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DRAWING UPON ART
A PARTICIPATORY WORKBOOK FOR ART, ART APPRECIATION AND ART HISTORY
D A L E
E L D R E D
Copyright © 1995 by LG Williams and The Estate of LG Willams Project Director: Layout and Design: Published by: LG Williams lgofbeverlyhills PCP Press www.lg.web-page.net www.lgofbeverlyhills.web-page.net www.pcppress.web-page.net
All rights reserved. No part of the contents of this book may be reproduced without the written permission of the publishers. Printed and bound in the United States.
PREFACE & ACKNOWLEDEGEMENTS CHAPTER ONE
LINE • PERSPECTIVE • PICTORIAL SPACE • MOVEMENT • BALANCE • COMPOSTION DECORATION • CONVENTIONS OF ART • HYBRID IMAGERY
THE ANIMAL WORLD • COMPOUND IMAGERY • SPACE • VALUE • MOVEMENT COMPOSTIONAL SIMUTLANEITY • RANDOM COMPOSITION • AXIS WITHIN OBJECTS SYMMETRICAL & ASSYMETRICAL COMPOSTIONS • ADDRESSING THE VIEWER • VOLUME PURPOSE IN ART • FORM AND REIFICATION • PATTERNS
CARTOON • HYBRID IMAGERY • SPATIAL DEPTH • MOVEMENTS AND COUNTERMOVENT • HORIZON LINE • PICTORIAL FORMATS • PROPAGANDA • PROPORTION • PERSPECTIVE FIGURAL MOVEMENT AND GESTURE • TIME • THE POIGNANT MOMENT • LANGUAGE OF DRAPERY
COLOR • FORM • DUPLICATING IMAGES • STYLE • COMMEMORATIVE PICTURES • SCALE CLOTHING • PORTRAITURE • LIKENESSES • HIEROGLYPHS
VALUE • NARRATIVE PICTURES • FIGURE COMPOSITION • IDEALIZED PORTRAITUE CONTRAPPOSTO • ABSTRACT PRINCIPLES • THE LANGUAGE OF DRAPERY • MOVEMENT TRANSCENDENCE
COLOR • COMMEMORATIVE PICTURES • THE LANGUAGE OF GESTURE • IMPRESSIONS AND IMPRESSIONISM • FANTASTIC LANDSCAPES • MIMICKRY • COMMEMORATIVE ARCHITECTURE • FANTASTIC ARCHITECTURE • STILL LIFES • REALISM THAT CONTRADICTS REALITY CHAPTER SEVEN ICONOCLASM • SIMULTANEITY • DEPICTING ALTERNATIVE REALITIES • ABSTRACT PRINCIPLES • TRANSFORMATIVE IMAGERY • SYMBOLISM • TRANSCENDENTAL GAZE THE AUDIENCE • VANDALISM
CHAPTER EIGHT COLOR • COLOR PRINCIPALS • MONOCHROMATIC VALUE SCALE • PATTERN ADDITIONAL COLOR STRAGEDIES • STYLISTIC HYBRIDS • OTHER WORLDS HOMOGENEITY OF FORMS • ART FOR AN AUDIENCE • FORMAL HYBRIDS • MOSIACS CHAPTER NINE
SATURATED COLOR • EXPRESSIONISM • IMAGINATION • DECORATION • UNUSUAL SPATIAL RELATIONSHIPS • SUPERIMPOSITION OF ABSTRACT PRINCIPALS • SCALE SIMPLIFICATION OF FORM • SUBORDINATION OF FORM TO PATTERN • MASKS PRECIOUS OBJECTS • FIGURE GESTURES • COPYING • ESCHATOLOGY
LOW SATURATED COLOR • VARIATIONS ON FORM • SYNTHETIC FORM • MAGIC • FIGURAL COMPOSITION • ELONGATION OF FORM • REALISTIC DEPICTIONS OF THE DREAM WORLD • CONTRADICTIONS OF VISUAL EXPERIENCE • THE LANGUAGE OF DRAPERY • LETTERING • REIFICATION • REIFICATION • ARCHITECTURAL ENTRANCES
