Technical Drawing With Engineering Graphics 15th Edition Free Download

Visual artwork in two-dimensional medium

Drawing is a form of visual art in which an artist uses instruments to mark paper or other two-dimensional surface. Drawing instruments include graphite pencils, pen and ink, various kinds of paints, inked brushes, colored pencils, crayons, charcoal, chalk, pastels, erasers, markers, styluses, and metals (such as silverpoint). Digital drawing is the act of drawing on graphics software in a computer. Common methods of digital drawing include a stylus or finger on a touchscreen device, stylus- or finger-to-touchpad, or in some cases, a mouse. At that place are many digital art programs and devices.

A cartoon instrument releases a modest amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such every bit cardboard, wood, plastic, leather, canvas, and board, take been used. Temporary drawings may exist fabricated on a blackboard or whiteboard. Drawing has been a popular and cardinal means of public expression throughout human being history. It is one of the simplest and most efficient ways of communicating ideas.[1] The broad availability of cartoon instruments makes drawing one of the almost common artistic activities.

In improver to its more artistic forms, drawing is ofttimes used in commercial illustration, animation, architecture, applied science, and technical drawing. A quick, freehand drawing, usually non intended as a finished work, is sometimes chosen a sketch. An creative person who practices or works in technical cartoon may be chosen a drafter, draftsman, or draughtsman.[2]

Overview [edit]

Cartoon is ane of the oldest forms of human expression within the visual arts. Information technology is generally concerned with the marker of lines and areas of tone onto paper/other material, where the authentic representation of the visual world is expressed upon a airplane surface.[3] Traditional drawings were monochrome, or at to the lowest degree had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, cartoon is distinct from painting, even though similar media oftentimes are employed in both tasks. Dry out media, normally associated with drawing, such as chalk, may exist used in pastel paintings. Drawing may exist done with a liquid medium, practical with brushes or pens. Similar supports likewise tin can serve both: painting generally involves the awarding of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn commencement on that aforementioned support.

Drawing is often exploratory, with considerable accent on observation, trouble-solving and composition. Drawing is also regularly used in training for a painting, farther obfuscating their distinction. Drawings created for these purposes are called studies.

There are several categories of drawing, including effigy cartoon, cartooning, doodling, and freehand. In that location are too many drawing methods, such equally line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made betwixt the dots), and tracing (drawing on a translucent newspaper, such as tracing paper, around the outline of preexisting shapes that testify through the paper).

A quick, unrefined drawing may be chosen a sketch.

In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they take been transferred to another medium by press.

History [edit]

In communication [edit]

Cartoon is one of the oldest forms of human expression, with testify for its existence preceding that of written advice.[five] It is believed that drawing was used equally a specialised form of communication before the invention of the written language,[5] [half dozen] demonstrated by the production of cave and stone paintings around 30,000 years ago (Art of the Upper Paleolithic).[seven] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced past Neolithic times were eventually stylised and simplified in to symbol systems (proto-writing) and somewhen into early writing systems.

In manuscripts [edit]

Before the widespread availability of newspaper, 12th-century monks in European monasteries used intricate drawings to gear up illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation.

In scientific discipline [edit]

Drawing diagrams of observations is an important office of scientific study.

In 1609, astronomer Galileo Galilei explained the irresolute phases of Venus and as well the sunspots through his observational scope drawings.[9] In 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[9]

As artistic expression [edit]

Drawing is used to express i's creativity, and therefore has been prominent in the earth of art. Throughout much of history, drawing was regarded as the foundation for creative practice.[10] Initially, artists used and reused wooden tablets for the production of their drawings.[11] Following the widespread availability of paper in the 14th century, the utilise of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, interim as a report medium whilst artists were preparing for their final pieces of work.[12] [13] The Renaissance brought about a great sophistication in cartoon techniques, enabling artists to represent things more realistically than before,[xiv] and revealing an interest in geometry and philosophy.[xv]

The invention of the first widely bachelor form of photography led to a shift in the hierarchy of the arts.[xvi] Photography offered an alternative to drawing equally a method for accurately representing visual phenomena, and traditional drawing practice was given less accent as an essential skill for artists, particularly so in Western society.[9]

