Drawing from Observation
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|Author||: Jean Van't Hul|
|Editor||: Shambhala Publications|
Bring out your child’s creativity and imagination with more than 60 artful activities in this completely revised and updated edition Art making is a wonderful way for young children to tap into their imagination, deepen their creativity, and explore new materials, all while strengthening their fine motor skills and developing self-confidence. The Artful Parent has all the tools and information you need to encourage creative activities for ages one to eight. From setting up a studio space in your home to finding the best art materials for children, this book gives you all the information you need to get started. You’ll learn how to: * Pick the best materials for your child’s age and learn to make your very own * Prepare art activities to ease children through transitions, engage the most energetic of kids, entertain small groups, and more * Encourage artful living through everyday activities * Foster a love of creativity in your family
|Author||: Brian Curtis|
|Editor||: McGraw-Hill Humanities, Social Sciences & World Languages|
Perceptual drawing, in which one renders the physical world as it appears to an observer, is the focus of this new text for the introductory drawing course. With an emphasis on progressive skill development, Drawing from Observation offers a balanced mix of hands-on technique and perceptual theory while making a compelling argument for the long-term value of studying perception-based drawing...
|Author||: Stuart Elliot|
Drawing the Nude presents an exciting approach to drawing the human body. Divided into three parts, on structure, anatomy and observation, it introduces a set of principles and develops a treasury of ideas for the artist to follow. Whilst recognizing the importance of observation, it focuses more on a conceptual understanding of the construction of the body in anatomical terms. In doing so, it encourages the cultivation of more informed observation and accommodates those who work from memory, imagination and invention. Contents: the drawing of elementary forms that can then be distorted, transformed and combined, leading on to compound forms; explains the use of light and shadows to express form; explains the gesture of the figure through short drawings that analyse the flow of movement through the body; studies the musculo-skeletal form and provides a set of tools for analysing its parts; uses direct and concise drawings, alongside images of digital sculptures of human anatomy; gives practical instruction relevant to both the novice and the experienced figure artist, as well as those working within the visual effects and game industries.Superbly illustrated with 199 images that include digital sculptures of human anatomy and concise drawings.
|Author||: Kelly Chorpening,Rebecca Fortnum|
|Editor||: John Wiley & Sons|
The first university-level textbook on the power, condition, and expanse of contemporary fine art drawing A Companion to Contemporary Drawing explores how 20th and 21st century artists have used drawing to understand and comment on the world. Presenting contributions by both theorists and practitioners, this unique textbook considers the place, space, and history of drawing and explores shifts in attitudes towards its practice over the years. Twenty-seven essays discuss how drawing emerges from the mind of the artist to question and reflect upon what they see, feel, and experience. This book discusses key themes in contemporary drawing practice, addresses the working conditions and context of artists, and considers a wide range of personal, social, and political considerations that influence artistic choices. Topics include the politics of eroticism in South American drawing, anti-capitalist drawing from Eastern Europe, drawing and conceptual art, feminist drawing, and exhibitions that have put drawing practices at the centre of contemporary art. This textbook: Demonstrates ways contemporary issues and concerns are addressed through drawing Reveals how drawing is used to make powerful social and political statements Situates works by contemporary practitioners within the context of their historical moment Explores how contemporary art practices utilize drawing as both process and finished artifact Shows how concepts of observation, representation, and audience have changed dramatically in the digital era Establishes drawing as a mode of thought Part of the acclaimed Wiley Blackwell Companions to Art History series, A Companion to Contemporary Drawing is a valuable text for students of fine art, art history, and curating, and for practitioners working within contemporary fine art practice.
|Author||: Ian Simpson|
|Editor||: Herbert Press|
Ian Simpson's clear systematic approach to all aspects of drawing provides a comprehensive drawing course, ideal for both beginners and for those with considerable experience who want to re-examine the fundamentals. Illustrated, and with many suggestions for practical work, this book also offers teachers at all levels a ready-made instruction programme which progresses from basic drawing problems to the development of personal style.
|Author||: Deborah A. Rockman|
|Editor||: Oxford University Press, USA|
An exceptional, all-in-one resource on basic drawing (non-subject specific), figure drawing, and perspective, with more than 500 color and black-and-white illustrations by both students and professionals, Drawing Essentials: A Guide to Drawing from Observation thoroughly covers the drawing elements that are most important at the foundation level. Award-winning artist, teacher, and author Deborah Rockman explains clearly and in depth what is essential to depicting form and space on a two-dimensional surface. Addressing and illustrating studio experiences that are not effectively dealt with in other drawing books, the text elucidates such fundamental (yet challenging) concepts and methods as sighting, scaling techniques, meaningful and descriptive line variation, observation and development of tonal structure, creation of interesting and instructive still lifes, the conceptual impact of still-life objects, the unique challenges of the human figure and portraiture, basic and advanced perspective systems, brainstorming and the generation of ideas, and the use of photographs as reference. Throughout, the author focuses on the cultivation of observational skills, increased sensitivity, critical thinking, technical refinement, and knowledge of materials. This second edition includes an entirely new chapter on color theory and color drawing (with nearly 50 full color illustrations), a division of the perspective chapter into two (the second covering more advanced techniques), new and updated illustrations throughout, 27 color additions to the gallery of contemporary drawings in the Appendix, and a new Glossary of Art Terms.