HERALDRY • DIVINE LIGHT • THEATRICALITY • STAINED GLASS • COMMEMORATIVE ARCHITECTURE • DELICATE OBJECTS • FIGURAL GESTURES • LANGUAGE OF DRAPERY FACIAL GESTURES • FIGURAL COMPOSITIONS
UNCONVENTIONAL COLOR • LUXURY GOODS • DELICATE PATTERNS • THREE DIMENSIONALITY • REPRESENTATIONS OF THE VISUAL EXPERIENCE • LINEAR FORM LIGHT SOURCES • MULTIPLE LIGHT SOURCES
COLOR • LINEAR PERSPECTIVE • ATMOSPHERIC PERSPECTIVE • LIGHT CONDITIONS SHADOW • COMPOUNDING IMAGERY • DISTORTIONS OF VISUAL REALITY REPRESENTATIONS FROM THE REALISTIC EXPERIENCE • IDEALISM • REVERSE PERSPECTIVE • GENRE SCENE • PRINTS & PRINTMAKING
UNUSUAL COLOR • PERSONALIZATION • NOCTURNE • REALISTIC DEPICTIONS THAT CONTRADICT THE VISUAL EXPERIENCE • PRESSURES OF TRADITION • CONTROVERSY ATTITUDE • TRANSFORMATIVE IMAGERY • ESOTERIC IMAGERY
SYMBOLIC COLOR • DEPICTIONS OF THE MIRACULOUS • REIFICATION • ROYAL GESTURES • STILL LIFE AND ALLEGORY • CARICATURE • CLASSICAL LANDSCAPES • ANTICLASSIC LANDSCAPE • TIME • PERSONALITY • METAPHOR • VARIETIES OF LIGHT • SPACE & DISTANCE • TROMPE-L'OEIL • SPECIALITY PICTURES • ACTIVATING SPACE
COLOR • DECORATION • PSYCHOLOGY OF LINE • FANTASY PICTURE • OVERT BEAUTY LOVE
VARIATIONS OF COLOR • DRAMATIC THEMES • DEPICTIONS FROM MEMORY PORTRAITURE • REPRESENTATIONS FROM VISUAL EXPERIENCE • DEPICTIONS FROM MEMORY • PORTRAITURE • GENRE SCENES
PERSONAL IMAGERY • EXOTIC IMAGERY • THE DREAM WORLD • ROMANTIC LANDSCAPES • VISUAL CLUES • IMAGINATIVE IMAGERY • SKY • EXPLORING THE MUNDANE PHOTOGRAPHY • EVERYDAY LANDSCAPES • QUICK SKETCH • DOODLES AND SPONTANEOUS IMAGERY • VARIATIONS OF LIGHT • DEPICTING THE INVISIBLE JUXTAPOSITIONS OF UNUSUAL COLOR • POINTILLISM
IRRATIONAL COLOR • COMPOSITIONAL STRUCTURE • COLLAGE • SIMPLIFICATION OF FORM • TIME • COLOR AND FORM • MULTIPLICITY OF VISION • SELF PORTRAIT • COLOR, FORM & COMPOSITION • COLOR AND FORM • EXPRESSION • IMPROVISATION • THE IRRATIONAL • EMBLEMS • THE IRRATIONAL • CHANCE • ERASURE • DEPICTING THE SUBCONSCIOUS • LIGHT • POPULAR IMAGERY • POINT, LINE & PLANE • TRANSITIONS SCALE
PREFACE AND ACKNOWLEDEGEMENTS
LG WILLIAMS WOULD LIKE TO ACKNOWLEDGE THE HELP, SUPPORT AND GREAT NUTRITIOUS FOOD FROM THE FOLLOWING INDIVIDUALS AND INSTITUTIONS:
Dr. Sandra Jean Carley, Grizz Carley, Ms. Ju Youn Lee, Ms. Jenny Saypaw, Catherine Conlin, Mrs. Valerie Arango, Ms. Judy Meyers, The Mead Foundation, the Ponte Foundation, The Nagel Foundation, The Laney Computer Center Staff, and The University of California RSF swimming pool. Also, Professors Mike Henderson, David Hollowell and Seymour Howard.