Notable artists and draftsmen [edit]

Drawing became significant every bit an fine art form effectually the belatedly 15th century, with artists and master engravers such as Albrecht Dürer and Martin Schongauer (c. 1448-1491), the kickoff Northern engraver known by proper name. Schongauer came from Alsace, and was born into a family unit of goldsmiths. Albrecht Dürer, a chief of the side by side generation, was also the son of a goldsmith.[17] [18]

Former Master Drawings often reflect the history of the country in which they were produced, and the fundamental characteristics of a nation at that time. In 17th-century Holland, a Protestant country, at that place were almost no religious artworks, and, with no King or courtroom, virtually fine art was bought privately. Drawings of landscapes or genre scenes were often viewed not as sketches merely as highly finished works of art. Italian drawings, however, bear witness the influence of Catholicism and the Church, which played a major role in artistic patronage. The aforementioned is often truthful of French drawings, although in the 17th century the disciplines of French Classicism[19] meant drawings were less Bizarre than the more than free Italian counterparts, which conveyed a greater sense of movement.[20]

In the 20th century Modernism encouraged "imaginative originality"[21] and some artists' approach to cartoon became less literal, more abstract. Globe-renowned artists such as Pablo Picasso, Andy Warhol and Jean-Michel Basquiat helped challenge the condition quo, with cartoon being very much at the center of their practice, and often re-interpreting traditional technique.[22]

Basquiat'due south drawings were produced in many dissimilar mediums, almost commonly ink, pencil, felt-tip or marker, and oil-stick, and he drew on any surface that came to hand, such every bit doors, clothing, refrigerators, walls and baseball game helmets.[23]

The centuries accept produced a catechism of notable artists and draftsmen, each with their ain distinct language of drawing, including:

  • 14th, 15th and 16th: Leonardo da Vinci[24] • Albrecht Dürer • Hans Holbein the Younger • Michelangelo • Pisanello • Raphael
  • 17th: Claude • Jacques de Gheyn II • Guercino • Nicolas Poussin • Rembrandt • Peter Paul Rubens • Pieter Saenredam
  • 18th: François Boucher • Jean-Honoré Fragonard • Giovanni Battista Tiepolo • Antoine Watteau
  • 19th: Aubrey Beardsley • Paul Cézanne • Jacques-Louis David • Honoré Daumier • Edgar Degas • Théodore Géricault • Francisco Goya • Jean-Auguste-Dominique Ingres • Pierre-Paul Prud'hon • Odilon Redon • John Ruskin • Georges Seurat • Henri de Toulouse-Lautrec • Vincent van Gogh
  • 20th: Max Beckmann • Jean Dubuffet • M. C. Escher • Arshile Gorky • George Grosz • Paul Klee • Oscar Kokoschka • Käthe Kollwitz • Alfred Kubin • André Masson • Alphonse Mucha • Jules Pascin • Pablo Picasso • Egon Schiele • Jean-Michel Basquiat • Andy Warhol

Materials [edit]

The medium is the ways by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils tin be used dry similar ordinary pencils, so moistened with a wet brush to become various painterly effects. Very rarely, artists have drawn with (unremarkably decoded) invisible ink. Metalpoint drawing normally employs either of two metals: silver or pb.[25] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.

Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to loftier quality and relatively expensive newspaper sold as individual sheets.[26] Papers vary in texture, hue, acidity, and forcefulness when wet. Smooth paper is skilful for rendering fine item, only a more "toothy" paper holds the drawing textile better. Thus a coarser textile is useful for producing deeper dissimilarity.

Newsprint and typing paper may exist useful for practice and rough sketches. Tracing paper is used to experiment over a one-half-finished cartoon, and to transfer a blueprint from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and practise not misconstrue when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor newspaper may be favored for ink drawing due to its texture.

Acid-complimentary, archival quality paper keeps its colour and texture far longer than wood pulp based newspaper such as newsprint, which turns yellow and becomes brittle much sooner.

