| 000 | 08286cam a2200445 i 4500 | ||
|---|---|---|---|
| 001 | on1043063786 | ||
| 003 | OCoLC | ||
| 005 | 20240726104612.0 | ||
| 008 | 170510s2018 maua b 001 0 eng | ||
| 010 | _a2017942179 | ||
| 020 |
_a9781615286683 _q(((hardback)ardback)) |
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| 040 |
_aDLC _beng _erda _cDLC _dOCLCO _dOCLCF _dOCLCO |
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| 042 | _apcc | ||
| 050 | 0 | 0 |
_aNC730 _b.D573 2018 |
| 100 | 1 |
_aMahan-Cox, Sallye, _e1 |
|
| 245 | 1 | 0 | _aDiscovering drawing /Sallye Mahan-Cox. |
| 250 | _aThird edition. | ||
| 260 |
_aWorcester, Massachusetts : _bDavis Publications, Incorporated, _c(c)2018. |
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| 300 |
_axiii, 324 pages : _billustrations (chiefly color) ; _c29 cm. |
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| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_aunmediated _bn _2rdamedia |
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| 338 |
_avolume _bnc _2rdacarrier |
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| 490 | 0 | _aDavis Studio Series | |
| 505 | 0 | 0 |
_aWHAT IS DRAWING? -- _tA brief history of drawing -- _tThe purposes of drawing -- _tDrawing for design: Michael Graves tea kettle -- _tDrawing becomes: Roy Lichtenstein sculpture -- _tCriticism and the critical process -- _tArt fundamentals: Line in mark-making -- _tDrawing media and materials -- _tHow to: Create an oil pastel -- _tSketchbooks -- _t`Drawing on history: Delacroix's Moroccan sketchbooks -- _tFinding inspiration -- _tOriginality -- _tStudy drawings -- _tNontraditional approaches: Sonja Hinrichsen -- _tStudio experience: Study drawing and original drawing -- Career Profile: Mohamed Zakariya -- |
| 505 | 0 | 0 |
_aTHE BASICS -- _tA brief history of drawing elements and principles -- _tThe formal language of art: The elements of art -- The principles of design -- _tDrawing for design: Bauhaus weaving workshop -- _tArt fundamentals: Color theory -- _tDrawing on history: Goethe's theory of color -- _tObservational drawing -- _tLine drawing -- _tHow to: Draw a tree from observation -- _tBasic shapes -- _tFraming and sighting -- _tHow to: Use sighting -- _tOrganizing a composition -- _tDrawing becomes: Spoonbridge and Cherry -- _tNontraditional approaches: Drawbots -- _tStudio experience: Conducting a visual investigation -- Career profile: Nancy Burns -- |
| 505 | 0 | 0 |
_aSTILL LIFE -- _tA brief history of drawing still life -- _tOrganizing a still life -- _tDefining forms with value -- _tHow to: Draw a still life in contour line -- _tDrawing for design: an iconic chair -- _tDefining forms in space -- _tSingle objects as still life -- _tDrawing on history: The index of American design -- _tHow to: Draw a paper bag -- _tCollage -- _tDrawing on history: Papier colle -- _tStill life as metaphor -- _tDrapery -- _tHow to: Draw drapery folds, shadows, and highlights -- _tDrawing becomes: Draper study for a portrait -- _tSpace in still life -- _tArt fundamentals: Space (element of art) -- _tNontraditional approaches: Katharine Morling -- _tStudio experience: Draped corner still life -- Career profile: Sean Huxter -- |
| 505 | 0 | 0 |
_aDRAWING LANDSCAPES -- _tA brief history of drawing landscapes -- _tSeeing and organizing landscapes -- _tDrawing on history: Thomas Moran and the American landscape -- _tOrganizing space with grounds -- _tHow to: Organize a landscape -- _tAlternate ways of seeing landscape -- _tDrawing becomes: Kimono art of Itchiku Kubota -- _tThe elements of landscape -- _tArt fundamentals: Negative space -- _tHow to: Develop a night landscape -- _tCreating space with Aerial perspective -- _tDrawing for design: The high line -- _tEye levels -- _tNontraditional approaches: Monika Grzymala -- _tStudio experience: Drawing a landscape -- Career profile: Derrick Wolbaum -- |
| 505 | 0 | 0 |
_aTHE BUILT ENVIRONMENT -- _tA brief history of drawing the built environment -- _tOrganizing constructions in space --Linear perspective -- _tHow to: Draw a city street in one-point perspective -- _tDrawing on history: Kevin Lynch and the image of the city -- _tPoint of view and the built environment -- _tDrawing for design: The Holland prize -- _tHow to: Draw with ink and wash -- _tArt fundamentals: Intentionality and perspective -- _tMore ways to look at the built environment -- _tHow to: Create a charcoal wash -- _tExpressive uses of the built environment -- _tDrawing on history: Piranesi's dark visions -- _tDrawing becomes: Christo and Jeanne-Claude's wrapped Reichstag -- _tNontraditional approaches; Terry Winters -- _tStudio Experience: Drawing your home -- Career profile: Shiyao Liu -- |