LGW University of California, Davis (Revised) Winter 1997
Draw a picture of yourself in this box.
Paste a picture of yourself in the box below.
FACE YOUR FEAR OF DRAWING
First and foremost, we are going to face what may be your worst fear going into this book - the fear of making bad drawings. So, in the space below, draw the worst drawing you can make.
There are many types of lines. Draw an example of each of the following. Dotted lines. Lines dividing a highway. A pipeline.
Lines have different thickness and weight. Fill the boxes with the following. Thin lines. Medium lines. Thick lines.
Lines convey emotions. Write your name as if you were in the following states of mind. Very happy. You are blue. You are angry.
Lines have different characters. Fill in the box with one long turning geometric line. Fill the box with one long organic or curvilinear line. Combine the two previous lines in the box below.
Draw the following unusual lines. A plum-line. Line of vision. A beeline.
Use different types and qualities of lines to complete the following exercises. Draw an ordinary object. Draw one of your favorite objects.
Draw an abstract picture.
Draw you latest great idea.
Keep your eyes on a line's direction and course. Complete the following boxes as prescribed. Vertical lines. Horizontal lines. Diagonal lines.
Combine two previous drawings.
Complete the exercise using all the lines above - separate or overlapping.
Draw the bridge of you nose.
Draw the curves of a cloud.
VIEWPOINTS AND PERSPECTIVES
Draw your face from the following angles. Carefully consider the viewpoints requested.
Aerial Perspective: a view from above.
Profile: view from the side. Draw your face as if it was stretched to fit in this space.
PICTORIAL SPACE AND MOVEMENT
Divide space and create a sense of implied movement by following the instructions for each exercise.
Divide this box into 4 equal horizontal segments. Darken the 1st and 3rd sections. Divide this box into 4 equal horizontal segments. Darken the 2nd and 4th sections.
Divide this box into 4 equal vertical segments. Darken the 1st and 3rd sections.
Divide this box into 4 equal vertical segments. Darken the 2nd and 4th sections.
Draw a small object or shape in these areas. Notice its relation to the picture plane and the perceptual differences from one position to another.
VARIETIES OF COMPOSTION
Random Compositions Organized Compositions
Draw 25, randomly placed, dark spots.
Draw 25 dark spots arranged in a recognizable arrangement.
Draw an object in the center of this picture. Symmetrical Compositions
Draw a highway leading to the middle of this picture Asymmetrical Compositions
Draw an object at one corner of this picture.
Draw 2 exact shapes in the same side of the picture plane.
Draw 2 exact shapes in opposite positions.
Balance 2 versions of the same shape, one larger than the other.
Draw 15 circles, each with a different exterior decoration.
Draw 15 circles, each with a different interior decoration.
FOUR CONVENTIONS OF ART
Using love as the theme, draw a picture in each of the following conventions. Realism Symbolism
VARIETIES OF REALISM
Draw a picture from the following varieties of realism. Draw air. Draw something that contradicts your visual experience.
Draw a pencil.
Draw the circulation of your blood in your body.
INTERMINGLING OF REALISM
Draw your self-portrait from memory.
Select an object to draw for each exercise below. Draw the object, while at the same time manipulating it physically to reflect and incorporate the stated concepts and ideas. Make the object look hungry. Make the object look magical.
Give the object some association with your past.
Give the object delusions of grandeur.
Draw an 'abstract' drawing. Use the whole page.
