Gateways To Drawing: A Complete Guide

369 Pages·2018·78.053 MB·English

by  Stephen C. P. Gardner

GATEWAYS TO DRAWING

Stephen C. P. Gardner
GATEWAYS
A Complete Guide
With 529 illustrations, 494 in color
To my students, both past and future,
who continue to inspire me.
Front cover
Carl Randall, Shibuya, 2008. © The artist. www.carlrandall.com
Frontispiece
Alain Kirili, Opulence XIV, 2016. Courtesy the artist
Gateways to Drawing © 2018 Thames & Hudson Ltd, London
Text © 2018 Stephen Gardner
All Rights Reserved. No part of this publication may be reproduced or transmitted
in any form or by any means, electronic or mechanical, including photocopy,
recording or any other information storage and retrieval system, without prior
permission in writing from the publisher.
First published in 2018 in the United States of America by Thames & Hudson Inc.,
500 Fifth Avenue, New York, New York 10110
www.thamesandhudsonusa.com
Library of Congress Control Number 2018952387
ISBN 978-0-500-29448-2
Contents
Preface 10
Part 1: Why Draw? 16
Chapter 1(cid:2)Drawing as a Way of Life 18
Everyone Can Draw 19
Drawing throughout History 20
Why Draw? 20
Drawing in the Creative Arts 22
The Creative Process: Ideation and Practical Development 24
In the Studio Projects: Fundamental Project; Writing Project; Research Project 29
The Work of Art: Dawn Clements 21
Drawing at Work: Yves Saint Laurent 27
Gateway to Drawing: Burne-Jones, The Tomb of Tristram and Isoude: The Creative Process 28
Chapter 2 Modes, Sources, and Expressions 30
Considering the Modes of Drawing 31
Sources for Drawings 44
Style and Expression 53
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 57
The Work of Art: Beatrix Potter 34
Drawing at Work: Edward Hopper 39
Chapter 3 Mark-Making and Media 58
Mark-Making 59
Media: Past and Present 63
Drawing Surfaces 64
Drawing Media 68
Tools 89
Safety Issues 90
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 91
Gateway to Drawing: Orozco, Man Struggling with Centaur: Mark-Making and Media 62
The Work of Art: Xia Gui 81
Drawing at Work: Kiki Smith 88
Part 2: How to Draw 92
Chapter 4 Composing a Compelling Drawing 94
Format 95
The Picture Plane and the Ground Plane 96
Geometric Divisions of the Picture Plane 98
Composing a Drawing with the Organizing Principles of Design 101
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 115
Gateway to Drawing: Heysen, Gum Trees, Hahndorf: Composing a Compelling Drawing 102
The Work of Art: Michelangelo 106
Drawing at Work: Jacob El Hanani 112
Chapter 5 The Sketchbook 116
Inside Sketchbooks 117
Types of Sketchbooks 121
Challenges of Keeping a Sketchbook 128
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 129
Drawing at Work: Frida Kahlo 118
The Work of Art: Théodore Géricault 120
Chapter 6 How to Draw What You See 130
Setting Up to Draw 131
A Process for Observational Drawing 132
Step #1: Decide What to Draw 133
Step #2: Compositional Gesture 135
Step #3: Introduce Values 140
Each Step as an End Result 144
In the Studio Projects: Fundamental Project; Observational Drawing; Research Project 147
Drawing at Work: Charles Bargue 143
The Work of Art: Leonardo da Vinci 144
Part 3: Drawing Elements 148
Chapter 7 Line 150
Descriptive Line 151
Emotional Line 153
Outline 154
Contour Line 156
Line Weight 162
Soft, Lost, and Implied Lines 165
Linear Modeling: Hatching and Cross-Hatching 167
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 169
Drawing at Work: Jenny Saville 158
The Work of Art: Louise Bourgeois 160
Gateway to Drawing: Orozco, Man Struggling with Centaur: Line 163
Chapter 8 Shape 170
Shape as Abstraction 171
Shape as Compositional Arrangement 175
Geometric and Organic Shapes 177
Positive and Negative Shapes, Figure/Ground Relationships 178
The Meanings of Shapes 180
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 181
The Work of Art: Kara Walker 172
Drawing at Work: Sidney Goodman 174
Gateway to Drawing: Burne-Jones, The Tomb of Tristram and Isoude: Shape 176
Chapter 9 Value 182
Conditions that Influence Value 183
Techniques to Establish Value 184
Value Scale, Value Contrast, and Value Schemes 189
Value Shapes 193
Depicting Light with Value 194
Emotional Quality of Value 197
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 199
The Work of Art: Martha Alf 187
Gateway to Drawing: Heysen, Gum Trees, Hahndorf: Value 192
Drawing at Work: Caspar David Friedrich 195
Chapter 10 Form 200
Defining Form 201
Line to Describe Form 202
Planes to Describe Form 204
Value to Describe Form 206
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 215
Drawing at Work: Margaret Bowland 207
The Work of Art: Bailey Doogan 212
Chapter 11 Space 216
Using Position on the Picture Plane to Suggest Space 217
Using Overlap to Create Space 218
Using Diminishing Size to Create Space 220
Using Diagonals to Create Space 222
Atmospheric Perspective 223
Linear Perspective 226
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 239
The Work of Art: Henry Moore 225
Drawing at Work: Ronald Searle 232
Chapter 12 Texture 240
Visual Texture 241
Replicated Texture 243
Surface Texture 246
Invented Texture 247
Rubbings and Photo Transfers 248
Collage 254
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 255
Gateway to Drawing: Orozco, Man Struggling with Centaur: Implied Sense of Texture 242
Drawing at Work: Alice Leora Briggs 245
The Work of Art: Jean Dubuffet 250
Chapter 13 Drawing with Color 256
The Color Wheel 257
Color-Wheel Relationships 258
Color Fundamentals 258
Color Unity and Color Schemes 266
Color as an Expressive Force in Drawing 270
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 273
The Work of Art: Claude Monet 267
Drawing at Work: Wassily Kandinsky 272
Part 4: What to Draw 274
Chapter 14 Still-Life Drawing 276
Still Life in Western Culture 277
Types of Objects 279
Artistic Practices 282
Symbolic Still Life: Metaphor 284
Vanitas Still Life 286
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 289
Drawing at Work: Le Corbusier 280
The Work of Art: Audrey Flack 287
Chapter 15 Drawing the Human Figure 290
Communicating Human Experiences 291
Life Drawing 295
Working with a Model 296
Construction of the Figure 298
The Proportions of the Figure 303
Artistic Anatomy 304
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 311
The Work of Art: Artemisia Gentileschi 294
Drawing at Work: Ginny Grayson 297
Gateway to Drawing: Burne-Jones, The Tomb of Tristram and Isoude:
(cid:3)Figure Drawing for a Stained-Glass Window 299
Chapter 16 Portraiture 312
Approaches to Portraiture 313
The Structure of the Head 318
Self-Portraits 323
Narrative Portraits 326
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 329
The Work of Art: Alice Neel 314
Drawing at Work: Matthias Grünewald 317
Chapter 17 Landscape Drawing 330
Landscape as a Source of Inspiration 331
Drawing Outdoors and Studio Landscapes 333
Types of Landscape Drawings 336
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 343
The Work of Art: John Constable 332
Gateways to Drawing: Heysen, Gum Trees, Hahndorf: Landscape Drawing 339
Drawing at Work: Claude 342
Part 5 344
Chapter 18 Looking at Drawing: Critical Thinking and Critique 344
Critical Thinking 345
Examples of Critical Reviews 346
Critique 350
In the Studio Projects: Fundamental Project; Observational Drawing; Non-Observational Drawing 352
Critical Review Worksheet: Student Drawing 346
Critical Review Worksheet: Master Drawing 348

Glossary 354
Glossary of Artistic Movements, Styles, and Periods 356
Sources of Quotations 356
Illustration Credits 357
Index 362