The bones tools are a cartoon lath or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to preclude pencil and crayon marks from smudging. Drafting record is used to secure paper to drawing surface, and likewise to mask an area to go on information technology complimentary of adventitious marks, such as sprayed or spattered materials and washes. An easel or slanted tabular array is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.

Technique [edit]

Nigh all draftsmen utilise their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[27]

Prior to working on an image, the creative person typically explores how diverse media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce diverse effects.

The artist's pick of drawing strokes affects the advent of the image. Pen and ink drawings often use hatching – groups of parallel lines.[28] Cantankerous-hatching uses hatching in two or more than different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones – and controlling the density of the breaks achieves a gradation of tone. Stippling uses dots to produce tone, texture and shade. Different textures can be achieved depending on the method used to build tone.[29]

Drawings in dry media often utilize similar techniques, though pencils and cartoon sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed creative person draws from left to right to avert smearing the epitome. Erasers can remove unwanted lines, lighten tones, and clean upward stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows bandage from a light in the artist's position.

Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the surface area to preserve can exist painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.

Another method to preserve a section of the image is to utilize a spray-on fixative to the surface. This holds loose material more than firmly to the sheet and prevents it from smearing. Nonetheless the fixative spray typically uses chemicals that can impairment the respiratory organization, so information technology should exist employed in a well-ventilated area such as outdoors.

Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and so erased to make the image.[thirty]

Tone [edit]

Shading is the technique of varying the tonal values on the paper to represent the shade of the textile also every bit the placement of the shadows. Careful attention to reflected lite, shadows and highlights can result in a very realistic rendition of the image.

Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily washed with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can exist smudged, moisture or dry, for some effects. For shading and blending, the creative person tin use a blending stump, tissue, a kneaded eraser, a fingertip, or whatever combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone tin be achieved with graphite on a shine surface without blending, just the technique is laborious, involving small circular or oval strokes with a somewhat blunt bespeak.

Shading techniques that also introduce texture to the cartoon include hatching and stippling. A number of other methods produce texture. In add-on to the choice of paper, drawing material and technique affect texture. Texture can be made to announced more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed side by side to a smoothly composite expanse. A like effect can be achieved past drawing different tones close together. A light border next to a dark background stands out to the center, and almost appears to float above the surface.

Form and proportion [edit]

Proportions of the man body

Measuring the dimensions of a field of study while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can exist used to measure the angles of different sides. These angles can exist reproduced on the drawing surface and and so rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler tin can be used both as a straightedge and a device to compute proportions.

Variation of proportion with age

When attempting to draw a complicated shape such as a human figure, it is helpful at first to correspond the form with a ready of archaic volumes. Virtually whatever form tin be represented past some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can exist refined into a more accurate and polished course. The lines of the primitive volumes are removed and replaced past the final likeness. Drawing the underlying structure is a key skill for representational art, and is taught in many books and schools. Its correct awarding resolves nigh uncertainties about smaller details, and makes the last image look consistent.[31]

A more refined art of figure drawing relies upon the artist possessing a deep agreement of beefcake and the human being proportions. A trained creative person is familiar with the skeleton structure, joint location, muscle placement, tendon motility, and how the different parts work together during movement. This allows the artist to return more natural poses that do not appear artificially stiff. The creative person is besides familiar with how the proportions vary depending on the age of the bailiwick, particularly when drawing a portrait.

Perspective [edit]

Linear perspective is a method of portraying objects on a flat surface so that the dimensions compress with distance. Each gear up of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.

When both the fronts and sides of a edifice are drawn, so the parallel lines forming a side converge at a second point along the horizon (which may exist off the drawing paper.) This is a two-signal perspective.[32] Converging the vertical lines to a third point above or beneath the horizon then produces a 3-indicate perspective.

Depth can also exist portrayed past several techniques in addition to the perspective approach to a higher place. Objects of like size should appear ever smaller the further they are from the viewer. Thus the dorsum bicycle of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further abroad information technology becomes more compressed and busy, taking on an entirely different character than if information technology was shut. Depth tin also be portrayed past reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the outcome of atmospheric haze, and cause the eye to focus primarily on objects fatigued in the foreground.

