Drawing as Expression: Technique and Concepts (2e)

For undergraduate courses in Drawing I, Drawing Concepts, or Creative Drawing.

 

This student-friendly instructional text covers all aspects of drawing from basic skills and formal elements to introductory figure drawing and the advanced concepts of contemporary drawing.

 

Having taught Drawing I for over a decade years, Sandy Brooke wrote this book to help students better understand the process, concepts, and techniques of drawing. Teaching students of all levels how to combine their critical thinking skills with intuition and technical knowledge to create a visual language through drawing, the text covers key drawing techniques, the function of drawing, and the concepts associated with successful drawing

 

Chapter 1

Drawing From the Beginning

Drawing Today

What is Looking and  What is Seeing in Drawing Today

The Possibilities of Drawing Today

Profile of an Artist: Käthe Kollwitz

Strategies for Learning to See

Journal Focus

 

CHAPTER 2 GESTURE

Developing Visual Awareness: Beginning to Draw

Techniques for Gesture Drawing:

Profile of an Artist:  Willem De Kooning

Composing Drawings with Gesture

Drawing Exercise 2.1: Testing Your Visual Memory

Time Required to make a Gesture Drawing

Mass Gesture Drawings

Drawing Exercise 2.2: Creating the Mass Gesture Drawing

Mass to Line Gesture Drawing

Mass Gesture & Value Change

Drawing Exercise 2.3: Value and Mass Gesture Drawing

Sustained Gesture Drawing

Drawing Exercise 2.4: Sustained Gesture Drawing

Organizational Line Drawing

Creating Space in Gesture Drawings

Drawing Exercise 2.5: Gesture Drawing in Landscape

Drawing Exercise 2.6: Gesture & Text

Strategies for Gesture Drawing

An Art Critique: Eugenio Lucas and Cy Twombly

Journal Focus

 

 

CHAPTER 3 LINE

Line Evolves

Contour Line Drawings

Line, Tone and Quality

Contour and Gesture with Value

Drawing Exercise 3.1: Loose Contour Line and Value Exercise

Wrapped Line Drawing

Scribbled Line Drawing

Rhythm Drawing

Drawing Exercise: 3.2 A Rhythm Drawing

Continuous-Line Drawings

Drawing Exercise 3.3: Continuous Line in Still Life

Cross Contour Line Drawing

Drawing Exercise 3.4:Cross-Contour Drawing

Organizational Line

Drawing Exercise 3.5: Organizational Line Drawing

Calligraphic and Expressive Line Drawing

Blind Contour Drawing

Profile of an Artist: Honoré Daumier

Implied Line

Strategies for Line Drawing

An Art Critique: Paternosto, Darraugh and Rivers

Journal Focus

 

 

CHAPTER 4 VALUE

The Importance of Light and Dark

Four Divisions of Light

Light to Dark

Chiaroscuro

The Value Scale

Drawing Exercise 4.1: Making a Value Scale

Using Chiaroscuro in Drawing

Drawing Exercise 4.2: Placing Light and Dark

Planar Analysis

Use of Light with Planar Analysis

Drawing Exercise: 4.3 Planar Approach to Still Life

Applying the Qualities of Light to a Drawing; The Artist Controls the Light

Drawing Exercise 4.4: A Tonal Analysis

Crosshatching

Hatching and Drapery

Drawing Exercise 4.5: Hatching 

Rubbed and Erased Pencil Drawings

Drawing Exercise 4.6: Creating a Rubbed and Erased  Drawing

Conté and Value

Profile of An Artist: Rembrandt Van Rijn

Reversed Charcoal Drawing

Drawing Exercise 4.7: Reversed Charcoal

Wet Charcoal Drawings: Line to Plane

Drawing Exercise 4.8: Wet Charcoal

Layering Value to Create Weight

Drawing Exercise 4.9: Layering

Ink Drawing: The Brush

Pen and Ink Wash Drawing

Drawing Exercise 4.10: Ink Wash & Layering 

Profile of an Artist: Auguste Rodin

Where does Inspiration Come From?

The Expressive Use of Value

Strategies for Using Value in a Drawing

An Art Critique: Diebenkorn and Degas on the use of Value

Journal Focus

 

Chapter 5 PERSPECTIVE

Linear Perspective

Empirical Perspective

Seeing in Perspective

Elements of Perspective

Cone of Vision

Picture Plane

Horizon

Baseline

Focal Point and the Vanishing Point

Drawing Exercise 5.1: Drawing in Perspective

Ground Plane

Drawing Exercise 5.2: Studying Relationships in a Still Life

Parallel Baselines

One-Point Perspective

Drawing Exercise 5.3 Drawing Front to Back in Perspective

Sighting

Two-Point Perspective

Inclined Planes

Perspective Grid

Determining Spacing with Repeated Intervals

Drawing Exercise 5.4: Constructing Forms in Space with a Grid

Figures in Perspective

Drawing Exercise 5.5:Drawing in Proportion

A Contemporary Interior Drawing

Expression and Perspective: Distortions of Scale and View

Drawing Exercise 5.6: Challenging Perspective

Foreshortening

Three-Point Perspective

Drawing Exercise 5.7: Three Point Perspective

Circles in Perspective

Common Errors in Drawing Circles in Perspective

Drawing Exercise 5.8: Ellipse Practice

Drawing Exercise 5.9 Drawing A Circle in Perspective

Drawing Exercise 5.10 Analyze Cylinders

Drawing Exercise 5.11 Deconstruct a Machine

Aerial Perspective

Atmospheric Perspective

Shadows

Drawing Exercise 5.12: Studying Light Changes

Landscape Light & Shadow

Strategies for Drawing in Perspective

An Art Critique of Perspective Drawing: Matisse and Christo

Journal Focus

 

