proportions Sighting the Human Body for Vertical and Horizontal Alignments Between Two or More Landmarks or Reference Points Comparative Proportions in the Male and Female Figure Female Male Gesture Drawing or Rapid Contour Drawing Seeing Is the Key Using Axis Lines Keeping It Simple Setting the Pace Working from the Inside Out Enhancing the Illusion of Volume and Space in the Human Form Line Variation in Figure Drawing Scaling Techniques in Figure Drawing A General-to-Specific Approach to Form and Value in Figure Drawing An Introduction to Portraiture Common Errors General Guidelines for Locating Facial Features and Other Landmarks Central Axis Length of the Nose Centerline of the Mouth Distance Between the Eyes in a Frontal View Edges or Wings of the Nostrils Outside Corners of the Mouth Top of the Ears Bottom of the Ears, or the Bottom of the Ear Lobes Width of the Neck Three-Quarter View The Features and Other Significant Aspects of Portraiture The Eyes The Nose The Mouth The Ears The Neck The Shoulders The Hair Value Structure An Alternative Viewpoint in Portraiture Mapping the Figure in Space Drawing the Figure in an Observed Environment Using Straight-Line Construction Creating Visual Paths of Movement 7. THE HUMAN FIGURE AND ARTISTIC ANATOMY Artistic Anatomy Versus Medical Anatomy Anatomy Reveals Itself Major Bones of the Human Skeletal Structure Skull/Cranium List of 15 Individual Bones Torso List of 18 Individual Bones Leg and Foot List of 9 Individual Bones Arm and Hand List of 6 Individual Bones Bony and Other Landmarks in the Figure List of 29 Bony and Other Landmarks in the Figure Helpful Information about the Human Skeletal Structure The Skull Additional Information About the Skull The Spinal Column (Back Bone) Additional Information About the Bones of the Spinal Column The Rib Cage Additional Information About the Bones of the Rib Cage The Shoulder Girdle Additional Information About the Shoulder Girdle The Pelvis or Ilium (Hip Bone) Additional Information About the Pelvis/Ilium The Leg Additional Information About the Leg The Foot and Ankle Additional Information About the Foot and Ankle The Arm and Wrist Additional Information About the Arm and Wrist The Hand and Fingers Additional Information About the Hand and Fingers Superficial Muscles of the Human Figure Face and Head List of Individual Muscles and Their Function Neck List of Individual Muscles and Their Function Torso List of Individual Muscles and Their Function Arm and Hand List of Individual Muscles and Their Function Upper Leg List of Individual Muscles and Their Function Lower Leg and Foot List of Individual Muscles and Their Function Helpful Anatomical Terminology List of Relevant Anatomical Terms List and Definition of 22 Relevant Anatomical Terms 8. COLOR THEORY AND APPLICATION Understanding Color Color Terminology Color Hue Spectrum Objective Color/Local Color Subjective Color (also known as Expressive Color) Pigments Neutrals Neutralized Color Color Value Color Intensity Color Temperature Primary Colors Secondary Colors Intermediate or Tertiary Colors Complementary Colors Split Complement Analogous Colors or Adjacent Colors Tinted Color Toned Color Shaded Color Additive Color Subtractive Color Chromatic Achromatic Monochromatic or Monochrome Color Chord Color Dyad Color Triad Color Tetrad The Seven Color Contrasts Contrast of Hue Contrast of Value Contrast of Temperature Contrast of Intensity Complementary Contrast Simultaneous Contrast Contrast of Extension Color Harmony and Color Chords The Spatial and Volumetric Effects of Color Value and Color Temperature and Color Intensity and Color Volume and Color Volume and Color Value Volume and Color Temperature Volume and Color Intensity Volume and Color Texture Hints for Observing and Recording Color Value in a Color Drawing Intensity in a Color Drawing Complements in a Color Drawing Drawing with Color Media Colored Pencils Student-Grade Colored Pencils Artist-Grade Colored Pencils Building Your Colored Pencil Collection Colored Pencil Accessories Storage and Transport Containers Pencil Sharpeners Pencil Extenders Erasers Razor Blades and Adhesive Tapes Advantages and Disadvantages of Working with Colored Pencils Colored Pencil Papers Colored and Toned Papers White and Neutral Papers Colored Pencil Techniques Textured and Textureless Colored Pencil Drawings Blending and Burnishing Value Structure and Color Shifts Tinting Your Paper Working from Hard to Soft or Lean to Fat Resolving Some Limitations of Colored Pencil Pastels Student-Grade Pastels Artist-Grade Pastels Hard Artist-Grade Pastels Soft Artist-Grade Pastels Pastel Pencils Pastel Accessories Storage and Transport Containers Blenders Fixatives Erasers Razor Blades and Sandpaper Pads Adhesive Tape Mahl Sticks Solvent Alcohol Advantages and Disadvantages of Working with Pastels Pastel Papers and Substrates Colored and Toned Papers and Substrates Preparing Your Own Surface Pastel Techniques Side Stroking Hatching and Cross-Hatching Blending Scumbling Feathering Working from Hard to Soft, or Lean to Fat Basic Working Procedures Starting Your Drawing Blocking in Base Colors Developing Your Drawing Further Using Color Shifts to Describe Value Shifts Blending by Rubbing Sparingly and Cautiously Oil Pastels Student-Grade Oil Pastels Artist-Grade Oil Pastels Building Your Oil Pastel Collection Oil Pastel Accessories Storage and Transport Containers Brushes and Solvents Palette Knives and Razor Blades Blending Tools Gesso and Other