Artistry [edit]

The composition of the image is an important element in producing an interesting work of creative merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The limerick tin determine the focus of the fine art, and result in a harmonious whole that is aesthetically appealing and stimulating.

The illumination of the subject is also a key element in creating an artistic piece, and the interplay of lite and shadow is a valuable method in the artist's toolbox. The placement of the lite sources tin can make a considerable difference in the type of bulletin that is existence presented. Multiple light sources can wash out any wrinkles in a person's face up, for instance, and give a more youthful advent. In contrast, a single low-cal source, such every bit harsh daylight, can serve to highlight whatsoever texture or interesting features.

When drawing an object or figure, the skilled artist pays attending to both the surface area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the effigy. Objects placed in the background of the figure should appear properly placed wherever they can exist viewed.

A study is a typhoon drawing that is made in grooming for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a slice of art in its own right, and many hours of careful work tin go into completing a study.

Procedure [edit]

Individuals display differences in their ability to produce visually accurate drawings.[33] A visually accurate cartoon is described every bit existence "recognized as a detail object at a particular time and in a particular infinite, rendered with lilliputian addition of visual particular that can non be seen in the object represented or with little deletion of visual detail".[34]

Investigative studies have aimed to explain the reasons why some individuals depict improve than others. 1 study posited four fundamental abilities in the drawing procedure: motor skills required for mark-making, the drawer'southward own perception of their cartoon, perception of objects being drawn, and the ability to brand good representational decisions.[34] Following this hypothesis, several studies accept sought to conclude which of these processes are almost meaning in affecting the accuracy of drawings.

Motor control

Motor command is an important concrete component in the 'Production Phase' of the drawing procedure.[35] Information technology has been suggested that motor control plays a role in drawing ability, though its effects are not pregnant.[34]

Perception

Information technology has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the cartoon process.[34] This suggestion is supported by the discovery of a robust human relationship between perception and drawing ability.[36]

This bear witness acted as the footing of Betty Edwards' how-to-depict book, Drawing on the Correct Side of the Brain.[37] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.

Furthermore, the influential creative person and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Cartoon.[38] He stated that "For I am nearly convinced, that once we see keenly enough, at that place is very little difficult in drawing what nosotros see".

Visual memory

This has besides been shown to influence one's ability to create visually accurate drawings. Brusque-term memory plays an important part in drawing as i's gaze shifts between the object they are cartoon and the drawing itself.[39]

Decision-making

Some studies comparing artists to non-artists have found that artists spend more time thinking strategically while cartoon. In particular, artists spend more than fourth dimension on 'metacognitive' activities such as considering different hypothetical plans for how they might progress with a cartoon.[40]

See also [edit]

  • Academy figure
  • Architectural drawing
  • Limerick
  • Contour cartoon
  • Diagram
  • Digital analogy
  • Engineering drawing
  • Figure cartoon
  • Graphic design
  • Illustration
  • Mural painting
  • Painting
  • Plumbago drawing
  • Sketch (drawing)
  • Subtractive drawing
  • Technical drawing
  • Visual arts
  • Epitome

References [edit]

