Drawing -- The Process

Drawing -- The Process

Jo Davies

Language: English

Pages: 138

ISBN: 1841500763

Format: PDF / Kindle (mobi) / ePub

Drawing - The Process is a collection of papers, theories and interviews based on the conference and exhibition of the same name held at Kingston University in 2003.

Much debate and research is currently undertaken in this area and it is the intention of the book to galvanize this, while providing a vehicle for deep enquiry. The publication will firstly comprise a collection of refereed papers representing a breadth of activity and research around the issues of drawing within the broad context of art and design activity. The second dimension of the book will be an examination of the drawing processes of high profile practitioners.

The publication will encompass the best contemporary investigation of a subject pivotal to art and design activity, and should be recognized as a fundamental text for students at both undergraduate and postgraduate levels.

Draw 50 Famous Cartoons: The Step-by-Step Way to Draw Your Favorite Classic Cartoon Characters

Human Anatomy for Artists: The Elements of Form

Pencil Drawing Techniques

Keys to Drawing

Le Dessin pour les Nuls

Strokes of Genius 4: The Best Drawing: Exploring Line











painting, drawing and printmaking – you could include photography and the digital – will continue to dissolve. With luck the pretensions of Fine Art will collapse. I would also hope that the art of line comes again to the fore. 1 John Ruskin, ‘The Elements of Drawing’, in Ruskin, Three Letters to Beginners. London: Smith, Elder & Co., 1857, preface p.xi. 2 ibid. p. 15. 3 ibid. p. 102. 4 ibid. p. 112. 5 Walter Crane, Line and Form. G.Bell & Sons, 1900 (page numbers refer to 1921 edition), p. 1. 6

lifetime! I bought a ream of Kent Hollingworth paper in December 1978 and I am still using it 16 years later and there’s plenty left! I also have a mapping pen and a battery of Rotring Isograph pens (13s, 18s and 35s). How I detest the endless cleaning and shaking of these Rotring pens when they don’t work. It is always scares me applying the ink onto the paper, even though I am accustomed to the paper’s surface and how it absorbs the ink in the way I want it to. You have to have a sense of

experience and hard work. I am tense one moment and relaxed the next. The heart is beating. Sirens are singing in my ears and my head feels like crunched cotton wool. I look at the illustration and I look at it again. I look outside the window and look at the illustration once more. I look at it close to, and I look at it from a distance. I need to get away from it. Have a break. Lunch with Raymond and Denie in a local pub. They don’t seem to be real. The illustration is more real and is still

learned to stick closely to the client’s storyboard. We put it into our own drawing; maybe change an angle here and there. So at storyboard stage we copy exactly what they’ve done, unless they say they’re a bit unsure about something. But you tend to just copy what they’ve asked you to do and then animate it. It’s just a formula now, which we stick to. We still like to challenge ourselves with the ads. The one thing that work experience people all say is that they’re surprised at our level of

me a tight set of rules to obey or subvert. The systems automatically involve figure and ground, and how objects relate to the edge and frame has become a personal obsession. As a style, any projection, with its inherent ‘wrong’ perspective, is intriguing. Mechanical drawing lent itself both to drawing things mechanical and technical, and making audiences look twice at things natural. With the axonometric one can draw three sides of an object in one picture, and the overhead view instantly

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