Merge your previous 2 pictures even though they are from different pictorial conventions. If you need an illustration on how to accomplish such an amazing feet, look below.
VARIETIES OF DECORATION
Draw different patterns, designs and motifs as specified. Abstract Decoration
Fill this box with large and small spots. Representational Decoration
Fill this box with alternating light and dark vertical bands.
Draw a wave pattern. Decoration Permeated with Symbolism
Draw a flame pattern.
Fill this box with a spiral motif.
Fill this box with alternating light and dark bands.
VARIETIES OF SYMBOLISM
Draw examples from the following types of symbols.
Create your own symbols that represent your temperament: ideals, beliefs, dreams, or ambitions.
Spend a couple of minutes doodling.
Draw 7 different earthy colors.
Fill in the boxes with 7 earthy red colors.
DEPICTING THE ANIMAL WORLD
Draw the outline for 10 of your favorite animals.
A hand can be more than a hand. Take a good hard look at one. Move it around and watch it bend. If you pay attention, it will make some of most bizarre shapes imaginable. Draw one of those instances. If this proves too difficult, trace your hand while it is at rest. When you are finished with the outline, proceed to shade the hand area in dark. This is called a silhouette.
POSTIVE & NEGATIVE SPACE
The pictures above represent positive and negative imagery. Draw some of your own positive and negative images in the boxes below. Topics have been provided.
LIGHTS AND DARKS (VALUE)
Below, you will see 8 boxes. You are going to create a value scale. The first box will be white and the last box on the lower row will be black. WHITE Shade the remaining boxes in different values to create a transition from light to dark.
Using all the different shades from the above exercise, draw your favorite food.
Draw an animal on the hunt. Draw an animal on the move.
Draw several animals on the move.
Draw an animal sleeping.
Draw all the animals from the previous page in the space below.
Imagine and draw the following scenario: you live in a cave and your laundry, which is scattered around, has not been washed for three weeks.
AXIS WITHIN OBJECTS
Draw the following images, then draw an axis line through them.
A school administrator.
An abstract shape.
SYMMETRICAL & ASSYMETRICAL COMPOSTIONS
Draw yourself standing in a symmetrical pose. Draw an animal in an asymmetrical pose.
Draw 2 objects in a symmetrical arrangement.
Draw 2 objects in an asymmetrical arrangement.
THREE WAYS TO ADDRESS THE VIEWER
Using abstraction, make a drawing that projects the following responses.
Integrate all of the above drawings into the space below, without sacrificing their integrity.
Draw an object that clearly has 3 dimensions.
Create the specified volumes by manipulating the handling, direction and course of lines.
PURPOSE IN ART
Purposes for art vary: psychological, political, aesthetic, magical, etc. Draw a picture exploring the following motives.
Magic: Make a drawing for some magical purpose like flying among the stars.
Politics: Make a drawing expressing your opinion of a highly political issue.
Psychology: Draw your psyche.
Aesthetics: Make a drawing notions of art.
THREE WAYS TO ADDRESS THE VIEWER
Fundamentally, there are 3 methods of communication that artists utilize to communicate to their audience. 1. Draw an object and convey an optical intensity.
2. Draw the same object. Here, convey an emotional intensity.
3. Draw the same object, and convey a conceptual intensity.
FORM AND REIFICATION
Artists believe that visual forms can convey thoughts and ideas. For example, write down an important idea in the first box below. (Be careful, use small print to squeeze all the words in.) What would this idea look like in a visual form? Next, draw this in the box marked 'conceptual form'. Finally, show the transformation process between idea and conceptual form in the remaining boxes.
Fill the following boxes with geometric patterns.
Fill these boxes with organic patterns.
Draw a pattern that reflects your temperament.
Draw the contour of your head. Proceed to fill the shape with a pattern from the previous page.
Draw the schema of your face.
VARIETY OF FORM
Forms come in all shapes and sizes. Draw 25 different varieties.