Notes

  1. ^ world wide web.sbctc.edu (adapted). "Module vi: Media for ii-D Fine art" (PDF). Saylor.org. Retrieved 2 April 2012.
  2. ^ "the definition of draftsman". Retrieved 1 January 2017.
  3. ^ "Archived copy" (PDF). Archived from the original (PDF) on 2016-03-03. Retrieved 2014-03-11 . {{cite web}}: CS1 maint: archived re-create as title (link)
  4. ^ Encounter grisaille and chiaroscuro
  5. ^ a b Tversky, B (2011). "Visualizing thought". Topics in Cognitive Scientific discipline. 3 (3): 499–535. doi:10.1111/j.1756-8765.2010.01113.10. PMID 25164401.
  6. ^ Farthing, S (2011). "The Bigger Film of Drawing" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-11 .
  7. ^ Thinking Through Cartoon: Practice into Noesis Archived 2014-03-17 at the Wayback Machine 2011c[ folio needed ]
  8. ^ Robinson, A (2009). Writing and script: a very brusk introduction. New York: Oxford University Printing.
  9. ^ a b c Kovats, T (2005). The Drawing Book. London: Black Domestic dog Publishing.
  10. ^ Walker, J. F; Duff, L; Davies, J (2005). "Old Manuals and New Pencils". Drawing- The Process. Bristol: Intellect Books.
  11. ^ Come across the discussion on erasable drawing boards and 'tafeletten' in van de Wetering, Ernst. Rembrandt: The Painter at Work.
  12. ^ Burton, J. "Preface" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-11 .
  13. ^ Chamberlain, R (2013). Drawing Conclusions: An exploration of the cognitive and neuroscientific foundations of representational cartoon (Doctoral).
  14. ^ Davis, P; Duff, Fifty; Davies, J (2005). "Drawing a Blank". Cartoon – The Process . Bristol: Intellect Books. pp. fifteen–25. ISBN9781841500768.
  15. ^ Simmons, S (2011). "Philosophical Dimension of Drawing Instruction" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-11 .
  16. ^ Poe, E. A. (1840). The Daguerreotype. Classic Essays on Photography. New Haven, CN: Leete'due south Isle Books. pp. 37–38.
  17. ^ "Old Main prints and engravings | Christie's". Retrieved 2018-04-twenty .
  18. ^ Hinrich Sieveking, "German Draughtsmanship in the Ages of Dürer and Goethe", British Museum. Accessed 20 February 2016
  19. ^ Barbara Hryszko, A Painter as a Draughtsman. Typology and Terminology of Drawings in Bookish Didactics and Creative Do in France in 17th Century [dans:] Metodologia, metoda i terminologia grafiki i rysunku. Teoria i praktyka, ed. Jolanta Talbierska, Warszawa 2014, pp. 169-176.
  20. ^ "Former Master drawings | Christie'south". Retrieved 2018-04-20 .
  21. ^ Duff, Fifty; Davies, J (2005). Drawing – The Process. Bristol: Intellect Books.
  22. ^ Gompertz, Will (2009-02-12). "My life in art: How Jean-Michel Basquiat taught me to forget near technique". the Guardian . Retrieved 2018-04-20 .
  23. ^ "boom for existent: a lexicon of basquiat". I-d. 2017-09-26. Retrieved 2018-04-twenty .
  24. ^ ArtCyclopedia, Feb 2003, "Masterful Leonardo and Graphic Dürer". Accessed 20 February 2016
  25. ^ lara Broecke, Cennino Cennini's Il Libro dell'Arte: a new English language Translation and Commentary with Italian Transcription, Archetype 2015
  26. ^ Mayer, Ralph (1991). The Creative person's Handbook of Materials and Techniques . Viking. ISBN978-0-670-83701-four.
  27. ^ "The Astonishing Art of Disabled Artists". Webdesigner Depot. 16 March 2010. Retrieved one January 2017.
  28. ^ This is unrelated to the hatching arrangement in heraldry that indicates tincture (i.e., the colour of arms depicted in monochrome.)
  29. ^ Guptill, Arthur L. (1930). Cartoon with Pen and Ink. New York: Reinhold Publishing Corporation.
  30. ^ South, Helen, The Everything Cartoon Book, Adams Media, Avon, MA, 2004, pp. 152–53, ISBN 1-59337-213-ii
  31. ^ Hale, Robert Beverly (1964). Cartoon Lessons from the Swell Masters (45th Anniversary ed.). Watson-Guptill Publications (published 2009). ISBN978-0-8230-1401-9.
  32. ^ Watson, Ernest W. (1978). Course in Pencil Sketching: Iv Books in Ane. New York: Van Nostrand Reinhold Visitor. pp. 167–75. ISBN978-0-442-29229-iv.
  33. ^ Ostrofsky, J (2011). "A Multi-Stage Attention Hypothesis of Drawing Power" (PDF). Archived from the original (PDF) on 2014-03-17. Retrieved 2014-03-eleven .
  34. ^ a b c d Cohen, D. J; Bennett, Southward. (1997). "Why can't about people draw what they come across?". Journal of Experimental Psychology. 67 (6): 609–21. doi:10.1037/0096-1523.23.3.609.
  35. ^ van Somers, P (1989). "A system for drawing and drawing-related neuropsychology". Cognitive Neuropsychology. 6 (2): 117–64. doi:x.1080/02643298908253416.
  36. ^ Cohen, D. J.; Jones, H. E. (2008). "How shape constanct related to cartoon accuracy" (PDF). Psychology of Aesthetics, Creativity, and the Arts. ii (ane): 8–19. doi:10.1037/1931-3896.2.ane.eight.
  37. ^ Edwards, B (1989). Cartoon on the Right Side of the Brain. New York: Putnam. ISBN978-1-58542-920-2.
  38. ^ Ruskin, John (1857). The Elements of Cartoon. Mineola, NY: Dover Publishcations Inc.
  39. ^ McManus, I. C.; Chamberlain, R. S.; Loo, P.-Chiliad.; Rankin, Q.; Riley, H.; Brunswick, N. (2010). "Art students who cannot draw: exploring the relations betwixt cartoon ability, visual memory, accuracy of copying, and dyslexia" (PDF). Psychology of Aesthetics, Creativity, and the Arts. 4: eighteen–30. CiteSeerXx.1.1.654.5263. doi:10.1037/a0017335. Archived from the original (PDF) on 2017-10-26. Retrieved 2017-x-25 .
  40. ^ Fayena-Tawil, F.; Kozbelt, A.; Sitaras, S. (2011). "Remember global, act local: A protocol analysis comparison of artists' and nonartists' cognitions, metacognitions, and evaluations while cartoon". Psychology of Aesthetics, Creativity, and the Arts. five (2): 135–45. doi:10.1037/a0021019.