|Author||: Tessa Newcomb,William Packer|
|Editor||: Lund Humphries Publishers Limited|
On New Year's Day 1986, encouraged by her dealer Andras Kalman, artist Mary Newcomb, then aged 64, began to keep a diary. She wrote in its opening pages: "I wanted [...] to remind ourselves that--in our haste--in this century--we may not give time to pause and look--and may pass on our way unheeding." This beautiful new book, compiled by the artist's daughter and grandson, reveals Mary Newcomb as an acute observer of her surroundings, reproducing her copious sketches alongside more finished paintings and short diary extracts to draw out the many themes which preoccupied her throughout her career as an artist. Mary Newcomb's world was rural East Anglia, where she managed a small mixed farm with her husband Godfrey Newcomb. The working life of the countryside engrossed her quite as much as the cycle of nature: she noticed and relished everything, with as keen an eye for the color of the bridesmaids' dresses at a wedding as for the yellow and brown of a dragonfly's body. Mary's daughter Tessa Newcomb, also an artist, introduces the key themes of the book with short texts which provide fascinating insight into her mother's world. A reflective introductory essay by art critic William Packer considers Mary Newcomb's written diary observations alongside the poetic language of her art.
|Author||: Shari Tishman|
Slow Looking provides a robust argument for the importance of slow looking in learning environments both general and specialized, formal and informal, and its connection to major concepts in teaching, learning, and knowledge. A museum-originated practice increasingly seen as holding wide educational benefits, slow looking contends that patient, immersive attention to content can produce active cognitive opportunities for meaning-making and critical thinking that may not be possible though high-speed means of information delivery. Addressing the multi-disciplinary applications of this purposeful behavioral practice, this book draws examples from the visual arts, literature, science, and everyday life, using original, real-world scenarios to illustrate the complexities and rewards of slow looking.
|Author||: Omar W. Nasim|
|Editor||: University of Chicago Press|
Today we are all familiar with the iconic pictures of the nebulae produced by the Hubble Space Telescope’s digital cameras. But there was a time, before the successful application of photography to the heavens, in which scientists had to rely on handmade drawings of these mysterious phenomena. Observing by Hand sheds entirely new light on the ways in which the production and reception of handdrawn images of the nebulae in the nineteenth century contributed to astronomical observation. Omar W. Nasim investigates hundreds of unpublished observing books and paper records from six nineteenth-century observers of the nebulae: Sir John Herschel; William Parsons, the third Earl of Rosse; William Lassell; Ebenezer Porter Mason; Ernst Wilhelm Leberecht Tempel; and George Phillips Bond. Nasim focuses on the ways in which these observers created and employed their drawings in data-driven procedures, from their choices of artistic materials and techniques to their practices and scientific observation. He examines the ways in which the act of drawing complemented the acts of seeing and knowing, as well as the ways that making pictures was connected to the production of scientific knowledge. An impeccably researched, carefully crafted, and beautifully illustrated piece of historical work, Observing by Hand will delight historians of science, art, and the book, as well as astronomers and philosophers.
|Author||: Larry W. Swanson,Eric Newman,Alfonso Araque,Janet M. Dubinsky|
At the crossroads of art and science, Beautiful Brain presents Nobel Laureate Santiago Ramón y Cajal’s contributions to neuroscience through his groundbreaking artistic brain imagery. Santiago Ramón y Cajal (1852–1934) was the father of modern neuroscience and an exceptional artist. He devoted his life to the anatomy of the brain, the body’s most complex and mysterious organ. His superhuman feats of visualization, based on fanatically precise techniques and countless hours at the microscope, resulted in some of the most remarkable illustrations in the history of science. Beautiful Brain presents a selection of his exquisite drawings of brain cells, brain regions, and neural circuits with accessible descriptive commentary. These drawings are explored from multiple perspectives: Larry W. Swanson describes Cajal’s contributions to neuroscience; Lyndel King and Eric Himmel explore his artistic roots and achievement; Eric A. Newman provides commentary on the drawings; and Janet M. Dubinsky describes contemporary neuroscience imaging techniques. This book is the companion to a traveling exhibition opening at the Weisman Art Museum in Minneapolis in February 2017, marking the first time that many of these works, which are housed at the Instituto Cajal in Madrid, have been seen outside of Spain. Beautiful Brain showcases Cajal’s contributions to neuroscience, explores his artistic roots and achievement, and looks at his work in relation to contemporary neuroscience imaging, appealing to general readers and professionals alike.
