About the Book
This book is for the beginning art major or for the general student who wants to learn more about drawing. Drawing teachers and advanced art students may also find it useful. While this book is about underlying visual principles and not naturalistic styles, it relies heavily on the study of objects, as mutual experiences in that world heighten communication between student and teacher and student and student. Through the study of objects, the student of drawing discovers how to see more intensely, compose, use the materials of drawing, work intuitively, and criticize. The chapters, as arranged, provide a coherent system of study. But regardless of any particular approach, all the ideas presented are meant to help gain an intimate, working knowledge of what the verb 'to draw' actually means. A Collegiate Press book
Table of Contents:
Chapter 1 Preface Part 2 Materials Chapter 3 Making Contact Chapter 4 Preview of Materials and Tools: Metalpoint, Pencil and Graphite Bars, Chalk, Vine Charcoal, Compressed Charcoal, Conte, Scratchboard, Inks, Brushes, Pens, Ballpoints and Markers, Paper, Additional Tools and Materials, Clay, Collage, Mixed Media, Experimen Part 5 Gesture Chapter 6 Looking for Verbs Chapter 7 The Absence of Gesture Chapter 8 Gesture Drawing Chapter 9 Intuition Chapter 10 Variations: Using Models, Group Poses Chapter 11 Summary Part 12 Picturing Space Chapter 13 Isometric Drawing Chapter 14 Linear Perspective: The Picture Plane, The Horizon Line, Vanishing Points, Limitaions of Linear Perspective, Aerial Perspective and Value Chapter 15 Alternatives to Renaissance Perspective: Outsider Art, Abstract Art, "Primitive" Cultures, Geometry, Perspective in Asian Culture Chapter 16 Drawing from Direct Observation: Before You Begin, Size and Angle Studies, Value Studies, Curved Planes, Objects from Everyday Life, Organic Forms Chapter 17 Summary Part 18 Composition Chapter 19 Two-Dimentional Space: Negative Shapes, Placement, Shapes and Marks Chapter 20 Deep Space: Compositional Studies, Studies of Value Patterns Chapter 21 Analysis of Balthus's The Golden Days Chapter 22 Making Your Own Compositions Chapter 23 Summary Part 24 Line and Value Chapter 25 Line: The Dividing Line, Line Variation, Hatching Chapter 26 Value: Mass, Pattern, Chiaroscuro Chapter 27 The Sustained Study in Line and Value Chapter 28 Summary Part 29 Subjects Chapter 30 The Nude: The Skeletal System, The Muscular System, Sex and Psychical Distance Chapter 31 The Head Chapter 32 Landscapes: Urban Landscapes, New Viewpoints Chapter 33 Animals, Social Commentary Chapter 34 Summary Part 35 Play Chapter 36 Play's Common Denominators Chapter 37 Artists at Play: Louise Bourgeois, Alexander Calder, Jean Dubuffet, Max Ernst, Claes Oldenburg Chapter 38 Comics: The Picture Story Chapter 39 The Blank Page and You Chapter 40 Keeping a Sketchbook Chapter 41 Summary Part 42 Criticism Chapter 43 Establishing Dialogue Chapter 44 Class Critiques Chapter 45 Guest Critics Chapter 46 Paired Works for Comparison: A Grunewald Drawing Compared to a Rouault Print; A Philip Guston Drawing Compared to a Willem de Kooning Drawing; A Picasso Drawing Compared to a Picasso Drawing Chapter 47 Summary Part 48 Epilogue Part 49 Glossary Part 50 Index
About the Author :
Roger Winter taught painting and drawing at Southern Methodist University from 1963 to 1989. His past students include nationally recognized artists John Alexander, David Bates, Stephen Mueller, and Robert Yarber. His work has been represented by the Fishbach Gallery in New York City and has been shown at galleries throughout the U.S. as well as being contained in many notable collections.