FORM AND PRESENCE
Draw 3 really small shapes that have a very large presence.
Draw 3 really large shapes that have a very small presence.
Draw a large shape extending from the line below. Make it heroic and ornate.
Forms can imply meaning. After reading the following ideas and feelings, draw the first forms that come into your mind. Lust Slam-Dunk Prehistory
Draw your Art History professor defending your class from unidentified assassins.
Fill the boxes with the following lines.
Horizontal & Vertical
Cut out and paste a cartoon. Look at it critically. How did the cartoonist delineate the images? How did the artist create the scenario? How do the figures relate to the message being conveyed? Compositionally, where are all the elements placed? Which way are the main participants facing?
ANALYZING DRAWING TECHNIQUES
In the boxes below, copy some of the different drawing techniques used above.
Review the animal drawings you did in the last chapter. Select some anatomical elements from some of the animals. Draw them in the boxes below.
Next, draw a full-length portrait of yourself. However, add all the different animal elements from above to create a hybrid creature.
ILLUSIONS OF SPATIAL DEPTH
For some artists, it is essential to create pictures, which have illusionary spatial depth. One device for achieving spatial depth is by overlapping images. Draw a picture of you and your friends entering a shopping mall. Try to achieve the illusion of spatial depth by placing various people in front of one another.
ILLUSIONS OF MOVEMENT
Artists can create a variety of illusions of movement in 'still' pictures. For example, by facing all the figures in a certain direction you are creating an implied sense of movement within a picture. Other instances include lifting a leg of a figure up off a ground line. This, in effect, frees up a figure to move about, compounding and enhancing the sensation of movement. Repeat the previous scenario, but face all the participants in the other direction, i.e., leaving the shopping mall.
MOVEMENTS AND COUNTERMOVENTS
Now, combine the last two drawings, creating a sense that the two groups of people are meeting each other on the street.
When drawing faces, eyes can suggest and even compound the sense of movement. Draw a face in each box below with eyes looking in four different directions.
In addition, you can enhance the illusion of this effect by placing your face compositionally in the opposite side to which the eyes gaze. Try it yourself.
Draw a face with the eyes looking up.
Draw a face with the eyes looking down.
Draw a labyrinth pattern.
Draw a picture from the wild part of your imagination. Decorate it.
All elements, in one way or another, can incorporate pattern or decorative proprieties. Draw examples of how the following features can incorporate decoration. Hair A Group of People
The Moon and Stars
The Roof of Your Mouth
In each of the boxes below, draw the outline and major divisions of an animal or human figure. For each division apply a pattern according to the specified convention. Try to select a pattern that enhances the associative, psychological, or physiological aspects of the form.
A combination of the previous three.
HORIZON LINE IN PICTORIAL FORMATS
Below, we have the three basic pictorial formats. In each of them, put a horizon line in the following positions: (1) near the top, (2) at the middle, (3) near the bottom, and finally (4) at a diagonal. Darken the bottom portions of each picture.
Draw a cartoon in the format provided.
Draw a picture that reflects the ideals and aspirations of a great nation.
Draw a picture that would instill fear into the mind of anyone who looked at it.
VARIATIONS ON PROPORTION
In the spaces below, draw a human figure. Then introduce and exaggerate the following proportional modifications.
Elongate the body.
Make the body too short.
Make the chest too big.
Try a face. Draw the eyes too large for the rest of the features.
VIEWPOINTS AND PERSPECTIVES
Draw the same object from the numerous viewpoints.
From the front.
From the back.
From the side.
MULTIPLE VIEWPOINTS WITHIN SINGLE FIGURES
'Real world' impossibilities occur in the pictorial world constantly. It is one of Art's major assets. Down below, we are going to create the elements one such impossibility.
Draw a nose as it is seen from the profile.
Draw an eye as it is seen from the front.
Draw the outline of a face as it is seen from the side.
Draw a chest as it is seen from the front.
Draw an arm as it is seen from the side view.