| 505 | 0 | 0 |
_aTHE FIGURE -- _tA brief history of figure drawing -- _tPurposes of figure drawing -- _tIdeal figures -- _tDrawing on history: The classical ideal -- _tFigure anatomy -- _tHow to: Draw with continuous line -- _tDrawing for design: Medical illustration -- _tThe artist and the model -- _tHow to: Draw a sighted figure -- _tDrawing becomes: Michelangelo's study for the Libyan Sibyl -- _tForeshortening the figure -- _tArt fundamentals: Repetition and intensity -- _tFigure poses and movement -- _tDrawing on history: Abraham Walkowitz and Isadora Duncan -- _tThe figure in contour and value -- _tDrawing on history: Allan Houser's ghost dancers -- _tExpression and the figure -- _tNontraditional approaches: Heather Hansen -- _tStudio experience: Drawing on the canon -- Career profile: Karla Monterrosa -- |
| 505 | 0 | 0 |
_aPORTRAITS -- _tA brief history of drawing portraits -- _tPortraits as documents -- _tPortraits as illustration and exploration -- _tDrawing becomes: Making an Ukiyo-e woodblock print -- _tWorking with a model -- _tThe portrait poses -- _tArt fundamentals: Contrast (principle of design) -- _tAnatomy and the portrait -- _tDrawing for design: One-sheet movie poster -- _tContour portraits -- _tHow to: Create lighting effects -- _tFocus on the features -- _tHow to: Draw facial features -- _tDrawing on history: Hockney's camera obscura -- _tRelating the features -- _tHow to: Create a Trois crayons portrait -- _tExpressions -- _tNontraditional approaches: Marlene Dumas -- _tStudio Experience: Grounded charcoal portrait -- Career profile: Robert Liberace -- |
| 505 | 0 | 0 |
_aDRAWING ANIMALS -- _tA brief history of drawing animals -- _tBasic shapes and animal anatomy -- _tDrawing becomes: Henry Moore's sheep -- _tObserving animals -- _tHow to: Create an animal value study -- _tDrawing for design: Beatrix Potter's animals -- _tExotic animals -- _tDrawing animals in motion -- _tDrawing on history: Muybridges's motion studies -- _tArt fundamentals: Visual or implied texture -- _tAnimals with a message -- _tHow to: Use drawing with digital imaging -- _tNontraditional approaches: Kim Nam-Pyo -- _tStudio experience: A hybrid animal -- Career profile: David Sibley -- |
| 505 | 0 | 0 |
_aMAKING MEANING THROUGH DRAWING -- _tA brief history of making meaning through drawing -- _tThe artistic process -- _tHow to: Create a series -- _tArt fundamentals: Rhythm and movement (Principle of Design) using texture -- _tExploring big ideas -- What is a big idea? -- Personal connections -- _tHow to: Use mark-making as visual language -- _tDrawing for design: Data made meaningful -- _tPersonal symbolism -- _tDrawing becomes: Aaron Douglas illustrations -- _tAbstract and nonobjective art -- _tDrawing on history: Conceptual drawing -- _tNontraditional approaches: Hew Locke -- _tStudio experience: Visual conversation -- Career profile: Lee Bontecou -- |
| 505 | 0 | 0 |
_aIMAGINARY WORLDS -- _tA brief history of drawing imaginary worlds -- _tCreating imaginary worlds -- _tSeeing the real world imaginatively -- _tDrawing on history: The lunar lander -- _tThe tools of the imagination -- _tArt fundamentals: Absurdity -- _tCreating a narrative -- _tDrawing for design: Video game concept art -- _tCartoons and comics -- _tSuperheroes -- _tMonsters -- _tDrawing on history: Monster myths -- _tDrawing becomes: Creature creation -- _tHow to: Work with markers -- _tNontraditional approaches: Phlegm -- _tStudio experience: Making a storyboard -- Career profile: Sean Andrew Murray. |
| 520 | 0 |
_aBy 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. _cBack book flap |
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| 530 |
_a2 _ub |
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| 650 | 0 |
_aDrawing _xTechnique. |
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| 650 | 0 |
_aDrawing _xStudy and teaching. |
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| 942 |
_n0 _QCC _cBK _hNC |
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| 948 | _hHELD BY SBI - 10 OTHER HOLDINGS | ||
| 999 |
_c72527 _d72527 |
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| 902 |
_a1 _bCynthia Snell _c1 _dCynthia Snell |
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