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The NewDra
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The NewDra
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To the memory of my father,who shar
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8. Relationships in a New</
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tests, but at the time they provide
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California State University, Long B
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of the problem (how the parts fit
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IntroductionThe subject of how peop
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I am aware, of course, that additio
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Color in drawingChapter Eleven, "<s
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ain-function study has become forma
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corpus callosum, indicate that the
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DRAWING is A CURIOUS PROCESS, so in
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Gertrude Stein asked the Frencharti
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My students often report thatlearni
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"When the artist is alive in any pe
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2The DrawingExerci
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Drawing materialsT
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What you'll need:• Paper to draw
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out any instruction? On the other h
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Frank FernandezAngie HinckelJohn Da
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ability from the first lesson (befo
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You were seeing and responding to t
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Fig. 2-2. Rembrandt Van Rijn(1606-1
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"Few people realize what an astonis
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essentially alike, or symmetrical,
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As journalist Maya Pines stated inh
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spoon from a group of objects that
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is strongly linked with concepts of
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Dr.J. William Bergquist, a mathemat
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"Approaching forty, I had a singula
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Mirror writing reverses the shapeof
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A comparison of left-mode and right
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Psychologist Charles T. Tart,discus
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Crossing Over:Experiencing the Shif
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your own version of the profile if
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ain-mode that is specialized for th
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al mode. There are other examples.
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know who the person is, the upside-
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3. I recommend that you not try to
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is so far superior to the drawing d
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consciousness in these terms, and t
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symbol system seems to override per
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"When I was a child, I spake as ach
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Art in schoolEven sympathetic art t
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Children's repeated imagesbecome kn
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Fig. 5-7. Landscape drawing by asix
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divers. They are fascinated by bloc
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The stage of realismBy around age t
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"The painter who strives to represe
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"I must begin, not with hypothesis,
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"Art is a form of supremely delicat
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Getting AroundYour Symbol System:Me
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felt that the reason the contour me
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you see each point on the contour.
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The paradox of the Pure Contour <st
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In drawing, an edge is where two th
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What you'll do:1. Rest your hand on
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est) drawing for the next exercise.
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ships. Early on in my classes, I us
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Fig. 6-12. The artist using his dev
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Students often become very frustrat
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Fig. 6-15. Fig. 6-16. Fig. 6-17.pap
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over your hand, with its helpful cr
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GETTING AROUND YOUR SYMBOL SYSTEM:
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The next step: Tricking L-mode with
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IN THIS CHAPTER, we'll take up the
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emember and they are, after all, co
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Unity: A most important principleof
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on the negative spaces, the forms w
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cate how a trained artist does this
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Unit or your "One"—or whatever yo
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As in any field, the "rules" of art
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Note that:•The toned format on yo
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Fig. 7-14.Fig. 7-15."How far does t
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Demonstration drawing byinstructor
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Relationshipsin a New</stro
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It is the same with drawing. Once y
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Sighting can be used to determineth
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Traditional Renaissance perspective
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wonder how the draughtsman was able
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What happens? The "measurement" has
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As a clever student of mine put it:
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zontal position on the plane to com
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Set yourself up to draw at your cho
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To complete your perspective drawin
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Fig. 8-26. Edgar Degas (1834-1917),
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Instructor Dana Crowe.RELATIONSHIPS
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HUMAN FACES HAVE ALWAYS FASCINATED
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Fig. 9-1. The four figures are theT
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Fig. 9-5.inches. You'll find it's a
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isn't that true?" "No," they said,
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Fig. 9-12.When you finally believe
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Fig. 9-14. Vincent Van Gogh(1853-18
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Fig. 9-16. Albrecht Dürer, FourHea
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Fig. 9-22. Locate also the pointwhe
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If, as occasionally happens, yourL-
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- Page 394: 4. Your drawing pencils and eraser5
- Page 398: Fig. 9-29.she was "just drawing." S
- Page 402: Fig. 9-35.19. In drawing your model
- Page 406: Fig. 9-38.Fig. 9-39.Fig. 9-40.Fig.
- Page 410: Another example of two styles of dr
- Page 414: The Valueof Logical Lightsand Shado
- Page 418: Fig. 10-2. Henry Fuseli (1741—182
- Page 422: These special perceptions, like all
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- Page 430: the first "blocking in" of the ligh
- Page 434: Fig. 10-10. A copy in pencil ofCour
- Page 438: Fig. 10-12. Charles Sheelcr(1883-19
- Page 444: Fig. 10-15. Fig. 10-16.Fig. 10-18.
- Page 448: shapes, relationships of angles and
- Page 452: Fig. 10-24. The full-face view diag
- Page 456: Fig. 10-25. A sketch by the authorf
- Page 460: Fig. 10-28. Fig. 10-29.A three-quar
- Page 464: 12. The ear. The mnemonic for placi
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- Page 472: Fig. 10-35. A diagram of the threeq
- Page 476: "One of life's most fulfillingmomen
- Page 480: Two additional self-portraits byins
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- Page 488: Fig 11-3. Color Wheel. Complements
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Fig. 11-7. Kathe Kollwitz, Self-Por
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Fig, 11-11. Elizabeth Layton, Self-
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Fig. 11-15. Odilon Redon (1840-1916
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Fig. 11-17. Student Laura Wright, U
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Fig. 11-20. David Hockney, Celia in
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mostly indiscriminate? Or is purpos
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like, and we feel that's sufficient
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physicist and mathematician Isaac <
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hues are complements. This knowledg
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light logic. Use the grid as a boun
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another instance of the transformat
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Because pastels come in a wide rang
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Start your drawing now. You will ne
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"In oneself lies the whole world an
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Through practice, your mind will sh
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"It is not to be despised, in my op
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The Palmer method drill.entries on
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Have soft eyes and a gentle manner.
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Student example of "pure" or "blind
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Decide on a slant, then use sightin
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In drawing, different styles of lin
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Handwriting can stand considerable
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PostscriptFor teachers and parentsA
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David Galin, among other researcher
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inventing a pictorial language with
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For art studentsMany successful con
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GlossaryAbstract Art. A translation
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Nonobjective Art. Art that makes no
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Connolly, C. The Unquiet Grave: A W
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Rodin, A. Quoted in The Joy of Drai
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Bomeisler, Brian, 23-24,24, up, 190
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Fabric of Mind, The (Bergland), XXf
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Miro.Joan, 121, aimirror handwritin
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R-mode, cognitive shifts to, xx, 3,
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