Further reading

  • Edwards, Betty. The New Drawing on the Right Side of the Brain, HarperCollins Publishers Ltd; 3Rev Ed edition, 2001, ISBN 978-0-00-711645-4
  • Brommer, Gerald F. Exploring Drawing. Worcester, Massachusetts: Davis Publications. 1988.
  • Bodley Gallery, New York, Modern master drawings, 1971, OCLC 37498294.
  • Holcomb, M. (2009). Pen and Parchment : Cartoon in the Eye Ages . New York: The Metropolitan Museum of Art.
  • Hillberry, J.D. Drawing Realistic Textures in Pencil, North Light Books, 1999, ISBN 0-89134-868-9.
  • Landa, Robin. Take a line for a walk: A Creativity Journal. Boston: Wadsworth, 2011. ISBN 978-1-111-83922-two
  • Lohan, Frank. Pen & Ink Techniques, Gimmicky Books, 1978, ISBN 0-8092-7438-viii.
  • Ruskin, J. (1857). The Elements of Drawing. Mineola, NY: Dover Publications Inc. ISBN 978-1-4538-4264-5
  • Spears, Heather. The Artistic Middle. London: Arcturus. 2007. ISBN 978-0-572-03315-6.
  • World Book, Inc. The Globe Volume Encyclopedia Volume 5, 1988, ISBN 0-7166-0089-7.
  • Drawing/Thinking: Against an Electronic Age, edited by Marc Treib, 2008, ISBN 0-415-77560-4

External links [edit]

  • Timeline of Drawing Development in Children
  • On Drawing, an essay about the craft of drawing, by creative person Norman Nason. Archived from the original on April 25, 2012.
  • Line and Form (1900) by Walter Crane at Project Gutenberg
  • Leonardo da Vinci: anatomical drawings from the Purple Library, Windsor Castle, exhibition catalog fully online as PDF from The Metropolitan Museum of Art (a great cartoon resources).
  • Leonardo da Vinci, Master Draftsman, exhibition catalog fully online as PDF from The Metropolitan Museum of Art (a great drawing resource).
  • Drawing in the Eye Ages A summary of how cartoon was used as part of the artistic process in the Middle Ages.

DOWNLOAD HERE

Posted by: ladnertrund1982.blogspot.com