Draw an open hand as it is seen from the top .
Draw a leg as it is seen from the side.
Draw a foot as it is seen from the side.
Draw a baseball cap as it is seen from the front.
MULTIPLE VIEWPOINTS WITHIN SINGLE FIGURES
Reassemble all the elements from the previous page to make a standing figure. Do not alter any of the body parts.
FIGURAL MOVEMENT AND GESTURE
Imagine yourself participating in your favorite sports activity. Select 4 distinct stages of the sport and draw yourself in them. At the same time, concentrate on specific figural gestures unique to those stages.
IMPLIED AND CONTINUOUS MOVEMENT
Rearrange and draw the 4 drawings from the previous page. From one image to the next, try to create a chronological sense of order and, by association, a sense of continuous movement.
TIME: THE POIGNANT MOMENT
Look at the drawings above. Merge them into a single image. The problem is, how might an artist arrange a singe figure, in such a way, as to suggest numerous instances of time and action.
THE LANGUAGE OF DRAPERY
Imagine and draw a wrinkle free shirt. Not just your ordinary wrinkle free shirt, this shirt has been soaked in starch and then pressed by a 20-ton steamroller.
Draw another shirt that rests over a chair. Try to accent the folds and divisions of the fabric.
Draw yourself as the 'Master-of-the-Universe'.
Conventionally color the following elements.
SIMPLIFICATION OF FORM
1. Simplify your previous drawing. 2. Simplify your previous drawing even further.
PSYCHOLOGY OF FORM
As the 'master of the universe', you need a place to live. Envision and draw a structure that projects your omnipotent status.
Before the invention of Xerox machines or opaque projectors, artists devised different methods for copying pictures. method. Here is one
1. Select a drawing.
2. Draw an evenly spaced grid over the drawing.
3. Take a new piece of paper. It can be of any size, but it must have the same overall proportions. Lightly draw a grid over it. Use the same ratio and number of squares, as in the original drawing.
4. Proceed by copying the contents of your original drawing, one square at a time.
5. When done, erase all the light lines you initially drew.
6. You are finished.
VARIATIONS ON STYLE
Draw a shoe, the same way, 8 times.
Draw a shoe 8 times. Use a different style and technique for each drawing.
Commemorate the person you respect the most by drawing a picture of their achievements.
HIERARCHY OF SCALE
Draw yourself and the person above doing 5 things you would like to do for a day. Isolate each event with separate ground lines. Furthermore, rank their importance by adjusting their relative scale.
Draw yourself standing alongside the following elements.
Your Art History professor.
Draw yourself at the beach on the hottest day in summer.
PORTRAITURE: SYNTHETIC LIKENESSES
For our next project, create a synthetic portrait. Using your family and relatives, merge all the facial features of each gender into a new facial composite.
Synthetic Female Portrait
Synthetic Male Portrait
Create your own picture words.
Draw an example of foreshortening.
SUBTLE VALUE TRANSITIONS
Draw 6 different values of middle gray.
Draw a scene from your favorite story. Carefully select the moment you choose.
Draw some figures to conform to the initials of your name.
Draw 2 portraits of yourself.
An idealized portrait.
An idealized portrait with a big smile on your face.
Merge an idealized portrait from above with your first self-portrait from Chapter One.
On the sculptural pedestals below, arrange geometric blocks as directed.
SUPERIMPOSITION OF ABSTRACT PRINCIPLES
Superimpose an organic line of equal expression on this geometric line.
Superimpose a geometric arrangement of equal expression onto the following organic shape.
THE LANGUAGE OF DRAPERY
Draw yourself, during Halloween, dressed as a ghost with a huge sheet covering your body.
Redraw the picture above, but coordinate the folds and divisions of the fabric into distinct decorative patterns.
Draw yourself in a state of wild frenzy.
Draw yourself in a transcendental state.
Draw a self-portrait that stresses your individual characteristics. Be specific! Delineate all your unique facial details and nuances.
