MARC details
| 000 -LEADER |
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| fixed length control field |
08286cam a2200445 i 4500 |
| 001 - CONTROL NUMBER |
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| control field |
on1043063786 |
| 003 - CONTROL NUMBER IDENTIFIER |
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| control field |
OCoLC |
| 005 - DATE AND TIME OF LATEST TRANSACTION |
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| control field |
20240726104612.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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| fixed length control field |
170510s2018 maua b 001 0 eng |
| 010 ## - LIBRARY OF CONGRESS CONTROL NUMBER |
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| LC control number |
2017942179 |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
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| International Standard Book Number |
9781615286683 |
| Qualifying information |
|
| 040 ## - CATALOGING SOURCE |
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| Original cataloging agency |
DLC |
| Language of cataloging |
eng |
| Description conventions |
rda |
| Transcribing agency |
DLC |
| Modifying agency |
OCLCO |
| -- |
OCLCF |
| -- |
OCLCO |
| 042 ## - AUTHENTICATION CODE |
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| Authentication code |
pcc |
| 050 00 - LIBRARY OF CONGRESS CALL NUMBER |
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| Classification number |
NC730 |
| Item number |
.D573 2018 |
| 100 1# - MAIN ENTRY--PERSONAL NAME |
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| Personal name |
Mahan-Cox, Sallye, |
| Relator term |
Author |
| 245 10 - TITLE STATEMENT |
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| Title |
Discovering drawing /Sallye Mahan-Cox. |
| 250 ## - EDITION STATEMENT |
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| Edition statement |
Third edition. |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. |
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| Place of publication, distribution, etc. |
Worcester, Massachusetts : |
| Name of publisher, distributor, etc. |
Davis Publications, Incorporated, |
| Date of publication, distribution, etc. |
(c)2018. |
| 300 ## - PHYSICAL DESCRIPTION |
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| Extent |
xiii, 324 pages : |
| Other physical details |
illustrations (chiefly color) ; |
| Dimensions |
29 cm. |
| 336 ## - CONTENT TYPE |
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| Content type term |
text |
| Content type code |
txt |
| Source |
rdacontent |
| 337 ## - MEDIA TYPE |
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| Media type term |
unmediated |
| Media type code |
n |
| Source |
rdamedia |
| 338 ## - CARRIER TYPE |
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| Carrier type term |
volume |
| Carrier type code |
nc |
| Source |
rdacarrier |
| 490 0# - SERIES STATEMENT |
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| Series statement |
Davis Studio Series |
| 505 00 - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
WHAT IS DRAWING? -- |
| Title |
A brief history of drawing -- |
| -- |
The purposes of drawing -- |
| -- |
Drawing for design: Michael Graves tea kettle -- |
| -- |
Drawing becomes: Roy Lichtenstein sculpture -- |
| -- |
Criticism and the critical process -- |
| -- |
Art fundamentals: Line in mark-making -- |
| -- |
Drawing media and materials -- |
| -- |
How to: Create an oil pastel -- |
| -- |
Sketchbooks -- |
| -- |
`Drawing on history: Delacroix's Moroccan sketchbooks -- |
| -- |
Finding inspiration -- |
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Originality -- |
| -- |
Study drawings -- |
| -- |
Nontraditional approaches: Sonja Hinrichsen -- |
| -- |
Studio experience: Study drawing and original drawing -- Career Profile: Mohamed Zakariya -- |
| 505 00 - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
THE BASICS -- |
| Title |
A brief history of drawing elements and principles -- |
| -- |
The formal language of art: The elements of art -- The principles of design -- |
| -- |
Drawing for design: Bauhaus weaving workshop -- |
| -- |
Art fundamentals: Color theory -- |
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Drawing on history: Goethe's theory of color -- |
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Observational drawing -- |
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Line drawing -- |
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How to: Draw a tree from observation -- |
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Basic shapes -- |
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Framing and sighting -- |
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How to: Use sighting -- |
| -- |
Organizing a composition -- |
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Drawing becomes: Spoonbridge and Cherry -- |
| -- |
Nontraditional approaches: Drawbots -- |
| -- |
Studio experience: Conducting a visual investigation -- Career profile: Nancy Burns -- |
| 505 00 - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
STILL LIFE -- |
| Title |
A brief history of drawing still life -- |
| -- |
Organizing a still life -- |
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Defining forms with value -- |
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How to: Draw a still life in contour line -- |