|Author||: Robert Kaupelis|
Creative exercises illustrated by old and modern masters including da Vinci, Michelangelo, Durer, Degas, Picasso, de Kooning, Dine, and Rauschenberg. Table of Contents: - Chapter One: A Few Words - Chapter Two: Some Basics--Contour, Gesture, and Modeled Drawing - Chapter Three: Organization/Structure--Making Things "Work Together" - Chapter Four: Using Light and Dark - Chapter Five: Photographs, Grids, and Projected Images - Chapter Six: Probing a Single Form-Idea - Chapter Seven: Old and Modern Masters--Appreciated and Exploited - Chapter Eight: Drawing Extended - Chapter Nine: Now to Begin...
|Author||: Rose Montgomery-Whicher|
|Editor||: Taylor & Francis|
Based on research, and grounded in experience, this book offers a view into the minds and hearts of people who draw. With technology at our fingertips that allows us to record and share what we see within moments, drawing seems a remarkably slow and difficult way to make an image. And yet, drawing from observation continues to be practiced by professional and amateur artists, a situation that invites the question: What does observation drawing mean in the lives of those who practice it? The central chapters of the book explicate the structures of the lived experience of drawing, weaving phenomenological reflections into a narrative about the author drawing her sister on a train. With lively accounts of drawing from hobbyists, art students, contemporary and historical artists, Montgomery-Whicher considers how the act of drawing shapes place, time, the body and relationships with the world and with others. She addresses many facets of drawing, including the connection between drawing and thinking, the range of emotions felt when drawing a person and the experience of digital drawing. Montgomery-Whicher concludes that observation drawing warrants a place in general education as well as in the education of artists. She argues that drawing will continue to thrive because it is a human practice that deepens and enriches our humanity by giving us access to keener perception, greater understanding, empathy and wonder. This book will be of interest to anyone who has ever wondered about the appeal of drawing, including professional and amateur artists, philosophers, and educators.
|Author||: W.I.B. Beveridge|
|Editor||: Edizioni Savine|
Elaborate apparatus plays an important part in the science of to-day, but I sometimes wonder if we are not inclined to forget that the most important instrument in research must always be the mind of man. It is true that much time and effort is devoted to training and equipping the scientist's mind, but little attention is paid to the technicalities of making the best use of it. There is no satisfactory book which systematises the knowledge available on the practice and mental skills—the art—of scientific investigation. This lack has prompted me to write a book to serve as an introduction to research. My small contribution to the literature of a complex and difficult topic is meant in the first place for the student about to engage in research, but I hope that it may also interest a wider audience. Since my own experience of research has been acquired in the study of infectious diseases, I have written primarily for the student of that field. But nearly all the book is equally applicable to any other branch of experimental biology and much of it to any branch of science. – (Cambridge, 1957. W.I.B. Beveridge)
|Editor||: Mark Bornowski|
This book focuses on drawing the perfect eye using a pencil and eraser. Step by step learn how to layer and shade the iris, pupil, brow, eyelid and nasal area. Learn the basics; the structure of the eye, the parts of the eye, and shading methods. Once you master these methods you will be able to use the same methods on the other parts of the face.
|Author||: Margaret Colquhoun,Axel Ewald|
|Editor||: Art & Science|
Here are fresh ways of seeing nature on a journey through the seasons with observation and drawing exercises. Simple observation exercises interwoven with inspiring illustrations invite you 'to see' with a fresh pair of eyes. This opens a door onto a new way of practicing Science as an Art, using the holistic approach of Goethe.
|Author||: Giorgia Lupi|
A guided journal with a fresh approach to the trendof journal-as-tool-for-self-examination. The journal is delightfully illustrated in the authors' trademark style-- accessible, whimsical, detailed. Blending inspiring examples with engaging instruction, this journal asks: What do we learn about ourselves when we measure our gratitude, confidence, and distraction levels? What do our collections say about who we are: our books, music, the clothes we wear? Observe, Collect, Draw! functions as a mini-course in information design, as accessible to beginners as it is engaging to seasoned info designers.
|Author||: Ernest R. Norling|
|Editor||: Courier Corporation|
Perspective is easy; yet, surprisingly few artists know the simple rules that make it so. Remedy that situation with this simple, step-by-step book, the first devoted entirely to the topic. 256 illustrations.
|Author||: Rob Walker|
A thought-provoking, gorgeously illustrated gift book that will spark your creativity and help you rediscover your passion with “simple, low-stakes activities [that] can open up the world.”—The New York Times Welcome to the era of white noise. Our lives are in constant tether to phones, to email, and to social media. In this age of distraction, the ability to experience and be present is often lost: to think and to see and to listen. Enter Rob Walker's The Art of Noticing—an inspiring volume that will help you see the world anew. Through a series of simple and playful exercises—131 of them—Walker maps ways for you to become a clearer thinker, a better listener, a more creative workplace colleague, and finally, to rediscover what really matters to you.