 

CHAPTER 6

TEXTURE AND PATTERN

Rubbing and Rendering

Invented Texture

Line

Stippling

Drawing Exercise 6.1: Interpreting Form in Marks

Hatching

Trompe L’oeil and Actual Texture

Drawing Exercise 6.2: Mixed Media

Profile of an Artist: Maria Sibylla Merian

Visual Texture

Drawing Exercise 6.3: Texture and Pattern

Surface Textures & Expression

Defining Space with Texture

Drawing Exercise 6.4: Scribble Line Landscape

Pattern

Ambiguous Patterns

Drawing Exercise 6.5: Ambiguous Pattern

Profile of an Artist: Vincent Van Gogh

Strategies for Texture Drawings

An Art Critique : Philip Guston and Vincent van Gogh

Journal Focus

 

 

Chapter 7

COMPOSITION

Space

PROFILE OF AN ARTIST: ALBERTO GIACOMETTI

Learning to See Space

Drawing exercise 7.1: Drawing a Spatial Analysis

Positive and Negative Space

Drawing Exercise 7.2: Negative Space

Figure-Ground Relationships

Placement in the Picture Plane

Drawing Exercise 7.3: Odd Shaped Picture Planes

Shape

Drawing Exercise 7.4: Shapes

Abstract Shapes

Ambiguous Space

Drawing Exercise 7.5: Continuous Line

Ambiguous Relationships

Drawing Exercises 7.6: Photo Transfer Drawings

Contemporary Composition

The Contemporary Application of Rhythm & Repetition

Balance in Composition

Drawing Exercise 7.7:Using Balance

Revising a Drawing

Structural & Planar Considerations in Composition

Drawing Exercise 7.8: Planar Analysis and Memory

Organizing the Composition with the Grid

Drawing Exercise 7.9: Drawing in Layers

PROFILE OF AN ARTIST; RICHARD DIEBENKORN

Strategies for Composition

An Art Critique: Henri Matisse and William Kentridge

Journal Focus

 

 

Chapter 8

THE PORTRAIT, FIGURE & DRAPERY

The Portrait

Planar Analysis of the Head

Drawing Exercise 8.1: Analyzing Planes in a Self-Portrait

The Skull

A Cubist Portrait

Proportions of the Face and Head

The Facial Features

Drawing Exercise 8.2: Studying the Facial Features

Self-Portrait

Profile of an Artist: Marie-Louise-Elisabeth Vigée-Le Brun

Drawing Exercise 8.3:  Photo Realism and the Grid Transfer

Expressive Portraits

Photographic Realism

Profile of an Artist: Elaine De Kooning

Figure Drawing

Beginning Figure Studies

Gesture Figure Drawing

The Figure as a Cylinder

Drawing Exercise 8.4:  The Figure as Connected Cylinders

Light and Planar Analysis of the Figure

Drawing Exercise 8.5: Rubbed and Erased Values in Planar Analysis

Foreshortening

Drawing the Figure in Proportion

Drawing Exercise 8.6: Copying a Master Drawing

Drawing Exercise 8.7:  Drawing The Nude Model

Placing the Figure in Space

Profile of An Artist: Antoine Watteau

Drawing Drapery

Drawing Exercise 8.8: Drawing Clothed People

Strategies for Portrait, Figure, and Drapery Drawing

An Art Critique: Mary Cassatt and Willem de Kooning

Journal Focus

 

CHAPTER 9 LANDSCAPE

Landscape, Wash and Watercolor

Profile of an Artist: John Constable

Working Outdoors

Drawing Exercise 9.1 Composing Real Space

Pictorial Elements in Landscape

Composition

Value

Drawing Exercise 9.2 Working En Plein Air

Texture and Pattern

Drawing Exercise 9.3: Pointillism

Drawing from the Imagination

Seascape

Drawing Exercise 9.4: Drawing Reflections

Drawing Exercise 9.5: Drawing Water

Cityscape & Industrial Landscape

Expressionism & Abstraction

A Contemporary Approach to Landscape

Strategies for Landscape Drawing

An Art Critique: Vija Celmins and Richard Diebenkorn

Journal Focus

 

CHAPTER 10 COLOR AND MODERN ART

Seeing in Color

The Basic Color Vocabulary

Drawing Exercise 10.1 Gradations of Color Intensities

Color Harmonies

Drawing Exercise 10.2: Triad Harmony & Simultaneous Color Contrast

Cezanne’s Planes of Color

Profile of an Artist: Pat Passlof

Innovations in Color

Color Goes Primitive

Drawing Exercise 10.3: Multiple Perspectives

Strategies for Drawing in Color

A Drawing Critique; Kevin Appel & Shahzia Sikander

Journal Focus

 

 

CHAPTER 11:

MODERN TO CONTEMPORARY DRAWING

 Cubism and Surrealism

Drawing Exercise: 11.1: Cubist Drawing

Portrait of an Artist: Arshile Gorky

The New York School: Abstract-Expressionism

Drawing Exercise 11.2 The Process as Art

Pop Art

Parody

Drawing Exercise 11.3 Drawing from Culture

Minimalism

Serial Imagery and Process Art

Earthworks and Site Specific Art

Drawing Exercise 11.4 Drawing with Black

Postmodernism

Funk

Drawing Exercise 11.5 Shaped Picture Planes & Repetition

Profile of Artists: Goat Island

Conceptual Art and Installation

Strategies for Critiquing & Thinking about Contemporary Drawing

A Drawing Critique: Jaune Quick-To-See Smith, Brice Marden and Laurie Reid.

Journal Focus

 

 

Chapter 12: Media

Graphic Thinking

Drawing Tools

Beginning Supplies for Drawing

DRY MEDIA

Charcoal: Vine Charcoal, Compressed Charcoal

Drawing Exercise 12.1: Using Wet Charcoal

Charcoal Pencils 

Drawing Exercise 12.2: Experimenting with Charcoal

Conté

Graphite Drawing Pencils:

Ebony Pencils

Woodless Pencils

Drawing Exercise 12.3: Practice Using Pencils

Graphite Sticks & Powdered Graphite

Silverpoint

Colored Pencils

Chalk Pastels

Oil Pastels

Oil Sticks

WET MEDIA

     Ink, Pen, & Brush

Ball-point Pens, Felt Tip Pens & Roller Ball Pens

DRAWING PAPERS

     Newsprint

White Drawing Paper or Bond

Hot Pressed Paper

Cold Pressed Paper

Rough

Rag Paper

     Charcoal Paper

Rice Paper

I    Watercolor Papers

Paper for Class work

Bristol Board

     Illustration Board

OTHER DRAWING TOOLS

Erasers

     Kneaded Eraser

Plastic Eraser

Spray Fix

 

 

INDEX

 

A reorganization of the material–The Second Edition text has been reorganized for smoother reading. For example, the media chapter has been moved to a more appropriate location at the end of the text.

 

More contemporary art­- 50% increase in contemporary art illustrations giving students more examples of current drawing styles.

 

Three new pedagogical features in each chapter– develops creative and critical thinking skills

• Strategies for Drawing - present points for students to review when creating the various types of drawings (line, gesture, perspective, etc.) which helps students focus on the important aspects of each type of drawing.
• Art Critiques -  explain how to evaluate drawings based on the formal elements of line, gesture, value and texture as well as space and composition issues including works by professional artists.
• Journal Focus - guide students as they work in their personal sketchbooks.

A strong visual program–The text contains numerous professional art pieces, student drawings, and illustrations, which provide students with powerful visual support that engages their interest and brings their learning experience to life.

 

“Profiles of an Artist” feature in each chapter–These features highlight a significant artist in each chapter and how they contributed to the tradition of drawing. These interesting features provide students with important insight into the history, purpose, and development of drawing, and help instructors create a foundation for thinking through drawing.

 

A user-friendly design–The text offers an easy-to-understand writing style and loads of visuals, exercises, and examples along with a running glossary that defining the new terms students encounter during the course of their reading assignments

 

Non-sequential chapters -  Self contained chapterorganization allows students to use the book as a handy resource for quick access and information on specific topics giving instructors maximum flexibility in their course structure.

 

A unique “modern to contemporary” chapter– This chapter takes students from Cézanne through abstract expressionism, pop art, minimalism, postmodernism, primitive and neo-expressionism, earthworks, installation, performance, and conceptual art. Students see and appreciate the myriad perspectives and developments in drawing over the years.

 

Detailed coverage of cross-hatching–The text describes cross-hatching in depth, via an illustrative student drawing and an extended discussion on the composition of the hatching strokes that make up cross-hatching–using the layers of the strokes for tone, the connection it has to printmaking, and the tools used in hatching.

 

Slide set for instructors–This supplement allows instructors to demonstrate and analyze key fine art and student drawings in the classroom

 

NEW–Three new pedagogical features in each chapter–Each chapter concludes with three new pedagogical features to help students develop creative and critical thinking skills.

• Strategies for Drawing features present points for students to review when creating the various types of drawings (line, gesture, perspective, etc.). This material helps students focus on the important aspects of each type of drawing.
• Art Critiques explain to students how to evaluate drawings based on the formal elements of line, gesture, value and texture as well as space and composition issues. These sections include works by professional artists and analysis of their intent, purpose, and direction.
• Journal Focus features guide students as they work in their personal sketchbooks, a useful way to hone the craft of drawing.