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Drawing for design: an iconic chair -- |
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Defining forms in space -- |
| -- |
Single objects as still life -- |
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Drawing on history: The index of American design -- |
| -- |
How to: Draw a paper bag -- |
| -- |
Collage -- |
| -- |
Drawing on history: Papier colle -- |
| -- |
Still life as metaphor -- |
| -- |
Drapery -- |
| -- |
How to: Draw drapery folds, shadows, and highlights -- |
| -- |
Drawing becomes: Draper study for a portrait -- |
| -- |
Space in still life -- |
| -- |
Art fundamentals: Space (element of art) -- |
| -- |
Nontraditional approaches: Katharine Morling -- |
| -- |
Studio experience: Draped corner still life -- Career profile: Sean Huxter -- |
| 505 00 - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
DRAWING LANDSCAPES -- |
| Title |
A brief history of drawing landscapes -- |
| -- |
Seeing and organizing landscapes -- |
| -- |
Drawing on history: Thomas Moran and the American landscape -- |
| -- |
Organizing space with grounds -- |
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How to: Organize a landscape -- |
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Alternate ways of seeing landscape -- |
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Drawing becomes: Kimono art of Itchiku Kubota -- |
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The elements of landscape -- |
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Art fundamentals: Negative space -- |
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How to: Develop a night landscape -- |
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Creating space with Aerial perspective -- |
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Drawing for design: The high line -- |
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Eye levels -- |
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Nontraditional approaches: Monika Grzymala -- |
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Studio experience: Drawing a landscape -- Career profile: Derrick Wolbaum -- |
| 505 00 - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
THE BUILT ENVIRONMENT -- |
| Title |
A brief history of drawing the built environment -- |
| -- |
Organizing constructions in space --Linear perspective -- |
| -- |
How to: Draw a city street in one-point perspective -- |
| -- |
Drawing on history: Kevin Lynch and the image of the city -- |
| -- |
Point of view and the built environment -- |
| -- |
Drawing for design: The Holland prize -- |
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How to: Draw with ink and wash -- |
| -- |
Art fundamentals: Intentionality and perspective -- |
| -- |
More ways to look at the built environment -- |
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How to: Create a charcoal wash -- |
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Expressive uses of the built environment -- |
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Drawing on history: Piranesi's dark visions -- |
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Drawing becomes: Christo and Jeanne-Claude's wrapped Reichstag -- |
| -- |
Nontraditional approaches; Terry Winters -- |
| -- |
Studio Experience: Drawing your home -- Career profile: Shiyao Liu -- |
| 505 00 - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
THE FIGURE -- |
| Title |
A brief history of figure drawing -- |
| -- |
Purposes of figure drawing -- |
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Ideal figures -- |
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Drawing on history: The classical ideal -- |
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Figure anatomy -- |
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How to: Draw with continuous line -- |
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Drawing for design: Medical illustration -- |
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The artist and the model -- |
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How to: Draw a sighted figure -- |
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Drawing becomes: Michelangelo's study for the Libyan Sibyl -- |
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Foreshortening the figure -- |
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Art fundamentals: Repetition and intensity -- |
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Figure poses and movement -- |
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Drawing on history: Abraham Walkowitz and Isadora Duncan -- |
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The figure in contour and value -- |
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Drawing on history: Allan Houser's ghost dancers -- |
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Expression and the figure -- |
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Nontraditional approaches: Heather Hansen -- |
| -- |
Studio experience: Drawing on the canon -- Career profile: Karla Monterrosa -- |
| 505 00 - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
PORTRAITS -- |
| Title |
A brief history of drawing portraits -- |
| -- |
Portraits as documents -- |
| -- |
Portraits as illustration and exploration -- |
| -- |
Drawing becomes: Making an Ukiyo-e woodblock print -- |
| -- |
Working with a model -- |
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The portrait poses -- |