Invent 6 light, atmospheric colors.
Now, give those 6 colors a darker value.
Draw a memorable event from your life.
THE LANGUAGE OF GESTURE
Draw yourself giving a speech to a crowd of avid listeners. Pay close attention to the dogmatic gestures you make while addressing an audience.
IMPRESSIONS AND IMPRESSIONISM
Quickly, draw a landscape using only shades and tones. Do not to be distracted by inconsequential details.
Draw your own 'Fantasy Island'.
Draw yourself as your favorite popular personality. That person is: .
You have decided to commemorate your birthday with an architectural structure. Design the structure.
Decorate your bedroom as you would have it if you had unlimited funds for such a project.
Draw what is on top of any table or desk as realistically as you can.
REALISM THAT CONTRADICTS REALITY
Redraw the objects floating above the table.
Draw yourself exhibiting supernatural powers.
Draw a large happy face with big eyes. Then, mutilate the drawing by scratching out its eyes and throat. Enjoy!
Simultaneously, draw your head and the thoughts that occur within it.
DEPICTING ALTERNATIVE REALITIES
Draw a person consumed with spiritual reverie.
SIMPLIFICATION TO ABSTRACT PRINCIPLES
Draw a face. However, use only primary forms and patterns.
Draw yourself transforming into your favorite object. YOURSELF
DEPICTING ALTERNATIVE REALITIES
Draw a supernatural event that has occurred to you or someone you know.
Art has been described as an 'escape'. Draw the place where you would like to escape to.
Convey symbolically, a specific moral message.
Draw a pair of eyes looking into infinity.
Cut out an advertisement that relies primarily upon images for its appeal.
Carefully, draw the above picture and then vandalize it.
Draw and color an abstract picture.
Fill in the boxes with the appropriate color or colors.
Fill the boxes with the appropriate colors. Three Primary Colors
Three Secondary Colors
A Pair of Complimentary Colors
A 'Hot' and 'Cool' Color of your Choice
A Pair of Analogous Colors
A Pair of Split-Complementary Colors
MONOCHROMATIC VALUE SCALE
Earlier in Chapter 2, we drew a value scale. For this exercise, create a monochromatic color value scale with the color of your choice. White
Using the above monochromatic scale, draw the pattern off the bottom of your shoes.
ADDITIONAL COLOR STRAGEDIES
Create the colors, in each of the different categories, as proscribed. Psychological Colors
Love Associative Color
Water Local Color: Fill in the names
Think of your two favorite periods or styles in art. Select a picture from each style. Merge the 2 styles together and create a stylistic synthesis.
Draw how you see or would like to envision the other world.
HOMOGENEITY OF FORMS
Draw the following scenario: a theatrical stage where your family is receiving their final applause for a job well done. However, because of all the make-up, they look the same - either female or male.
ART FOR AN AUDIENCE
Your favorite organization would like for you to design their next highway billboard. Your design must not use any words.
In the space below, as clearly and simply as possible, create a picture that represents a complicated idea or notion, so that someone uninitiated could understand.
Create a majestic Pattern.
Draw you face using a mosaic technique.
Draw what you feel at this moment using only abstract imagery.
Fill in with bright, bold colors.
Fill in with large dots of bold color.
Draw a catastrophe.
Rework your drawing from the previous page and transform it into a landscape.
Scribble across this page. Then, take a few minutes to look at what you have. Do you see anything that is recognizable? Select some images and modify them with bold colors.
Draw your eating utensils and decorate them.
UNUSUAL SPATIAL RELATIONSHIPS
Draw a chair with bizarre or unreal spatial relationships.
SUPERIMPOSITION OF ABSTRACT PRINCIPALS
Draw a fierce, imaginary creature out of patterns and abstract shapes.
Draw a detailed self-portrait in each of the boxes below.
SIMPLIFICATION OF FORM
Draw a simplified self-portrait in each of the boxes below.
