An innovative, practical approach to drawing the world around you
SARAH SIMBLET
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Book Details
Price
|
2.50 |
|---|---|
Pages
| 265 p |
File Size
|
100,961 KB |
File Type
|
PDF format |
ISBN
| 978-0-7566-5141-1 |
Copyright©
| 2005 Dorling Kindersley Limited |
There is a fundamental drive in our human nature to make
a mark. Children cannot be restrained from running across
the pristine white lawn of newly fallen snow, inscribing every
fresh part of it with their eager scrapes and trails. Most adults
still feel that certain exquisite pleasure on arriving at a beach
to find the tide out and the sand perfect, like a great canvas
for them to mark. At home and at work we doodle, scrawling
shapes and cartoons when on the telephone, in lectures, and
in meetings. Sometimes we draw because we are bored, but
more often because drawing actually helps us to focus and
take in what is said. We are surrounded by drawings in
our daily lives, not just chosen pictures on our walls but
everywhere—maps, signs, graffiti, logos, packaging, and
patterns on our clothes. We are bombarded with linear and
tonal pictorial information, and we spend our lives reading it.
The sense of relief we may feel from the information overload
of modern commercial life when visiting a country in which
we can no longer read every written word, is not afforded us
by drawing. Drawing is international, irreverent to language
barriers. We can always read each others drawings.
Table of Contents
Foreword 6
Introduction 8
Drawing Books and Papers 20
Posture and Grip 22
Animals 24
Documentaries 26
Presence and Mood 28
Movement 30
Icon and Design 32
Pen and Ink 34
Drawing with Ink 36
Capturing Character 38
Sleeping Dogs 40
Turtles 42
Dry Birds 44
Plants and Gardens 46
Botanical Studies 48
Jeweled Gardens 50
Fast Trees 52
Graphite and Erasers 54
Cropping and Composition 56
Negative Space 58
Fig Tree 60
Summer Flowers 62
Acanthus Spinosus 64
Architecture 66
Master Builders 68
The Order of Sound 70
Future Fictions 72
Pathways of Sight 74
Single-Point Perspective 76
Creating an Imaginary Space 78
Further Aspects of
Perspective 80
Theaters 82
Venetian Life 84
Parisian Street 86
Objects and Instruments 88
Still Life 90
Instruments of Vision 92
Bench Marks 94
Light and Illusions 96
Further Illusions 98
How to Draw Ellipses 100
Tonality 102
Drawing with Wire 104
Artifacts and Fictions 106
The Body 108
Postures and Poses 110
Choreographs 112
Passion 114
Measurement and
Foreshortening 116
Quick Poses 118
Hands and Feet 120
Charcoal Hands 122
Phrasing Contours 124
The Visual Detective 126
La Specola 128
Portraiture 130
Poise 132
Anatomies 134
Revelations 136
Self-Portraits 138
Silver Point 140
Head and Neck 142
Essential Observations 144
Drawing Portraits 146
Generations 148
Castings 152
Costume 154
Cloth and Drapery 156
Character Costumes 158
Femmes Fatales 160
Colored Materials 162
Study and Design 164
The Structure of Costume 166
Textures and Patterns 168
Dressing Character 170
Posture Carving 172
Gatherings 174
Projections 176
Magnetic Fields 178
The Human Condition 180
Disposable Pens 182
The Travel Journal 184
Catching the Moment 186
Grand Canal 188
Crossings 190
Caravans 192
The Big Top 194
Earth and the Elements 196
Air in Motion 198
Storms 200
Nature Profiles 202
Charcoal 204
Landscapes 206
Drawing in the Round 208
Decaying Boat 210
Cloudburst 212
Notes of Force 214
Mountains 216
Abstract Lines 218
Process and Harmony 220
Writing Time 222
Chants and Prayers 224
Compositions 226
Being "Just" 228
Collage 230
Zen Calligraphy 232
Nocturnes 234
Gods and Monsters 238
Marks of Influence 240
Hauntings 242
Convolutions 244
Brushes 246
Brush Marks 248
Monsters 250
Goya's Monsters 252
Consumed 254
Glossary 256
Index 259
Acknowledgments 264
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