Surface Primers Extenders Fixatives Advantages and Disadvantages of Working with Oil Pastels Oil Pastel Papers and Substrates Primed Papers and Substrates Potential Problems When Working on Raw Paper Preparing Your Own Surface Oil Pastel Techniques Side Stroking Hatching and Cross-Hatching Blending Scumbling Feathering Washes Working from Hard to Soft, or Lean to Fat Basic Working Procedures Starting Your Drawing Blocking in Base Colors Developing Your Drawing Further Using Color Shifts to Describe Value Shifts Blending with Consideration for Color Theory Some Final Thoughts About Working With Color 9. DEVELOPING IDEAS, RESOLVING PROBLEMS, AND EVALUATING RESULTS Ideation: Generating Ideas Imaginative Thinking and the Brain Imagination, Creativity, and Brainstorming The Process of Brainstorming Collage as a Tool for the Exploration of Ideas What Is Collage? The History and Origins of Collage Collage and Related Processes Why Collage--A Tool for Exploration of Ideas and Materials Resources for Collage Substrates or Support Surfaces Adhesives Diagnosing Problems in Your Work Inaccurate Proportional, Scale, or Shape Relationships Multiple Perspective Eye Levels Foreshortening Inaccuracies or a Lack of Foreshortening Flat and Restricted Line Work Details or Specifics at the Expense of the General Underlying Form Scaling Inaccuracies in Relation to Perspective Principles Lack of Volume or Timid Value Structure in Three-Dimensional Forms Overly Generalized Drawing Substituting Recipes or Formulas for Careful Observation Unintentionally Ambiguous Space Rigid or Pristine Drawings Lacking a Sense of Process Disregard for or Poor Composition Intentions Versus Results Discovering Disparity Descriptive Feedback Interpretive Feedback Written Feedback as an Alternative to Spoken Feedback The Importance of Critiques Group Critiques Individual Critiques Key Questions for Critiquing Work Questions Regarding Composition Questions Regarding Drawing Questions Regarding Figure Drawing Questions Regarding Perspective Questions Regarding Color 10. DRAWING MATERIALS AND PROCESSES Media and Materials for Drawing Traditional and Nontraditional Drawing Surfaces and Substrates Traditional Paper --Texture or Finish --Sizing --Weight --Acidity --Ply --Size or Dimension Paper Recommendations --White Papers and Neutral-Tinted Papers --Charcoal and Pastel Papers--White and Color Nontraditional Surfaces and Substrates for Drawing Traditional and Nontraditional Drawing Media Dry Media--Black/White and Monochromatic --Drawing Pencils or Graphite Pencils --Graphite Sticks --Graphite Powder --Silverpoint --Charcoal Pencils --Carbon Pencils --Vine Charcoal or Willow Charcoal --Compressed Charcoal --Powdered Charcoal --Conte Crayons or Drawing Crayons --Conte Pencils Dry Media--Color --Colored Pencils --Colored Pencil Sticks --Soft Pastels --Pastel Pencils --Oil Pastels Wet Media--Black/White and Color --Ink --Ink Washes --Ink Pens Nontraditional Drawing Media Additional Materials for Drawing and Related Processes Transfer Techniques Combined with Drawing Photocopy and Laser Print Transfers Materials Needed Images for Transfer Solvents for Transferring Images Procedure for Transferring Images Other Materials Used in the Transfer Process Additional Considerations Acrylic Medium Transfers Materials Needed Procedure for Transferring Images Lazertran Transfers Materials Needed Procedure for Transferring Images to Nonabsorbent, Shiny Surfaces Procedure for Transferring Images to Paper or Canvas Procedure for Transferring Images to a Variety of Porous Surfaces Using Turpentine APPENDIX I: DIGITAL ART AND DRAWING APPENDIX II: CONTEMPORARY ART: A GALLERY OF DRAWINGS Black and White Images David Kohan Emily Mayo Armin Mersmann Beili Liu Egon Schiele Robert Schultz Dragana Crnjak Seth Marosok William Kentridge Shelby Shadwell Color Images Aneka Ingold David Bailin Ian Ingram Henry Darger Julia Randall Julie Mehretu Nathan Heuer Michael Borremans Huaming Wang Whitfield Lovell Juan Perdiguero Zaria Forman Glossary of Art Terms Bibliography Index

About the Author :
Deborah Rockman is an artist, author, and Emeritus Faculty at Kendall College of Art and Design of Ferris State University. She served as Chair of the Drawing and Printmaking Programs for a number of years. In addition to Drawing Essentials, she is also the author of The Art of Teaching Art (OUP, 2000).

Review :
"Wow! Drawing Essentials covers almost every aspect of drawing thoroughly with terms that are cleverly defined and intelligently described. What I admire most is the relevance and the importance of student work within this book."--Christian Palencar, Kent State University "Rockman really breaks down the material to a basic level that anyone can understand. All of my students who are assigned this text love it and keep it, since it is such a great resource in the drawing world."--John Wagoner, Bossier Parrish Community College "Drawing Essentials is a great text. The sequence builds to introduce and develop the skills necessary to teach or learn basic drawing. The images are informative and of good quality, and the text is understandable and clear."--Barbara Gruber, Maryland Institute College of Art "The book is comprehensive, accessible yet intelligent, and rigorous. It enriches and fills in blanks that may not directly be communicated by our instructors in the studio. This academic approach to art-making can really be instructive to the attentive student."--Rachel Black, University of North Texas