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Art fundamentals: Contrast (principle of design) -- |
| -- |
Anatomy and the portrait -- |
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Drawing for design: One-sheet movie poster -- |
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Contour portraits -- |
| -- |
How to: Create lighting effects -- |
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Focus on the features -- |
| -- |
How to: Draw facial features -- |
| -- |
Drawing on history: Hockney's camera obscura -- |
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Relating the features -- |
| -- |
How to: Create a Trois crayons portrait -- |
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Expressions -- |
| -- |
Nontraditional approaches: Marlene Dumas -- |
| -- |
Studio Experience: Grounded charcoal portrait -- Career profile: Robert Liberace -- |
| 505 00 - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
DRAWING ANIMALS -- |
| Title |
A brief history of drawing animals -- |
| -- |
Basic shapes and animal anatomy -- |
| -- |
Drawing becomes: Henry Moore's sheep -- |
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Observing animals -- |
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How to: Create an animal value study -- |
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Drawing for design: Beatrix Potter's animals -- |
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Exotic animals -- |
| -- |
Drawing animals in motion -- |
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Drawing on history: Muybridges's motion studies -- |
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Art fundamentals: Visual or implied texture -- |
| -- |
Animals with a message -- |
| -- |
How to: Use drawing with digital imaging -- |
| -- |
Nontraditional approaches: Kim Nam-Pyo -- |
| -- |
Studio experience: A hybrid animal -- Career profile: David Sibley -- |
| 505 00 - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
MAKING MEANING THROUGH DRAWING -- |
| Title |
A brief history of making meaning through drawing -- |
| -- |
The artistic process -- |
| -- |
How to: Create a series -- |
| -- |
Art fundamentals: Rhythm and movement (Principle of Design) using texture -- |
| -- |
Exploring big ideas -- What is a big idea? -- Personal connections -- |
| -- |
How to: Use mark-making as visual language -- |
| -- |
Drawing for design: Data made meaningful -- |
| -- |
Personal symbolism -- |
| -- |
Drawing becomes: Aaron Douglas illustrations -- |
| -- |
Abstract and nonobjective art -- |
| -- |
Drawing on history: Conceptual drawing -- |
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Nontraditional approaches: Hew Locke -- |
| -- |
Studio experience: Visual conversation -- Career profile: Lee Bontecou -- |
| 505 00 - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
IMAGINARY WORLDS -- |
| Title |
A brief history of drawing imaginary worlds -- |
| -- |
Creating imaginary worlds -- |
| -- |
Seeing the real world imaginatively -- |
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Drawing on history: The lunar lander -- |
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The tools of the imagination -- |
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Art fundamentals: Absurdity -- |
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Creating a narrative -- |
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Drawing for design: Video game concept art -- |
| -- |
Cartoons and comics -- |
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Superheroes -- |
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Monsters -- |
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Drawing on history: Monster myths -- |
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Drawing becomes: Creature creation -- |
| -- |
How to: Work with markers -- |
| -- |
Nontraditional approaches: Phlegm -- |
| -- |
Studio experience: Making a storyboard -- Career profile: Sean Andrew Murray. |
| 520 0# - SUMMARY, ETC. |
|---|
| Summary, etc. |
By emphasizing both technique and creativity, Discovering Drawing highlights the importance of discipline and self-expression. This comprehensive guide to drawing subjects, techniques, and skills addresses the unique demands of contemporary classrooms. |
| Assigning source |
Back book flap |
| 530 ## - COPYRIGHT INFORMATION: |
|---|
| COPYRIGHT INFORMATION |
COPYRIGHT NOT covered - Click this link to request copyright permission: |
| Uniform Resource Identifier |
<a href="b">b</a> |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
Drawing |
| General subdivision |
Technique. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
|---|
| Topical term or geographic name entry element |
Drawing |
| General subdivision |
Study and teaching. |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) |
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| print -BUDGET LINE 10-1411-7022-? |
0 |
| LOCATION |
CIRCULATING COLLECTION |
| Koha item type |
Circulating Book (checkout times vary with patron status) |
| Classification part |
NC |
| 948 ## - LOCAL PROCESSING INFORMATION (OCLC); SERIES PART DESIGNATOR (RLIN) |
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| h (OCLC) |
HELD BY SBI - 10 OTHER HOLDINGS |
| 902 ## - LOCAL DATA ELEMENT B, LDB (RLIN) |
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| a |
1 |
| b |
Cynthia Snell |
| c |
1 |
| d |
Cynthia Snell |