SUBORDINATION OF FORM TO PATTERN
Draw a self-portrait in each of the boxes below that translates your facial features into decorative patterns.
Draw yourself wearing a mask that represents your nature.
Distill that image to its schema.
Redraw the above drawing in the labeled boxes below. Complete the other boxes by showing the transformation process from image to schema. ORIGINAL MASK
Draw your favorite precious object.
Draw yourself giving the 'high-five' to a friend.
Cut an image out of a newspaper or magazine.
1. Copy the image that you cut out.
2. Redraw your copy.
3. Redraw the previous copy, again.
4. Redraw the previous copy, again.
Draw the end of the world.
Draw the most powerful shape. Fill it in black.
LOW SATURATED COLOR
Fill in with colors having a low saturation.
VARIATIONS ON FORM
Draw some different sizes of squares.
Draw some different sizes and shapes of rectangles.
Combine elements from above to create 2 hybrid forms that can protect you from Evil.
Draw your lucky charm.
Draw yourself, newly enlisted in the armed services, and standing at attention with the rest of your platoon.
ELONGATION OF FORM
Elongate your body to fit the space below. Draw 5 friends in this space.
REALISTIC DEPICTIONS OF THE DREAM WORLD
Draw 2 dream scenes in the spaces provided.
CONTRADICTIONS OF VISUAL EXPERIENCE
Draw an apparition in the sky.
THE LANGUAGE OF DRAPERY
Draw an article of clothing as it appears on a coat hanger.
Select and sketch out the first initial of your last name. Go on to alter it into an imaginative construction, full of movement, color, variety and imagery of all sorts.
Write down an idea that you feel should be fully integrated into human consciousness.
Now, give that idea a form. Draw the concept without the use of words.
Redraw the idea from the previous page as if it existed as a massive architectural structure.
Draw the interior of the previous structure.
Draw the front door of your apartment or house.
Think of how you greet your visitors: for instance, do you greet them with hugs, kisses, pats-on-the-back, big smiles, or large handshakes? Transform and modify the above
structure in some way that could translate your method of greeting friends into a visual, physical form.
Fill this page with 40 vertical lines, starting from the point below.
Your family has been allowed to have a coat of arms. Please design it.
Draw 6 examples of divine light.
You are an actor on a stage that has just witnessed a divine act. Draw the stage, the event and your reaction.
Draw a scene from your favorite book, mimicking the style of stained glass.
Create an architectural building that will proclaim and catalogue your past, present, and future achievements.
Draw a fragile or delicate object.
Draw yourself paying homage to your parents.
LANGUAGE OF DRAPERY
Draw a bent knee or elbow as it appears through clothing.
Draw your face with an intense look in 3/4 view.
Draw yourself as if you were....
Transformed into a snake.
Standing at 'attention'.
Dressed for your wedding.
Flying without assistance.
Climbing Mt. Everest.
Draw yourself as a sculpture attached to your house or apartment.
Fill in with unconventional colors.
Draw 5 luxury items you wish you had.
Create an intricate pattern.
Choose a coin and draw it. Try to capture its three dimensional quality through extensive use of light and shade.
REPRESENTATIONS OF THE VISUAL EXPERIENCE
Draw a patch of grass, a shrub or a tree. Pay close attention to its individual features.
Create your own hair-raising roller coaster.
Draw a light that is turned on in a room. Try to distinguish the different shades of light. .
MULTIPLE LIGHT SOURCES
Draw a room with multiple light sources.
Draw an open window or door. Include the foreground space and the space that is seen through the opening.
Create light-filled examples of the following colors.
Look across any city street and draw 3 city blocks. Draw the scene with linear perspective. In addition, add or subtract parts or portions to your drawing to enhance the sense of pictorial harmony.
Draw a landscape. Concentrate on the transition that occurs in the horizon, between the earth and the sky.
Draw an object under dim light.
Draw the same object under bright light. