Drawing Essentials: A Complete Guide to Drawing by Rockman (English) Paperback B

Description: Drawing Essentials by Rockman "Ideal for introductory studio art courses in drawing, Drawing Essentials: A Guide to Drawing from Observation, Fourth Edition, explains clearly and in depth the essentials of depicting form and space on a two-dimensional surface, focusing on the cultivation of observational skills, increased sensitivity, critical thinking, technical refinement, and knowledge of materials"-- FORMAT Paperback LANGUAGE English CONDITION Brand New Publisher Description With unparalleled clarity, Drawing Essentials: A Complete Guide to Drawing, Fourth Edition, explains in depth the essentials of depicting form and space on a two-dimensional surface, focusing on the cultivation of observational skills, increased sensitivity, critical thinking, technical refinement, and knowledge of materials. This richly illustrated text is appropriate for use in all levels of drawing classes, from introductory to advanced levels, as wellas for figure and life drawing classes. Author Biography Deborah Rockman is an artist, author, and Emeritus Faculty at Kendall College of Art and Design of Ferris State University. She served as Chair of the Drawing and Printmaking Programs for a number of years. In addition to Drawing Essentials, she is also the author of The Art of Teaching Art (OUP, 2000). Table of Contents 1. GETTING STARTED: DRAWING WITH LINE AND THE PROCESS OF SIGHTINGLine Variation and SensitivityWorking from General to SpecificThe Medium and SurfaceWhat is Meant by "Sensitive" Line?Achieving Line Variation and Line SensitivityLight and Dark or Light SourceWeight and Tension"Speed" of Contours and EdgesHigh and Low Points, or Dips and Swells, in ContoursStrength or Force of an EdgeSpatial SequenceDegrees of ImportanceCombining Different MethodsDifferent Kinds and Functions of LineGesture LineContour LineModified Contour LineCross-Contour LineClassical LineAnatomical LineOrganizational LineStructural LineMechanical LineAngular LineDecorative LineCalligraphic LineBroken or Implied LineAltered LineAgitated or Angry LineProcess or Searching LineTonal or Dimensional LineStraight-Line ConstructionPlanar ConstructionSighting and the Use of a Sighting StickWhy Use Sighting?Guidelines for SightingApplications of SightingFirst Application: Sighting for Relative ProportionsSecond Application: Sighting for Angles and Axis LinesThird Application: Sighting for Vertical and/or Horizonal AlignmentsTransferring Sighting Observations to a Drawing Surface2. THE PRINCIPLES OF COMPOSITIONTheory Versus ApplicationReview of Some Simple DefinitionsCompositionElements (formal elements)Positive SpaceNegative SpaceFormatVisual Principles of CompositionBalanceHarmonyVarietyEmphasis/DominationMovement/Directional ForcesProportionEconomyUnityVariable Compositional Elements to ConsiderSizePositionDirectionNumberDensityIntervalProximity or NearnessSimilarityUsing a Viewfinder: What Does It Do for You?General Guidelines Concerning CompositionPay Attention to Both Positive and Negative SpaceConsider How the Forms Occupy the FormatWatch General Placement of the FormsConsider the Kind of Space You Wish to EstablishConsider Viewpoint in Your CompositionConsider Options for the Development of Negative Space or EnvironmentThumbnail Studies as a Method for Exploring Composition3. DEVELOPING VALUE STRUCTURE AND THE ILLUSION OF VOLUMEWorking With Light and ShadowA General-to-Specific Approach to Building Value StructureImagine Building a HouseUsing Value to Establish an Effect or a MoodChiaroscuroTenebrismPlastic ValueLow-Key ValueMiddle-Key ValueHigh-Key ValueValue and TextureSome Different Kinds of Texture--Actual Texture--Simulated Texture--Uniform Texture--Invented Texture--FrottageFour Things to Look for When Identifying Value StructureThe Light SourceThe Shape of Areas of Shadow and LightVariations of Value Within Larger Shapes of ValueEdge Quality of Shapes of ValueVarious Methods for Applying ValueContinuous ToneHatching--Parallel Hatching--Contour Hatching--Cross-HatchingStipplingMark MakingSubtractive DrawingAn Alternative Subtractive ProcessToned PaperExercises for Promoting a General-to-Specific ApproachProjecting an Inverted, Out-of-Focus Image as a Drawing ReferenceA Sustained Approach to Gesture DrawingControlling Some Variables of Value Structure4. THE ILLUSION OF SPACE AND DEPTH ON A FLAT SURFACEMethods for Indicating Space and DepthConsider the VariablesSizeBaseline or PositionOverlappingSharp and Diminishing DetailValue ContrastConverging ParallelsLinear PerspectiveDifferent Kinds of SpaceDecorative SpaceShallow SpacePlastic SpaceDeep or Infinite SpaceAmbiguous SpaceThe Technique of Scaling to Determine Accurate Size RelationshipsEstablishing Scale SuccessfullyScale or Unit of MeasureHeight of Eye Level or Horizon LineStation PointThe Process of ScalingGeneral Guidelines for ScalingCreating an Effective Still LifeWhat Kinds of Objects Should be Included?Regular FormsIrregular or Natural FormsCubic FormsAdditional Considerations for Still LifesThe Meaning of Things You Include in a DrawingUsing Photographic References5. SPATIAL THINKING AND VISUALIZATION: ESSENTIAL PRINCIPLES OF PERSPECTIVE DRAWINGAn Introduction to PerspectiveWhat Is Perspective?Different Types of PerspectiveTechnical or Mechanical PerspectiveFreehand PerspectiveLinear PerspectiveAtmospheric PerspectiveBasic Principles of Linear PerspectivePerspective and SightingLimitations of Linear PerspectiveRecommended Sequencing for Maximum ComprehensionSuggestions for Effective Perspective DrawingDetermining the Variable Elements of Perspective Drawing--Scale--Eye Level (EL)--Ground Line (GL)--Station Point (SP)--Central Vanishing Point (CVP) and Special Vanishing Point (SVP) Left or Right--Vanishing Point Left (VPL) and Vanishing Point Right (VPR)--Key Cube or "Mother Cube"--Keeping Things SimplePerspective Materials ListOptional ItemsThe Terminology of PerspectivePrimary Working TerminologyOne-Point Perspective (1-PT)Two-Point Perspective/Oblique Perspective (2-PT)Eye Level (EL)Horizon Line (HL)ScaleStation Point (SP)Picture Plane (PP)Ground Plane (GP)Ground Line (GL)Cone of Vision (COV)Vanishing Point (VP)Central Vanishing Point (CVP)Special Vanishing Point (SVP)Auxiliary Vanishing Point (AVP)Vanishing Point Three (VP3)Measuring Line (ML)Diagonal Measuring Line (DML)Related TerminologyForeshorteningConvergencePosition or Base LineOverlapDiminutionAdditional Useful TerminologyConvergencePerpendicularParallelDiagonalVerticalHorizontalPlaneSquareRectangleCircleEllipseAxisCubePyramidCylinderConeSphereVesselRight AngleAcute AngleObliqueDiameterCircumferenceVertexTangent PointPerspectives and CubesConstructing a Cube in One-Point PerspectiveConstructing a Cube in Two-Point Perspective Based on Estimation of Cube Depth in Relation to Cube HeightEstimating Cube Depth in Two-Point PerspectiveRespecting the Cone of VisionProximity to Vanishing Points Left and Right and Proximity to the Central Vanishing PointThe Leading Edge of a CubeUsing Perspective GridsConstructing a Gridded Ground Plane in One-Point PerspectiveConstructing a Gridded Ground Plane in Two-Point PerspectiveTo Continue Using the Measuring Line MethodTo Continue Using the Fencepost MethodTo Continue Using the "Converging Diagonals" MethodIncreasing Complexity in the Perspective EnvironmentMultiple or Sliding Vanishing PointsCube MultiplicationThe Fencepost Method for Cube MultiplicationThe Measuring Line Method for Cube MultiplicationDistortion in Cube MultiplicationCube DivisionConstructing Ellipses in One-Point and Two-Point PerspectiveThe Eight-Point Tangent System for Ellipse ConstructionMajor and Minor Axes, Distortion, and Fullness of Ellipses6. ESSENTIAL PRINCIPLES FOR DRAWING THE HUMAN FIGUREWhy Study the Human Figure?Classroom Etiquette When Drawing from a ModelThe Process of Sighting in Relation to the Human BodySighting the Human Body for Relative ProportionsSighting the Human Body for Vertical and Horizontal Alignments Between Two or More Landmarks or Reference PointsComparative Proportions in the Male and Female FigureFemaleMaleGesture Drawing or Rapid Contour DrawingSeeing Is the KeyUsing Axis LinesKeeping It SimpleSetting the PaceWorking from the Inside OutEnhancing the Illusion of Volume and Space in the Human FormLine Variation in Figure DrawingScaling Techniques in Figure DrawingA General-to-Specific Approach to Form and Value in Figure DrawingAn Introduction to PortraitureCommon ErrorsGeneral Guidelines for Locating Facial Features and Other LandmarksCentral AxisLength of the NoseCenterline of the MouthDistance Between the Eyes in a Frontal ViewEdges or Wings of the NostrilsOutside Corners of the MouthTop of the EarsBottom of the Ears, or the Bottom of the Ear LobesWidth of the NeckThree-Quarter ViewThe Features and Other Significant Aspects of PortraitureThe EyesThe NoseThe MouthThe EarsThe NeckThe ShouldersThe HairValue StructureAn Alternative Viewpoint in PortraitureMapping the Figure in SpaceDrawing the Figure in an Observed EnvironmentUsing Straight-Line ConstructionCreating Visual Paths of Movement7. THE HUMAN FIGURE AND ARTISTIC ANATOMYArtistic Anatomy Versus Medical AnatomyAnatomy Reveals ItselfMajor Bones of the Human Skeletal StructureSkull/CraniumList of 15 Individual BonesTorsoList of 18 Individual BonesLeg and FootList of 9 Individual BonesArm and HandList of 6 Individual BonesBony and Other Landmarks in the FigureList of 29 Bony and Other Landmarks in the FigureHelpful Information about the Human Skeletal StructureThe SkullAdditional Information About the SkullThe Spinal Column (Back Bone)Additional Information About the Bones of the Spinal ColumnThe Rib CageAdditional Information About the Bones of the Rib CageThe Shoulder GirdleAdditional Information About the Shoulder GirdleThe Pelvis or Ilium (Hip Bone)Additional Information About the Pelvis/IliumThe LegAdditional Information About the LegThe Foot and AnkleAdditional Information About the Foot and AnkleThe Arm and WristAdditional Information About the Arm and WristThe Hand and FingersAdditional Information About the Hand and FingersSuperficial Muscles of the Human FigureFace and HeadList of Individual Muscles and Their FunctionNeckList of Individual Muscles and Their FunctionTorsoList of Individual Muscles and Their FunctionArm and HandList of Individual Muscles and Their FunctionUpper LegList of Individual Muscles and Their FunctionLower Leg and FootList of Individual Muscles and Their FunctionHelpful Anatomical TerminologyList of Relevant Anatomical TermsList and Definition of 22 Relevant Anatomical Terms8. COLOR THEORY AND APPLICATIONUnderstanding ColorColor TerminologyColorHueSpectrumObjective Color/Local ColorSubjective Color (also known as Expressive Color)PigmentsNeutralsNeutralized ColorColor ValueColor IntensityColor TemperaturePrimary ColorsSecondary ColorsIntermediate or Tertiary ColorsComplementary ColorsSplit ComplementAnalogous Colors or Adjacent ColorsTinted ColorToned ColorShaded ColorAdditive ColorSubtractive ColorChromaticAchromaticMonochromatic or MonochromeColor ChordColor DyadColor TriadColor TetradThe Seven Color ContrastsContrast of HueContrast of ValueContrast of TemperatureContrast of IntensityComplementary ContrastSimultaneous ContrastContrast of ExtensionColor Harmony and Color ChordsThe Spatial and Volumetric Effects of ColorValue and ColorTemperature and ColorIntensity and ColorVolume and ColorVolume and Color ValueVolume and Color TemperatureVolume and Color IntensityVolume and Color TextureHints for Observing and Recording ColorValue in a Color DrawingIntensity in a Color DrawingComplements in a Color DrawingDrawing with Color MediaColored PencilsStudent-Grade Colored PencilsArtist-Grade Colored PencilsBuilding Your Colored Pencil CollectionColored Pencil AccessoriesStorage and Transport ContainersPencil SharpenersPencil ExtendersErasersRazor Blades and Adhesive TapesAdvantages and Disadvantages of Working with Colored PencilsColored Pencil PapersColored and Toned PapersWhite and Neutral PapersColored Pencil TechniquesTextured and Textureless Colored Pencil DrawingsBlending and BurnishingValue Structure and Color ShiftsTinting Your PaperWorking from Hard to Soft or Lean to FatResolving Some Limitations of Colored PencilPastelsStudent-Grade PastelsArtist-Grade PastelsHard Artist-Grade PastelsSoft Artist-Grade PastelsPastel PencilsPastel AccessoriesStorage and Transport ContainersBlendersFixativesErasersRazor Blades and Sandpaper PadsAdhesive TapeMahl SticksSolvent AlcoholAdvantages and Disadvantages of Working with PastelsPastel Papers and SubstratesColored and Toned Papers and SubstratesPreparing Your Own SurfacePastel TechniquesSide StrokingHatching and Cross-HatchingBlendingScumblingFeatheringWorking from Hard to Soft, or Lean to FatBasic Working ProceduresStarting Your DrawingBlocking in Base ColorsDeveloping Your Drawing FurtherUsing Color Shifts to Describe Value ShiftsBlending by Rubbing Sparingly and CautiouslyOil PastelsStudent-Grade Oil PastelsArtist-Grade Oil PastelsBuilding Your Oil Pastel CollectionOil Pastel AccessoriesStorage and Transport ContainersBrushes and SolventsPalette Knives and Razor BladesBlending ToolsGesso and Other Surface PrimersExtendersFixativesAdvantages and Disadvantages of Working with Oil PastelsOil Pastel Papers and SubstratesPrimed Papers and SubstratesPotential Problems When Working on Raw PaperPreparing Your Own SurfaceOil Pastel TechniquesSide StrokingHatching and Cross-HatchingBlendingScumblingFeatheringWashesWorking from Hard to Soft, or Lean to FatBasic Working ProceduresStarting Your DrawingBlocking in Base ColorsDeveloping Your Drawing FurtherUsing Color Shifts to Describe Value ShiftsBlending with Consideration for Color TheorySome Final Thoughts About Working With Color9. DEVELOPING IDEAS, RESOLVING PROBLEMS, AND EVALUATING RESULTSIdeation: Generating IdeasImaginative Thinking and the BrainImagination, Creativity, and BrainstormingThe Process of BrainstormingCollage as a Tool for the Exploration of IdeasWhat Is Collage?The History and Origins of CollageCollage and Related ProcessesWhy Collage--A Tool for Exploration of Ideas and MaterialsResources for CollageSubstrates or Support SurfacesAdhesivesDiagnosing Problems in Your WorkInaccurate Proportional, Scale, or Shape RelationshipsMultiple Perspective Eye LevelsForeshortening Inaccuracies or a Lack of ForeshorteningFlat and Restricted Line WorkDetails or Specifics at the Expense of the General Underlying FormScaling Inaccuracies in Relation to Perspective PrinciplesLack of Volume or Timid Value Structure in Three-Dimensional FormsOverly Generalized DrawingSubstituting Recipes or Formulas for Careful ObservationUnintentionally Ambiguous SpaceRigid or Pristine Drawings Lacking a Sense of ProcessDisregard for or Poor CompositionIntentions Versus ResultsDiscovering DisparityDescriptive FeedbackInterpretive FeedbackWritten Feedback as an Alternative to Spoken FeedbackThe Importance of CritiquesGroup CritiquesIndividual CritiquesKey Questions for Critiquing WorkQuestions Regarding CompositionQuestions Regarding DrawingQuestions Regarding Figure DrawingQuestions Regarding PerspectiveQuestions Regarding Color10. DRAWING MATERIALS AND PROCESSESMedia and Materials for DrawingTraditional and Nontraditional Drawing Surfaces and SubstratesTraditional Paper--Texture or Finish--Sizing--Weight--Acidity--Ply--Size or DimensionPaper Recommendations--White Papers and Neutral-Tinted Papers--Charcoal and Pastel Papers--White and ColorNontraditional Surfaces and Substrates for DrawingTraditional and Nontraditional Drawing MediaDry Media--Black/White and Monochromatic--Drawing Pencils or Graphite Pencils--Graphite Sticks--Graphite Powder--Silverpoint--Charcoal Pencils--Carbon Pencils--Vine Charcoal or Willow Charcoal--Compressed Charcoal--Powdered Charcoal--Conte Crayons or Drawing Crayons--Conte PencilsDry Media--Color--Colored Pencils--Colored Pencil Sticks--Soft Pastels--Pastel Pencils--Oil PastelsWet Media--Black/White and Color--Ink--Ink Washes--Ink PensNontraditional Drawing MediaAdditional Materials for Drawing and Related ProcessesTransfer Techniques Combined with DrawingPhotocopy and Laser Print TransfersMaterials NeededImages for TransferSolvents for Transferring ImagesProcedure for Transferring ImagesOther Materials Used in the Transfer ProcessAdditional ConsiderationsAcrylic Medium TransfersMaterials NeededProcedure for Transferring ImagesLazertran TransfersMaterials NeededProcedure for Transferring Images to Nonabsorbent, Shiny SurfacesProcedure for Transferring Images to Paper or CanvasProcedure for Transferring Images to a Variety of Porous Surfaces Using TurpentineAPPENDIX I: DIGITAL ART AND DRAWINGAPPENDIX II: CONTEMPORARY ART: A GALLERY OF DRAWINGSBlack and White ImagesDavid KohanEmily MayoArmin MersmannBeili LiuEgon SchieleRobert SchultzDragana CrnjakSeth MarosokWilliam KentridgeShelby ShadwellColor ImagesAneka IngoldDavid BailinIan IngramHenry DargerJulia RandallJulie MehretuNathan HeuerMichael BorremansHuaming WangWhitfield LovellJuan PerdigueroZaria FormanGlossary of Art TermsBibliographyIndex Review "Wow! Drawing Essentials covers almost every aspect of drawing thoroughly with terms that are cleverly defined and intelligently described. What I admire most is the relevance and the importance of student work within this book."--Christian Palencar, Kent State University"Rockman really breaks down the material to a basic level that anyone can understand. All of my students who are assigned this text love it and keep it, since it is such a great resource in the drawing world."--John Wagoner, Bossier Parrish Community College"Drawing Essentials is a great text. The sequence builds to introduce and develop the skills necessary to teach or learn basic drawing. The images are informative and of good quality, and the text is understandable and clear."--Barbara Gruber, Maryland Institute College of Art"The book is comprehensive, accessible yet intelligent, and rigorous. It enriches and fills in blanks that may not directly be communicated by our instructors in the studio. This academic approach to art-making can really be instructive to the attentive student."--Rachel Black, University of North Texas Promotional A clear and richly illustrated text for the full drawing sequence Long Description With unparalleled clarity, Drawing Essentials: A Complete Guide to Drawing, Fourth Edition, explains in depth the essentials of depicting form and space on a two-dimensional surface, focusing on the cultivation of observational skills, increased sensitivity, critical thinking, technical refinement, and knowledge of materials. This richly illustrated text is appropriate for use in all levels of drawing classes, from introductory to advanced levels, as wellas for figure and life drawing classes. Review Text "Wow! Drawing Essentials covers almost every aspect of drawing thoroughly with terms that are cleverly defined and intelligently described. What I admire most is the relevance and the importance of student work within this book."--Christian Palencar, Kent State University"Rockman really breaks down the material to a basic level that anyone can understand. All of my students who are assigned this text love it and keep it, since it is such a great resource in the drawing world."--John Wagoner, Bossier Parrish Community College"Drawing Essentials is a great text. The sequence builds to introduce and develop the skills necessary to teach or learn basic drawing. The images are informative and of good quality, and the text is understandable and clear."--Barbara Gruber, Maryland Institute College of Art"The book is comprehensive, accessible yet intelligent, and rigorous. It enriches and fills in blanks that may not directly be communicated by our instructors in the studio. This academic approach to art-making can really be instructive to the attentive student."--Rachel Black, University of North Texas Review Quote "Wow! Drawing Essentials covers almost every aspect of drawing thoroughly with terms that are cleverly defined and intelligently described. What I admire most is the relevance and the importance of student work within this book."--Christian Palencar, Kent State University "Rockman really breaks down the material to a basic level that anyone can understand. All of my students who are assigned this text love it and keep it, since it is such a great resource in the drawing world."--John Wagoner, Bossier Parrish Community College "Drawing Essentials is a great text. The sequence builds to introduce and develop the skills necessary to teach or learn basic drawing. The images are informative and of good quality, and the text is understandable and clear."--Barbara Gruber, Maryland Institute College of Art "The book is comprehensive, accessible yet intelligent, and rigorous. The text enriches and fills in blanks that may not directly be communicated by our instructors in the studio. This academic approach to art-making can really be instructive to the attentive student."--Rachel Black, University of North Texas Feature Selling point: Written by an award-winning artist with thirty-seven years of teaching experienceSelling point: Provides full coverage of the three categories of foundation-level drawing: basic drawing (non-subject specific), perspective, and figure drawingSelling point: Focuses on the cultivation of observational skills, increased sensitivity, critical thinking, technical refinement, and knowledge of materialsSelling point: Clearly explains difficult basic concepts and methods, including the process of sighting; scaling techniques; creating meaningful line variation; methods of tonal development; creating effective still lifes, human figures, and portraits; perspective systems; using photos as reference; and brainstorming to generate ideasSelling point: Provides helpful pointers on both group and individual critiquesSelling point: Offers practical advice about traditional and nontraditional media and surfaces as well as alternative processes that can be combined with drawingSelling point: Includes an appendix of more than one hundred lively and diverse illustrations from twenty-two contemporary artists, a bibliography, and a list of helpful supplementary reading New Feature 1. GETTING STARTED: DRAWING WITH LINE AND THE PROCESS OF SIGHTING Line Variation and Sensitivity Working from General to Specific The Medium and Surface What is Meant by "Sensitive" Line? Achieving Line Variation and Line Sensitivity Light and Dark or Light Source Weight and Tension "Speed" of Contours and Edges High and Low Points, or Dips and Swells, in Contours Strength or Force of an Edge Spatial Sequence Degrees of Importance Combining Different Methods Different Kinds and Functions of Line Gesture Line Contour Line Modified Contour Line Cross-Contour Line Classical Line Anatomical Line Organizational Line Structural Line Mechanical Line Angular Line Decorative Line Calligraphic Line Broken or Implied Line Altered Line Agitated or Angry Line Process or Searching Line Tonal or Dimensional Line Straight-Line Construction Planar Construction Sighting and the Use of a Sighting Stick Why Use Sighting? Guidelines for Sighting Applications of Sighting First Application: Sighting for Relative Proportions Second Application: Sighting for Angles and Axis Lines Third Application: Sighting for Vertical and/or Horizonal Alignments Transferring Sighting Observations to a Drawing Surface 2. THE PRINCIPLES OF COMPOSITION Theory Versus Application Review of Some Simple Definitions Composition Elements (formal elements) Positive Space Negative Space Format Visual Principles of Composition Balance Harmony Variety Emphasis/Domination Movement/Directional Forces Proportion Economy Unity Variable Compositional Elements to Consider Size Position Direction Number Density Interval Proximity or Nearness Similarity Using a Viewfinder: What Does It Do for You? General Guidelines Concerning Composition Pay Attention to Both Positive and Negative Space Consider How the Forms Occupy the Format Watch General Placement of the Forms Consider the Kind of Space You Wish to Establish Consider Viewpoint in Your Composition Consider Options for the Development of Negative Space or Environment Thumbnail Studies as a Method for Exploring Composition 3. DEVELOPING VALUE STRUCTURE AND THE ILLUSION OF VOLUME Working With Light and Shadow A General-to-Specific Approach to Building Value Structure Imagine Building a House Using Value to Establish an Effect or a Mood Chiaroscuro Tenebrism Plastic Value Low-Key Value Middle-Key Value High-Key Value Value and Texture Some Different Kinds of Texture --Actual Texture --Simulated Texture --Uniform Texture --Invented Texture --Frottage Four Things to Look for When Identifying Value Structure The Light Source The Shape of Areas of Shadow and Light Variations of Value Within Larger Shapes of Value Edge Quality of Shapes of Value Various Methods for Applying Value Continuous Tone Hatching --Parallel Hatching --Contour Hatching --Cross-Hatching Stippling Mark Making Subtractive Drawing An Alternative Subtractive Process Toned Paper Exercises for Promoting a General-to-Specific Approach Projecting an Inverted, Out-of-Focus Image as a Drawing Reference A Sustained Approach to Gesture Drawing Controlling Some Variables of Value Structure 4. THE ILLUSION OF SPACE AND DEPTH ON A FLAT SURFACE Methods for Indicating Space and Depth Consider the Variables Size Baseline or Position Overlapping Sharp and Diminishing Detail Value Contrast Converging Parallels Linear Perspective Different Kinds of Space Decorative Space Shallow Space Plastic Space Deep or Infinite Space Ambiguous Space The Technique of Scaling to Determine Accurate Size Relationships Establishing Scale Successfully Scale or Unit of Measure Height of Eye Level or Horizon Line Station Point The Process of Scaling General Guidelines for Scaling Creating an Effective Still Life What Kinds of Objects Should be Included? Regular Forms Irregular or Natural Forms Cubic Forms Additional Considerations for Still Lifes The Meaning of Things You Include in a Drawing Using Photographic References 5. SPATIAL THINKING AND VISUALIZATION: ESSENTIAL PRINCIPLES OF PERSPECTIVE DRAWING An Introduction to Perspective What Is Perspective? Different Types of Perspective Technical or Mechanical Perspective Freehand Perspective Linear Perspective Atmospheric Perspective Basic Principles of Linear Perspective Perspective and Sighting Limitations of Linear Perspective Recommended Sequencing for Maximum Comprehension Suggestions for Effective Perspective Drawing Determining the Variable Elements of Perspective Drawing --Scale --Eye Level (EL) --Ground Line (GL) --Station Point (SP) --Central Vanishing Point (CVP) and Special Vanishing Point (SVP) Left or Right --Vanishing Point Left (VPL) and Vanishing Point Right (VPR) --Key Cube or "Mother Cube" --Keeping Things Simple Perspective Materials List Optional Items The Terminology of Perspective Primary Working Terminology One-Point Perspective (1-PT) Two-Point Perspective/Oblique Perspective (2-PT) Eye Level (EL) Horizon Line (HL) Scale Station Point (SP) Picture Plane (PP) Ground Plane (GP) Ground Line (GL) Cone of Vision (COV) Vanishing Point (VP) Central Vanishing Point (CVP) Special Vanishing Point (SVP) Auxiliary Vanishing Point (AVP) Vanishing Point Three (VP3) Measuring Line (ML) Diagonal Measuring Line (DML) Related Terminology Foreshortening Convergence Position or Base Line Overlap Diminution Additional Useful Terminology Convergence Perpendicular Parallel Diagonal Vertical Horizontal Plane Square Rectangle Circle Ellipse Axis Cube Pyramid Cylinder Cone Sphere Vessel Right Angle Acute Angle Oblique Diameter Circumference Vertex Tangent Point Perspectives and Cubes Constructing a Cube in One-Point Perspective Constructing a Cube in Two-Point Perspective Based on Estimation of Cube Depth in Relation to Cube Height Estimating Cube Depth in Two-Point Perspective Respecting the Cone of Vision Proximity to Vanishing Points Left and Right and Proximity to the Central Vanishing Point The Leading Edge of a Cube Using Perspective Grids Constructing a Gridded Ground Plane in One-Point Perspective Constructing a Gridded Ground Plane in Two-Point Perspective To Continue Using the Measuring Line Method To Continue Using the Fencepost Method To Continue Using the "Converging Diagonals" Method Increasing Complexity in the Perspective Environment Multiple or Sliding Vanishing Points Cube Multiplication The Fencepost Method for Cube Multiplication The Measuring Line Method for Cube Multiplication Distortion in Cube Multiplication Cube Division Constructing Ellipses in One-Point and Two-Point Perspective The Eight-Point Tangent System for Ellipse Construction Major and Minor Axes, Distortion, and Fullness of Ellipses 6. ESSENTIAL PRINCIPLES FOR DRAWING THE HUMAN FIGURE Why Study the Human Figure? Classroom Etiquette When Drawing from a Model The Process of Sighting in Relation to the Human Body Sighting the Human Body for Relative Proportions Sighting the Human Body for Vertical and Horizontal Alignments Between Two or More Landmarks or Reference Points Comparative Proportions in the Male and Female Figure Female Male Gesture Drawing or Rapid Contour Drawing Seeing Is the Key Using Axis Lines Keeping It Simple Setting the Pace Working from the Inside Out Enhancing the Illusion of Volume and Space in the Human Form Line Variation in Figure Drawing Scaling Techniques in Figure Drawing A General-to-Specific Approach to Form and Value in Figure Drawing An Introduction to Portraiture Common Errors General Guidelines for Locating Facial Features and Other Landmarks Central Axis Length of the Nose Centerline of the Mouth Distance Between the Eyes in a Frontal View Edges or Wings of the Nostrils Outside Corners of the Mouth Top of the Ears Bottom of the Ears, or the Bottom of the Ear Lobes Width of the Neck Three-Quarter View The Features and Other Significant Aspects of Portraiture The Eyes The Nose The Mouth The Ears The Neck The Shoulders The Hair Value Structure An Alternative Viewpoint in Portraiture Mapping the Figure in Space Drawing the Figure in an Observed Environment Using Straight-Line Construction Creating Visual Paths of Movement 7. THE HUMAN FIGURE AND ARTISTIC ANATOMY Artistic Anatomy Versus Medical Anatomy Anatomy Reveals Itself Major Bones of the Human Skeletal Structure Skull/Cranium List o Details ISBN0190924810 Language English Year 2020 Edition 4th ISBN-10 0190924810 ISBN-13 9780190924812 Format Paperback DEWEY 741.2 Short Title Drawing Essentials Pages 416 Subtitle A Complete Guide to Drawing Imprint Oxford University Press Inc Place of Publication New York Country of Publication United States Illustrations Illustrations, unspecified NZ Release Date 2020-05-19 US Release Date 2020-05-19 UK Release Date 2020-05-19 Author Rockman Publisher Oxford University Press Inc Edition Description 4th ed. Publication Date 2020-05-19 Audience Tertiary & Higher Education AU Release Date 2020-05-18 We've got this At The Nile, if you're looking for it, we've got it. With fast shipping, low prices, friendly service and well over a million items - you're bound to find what you want, at a price you'll love! 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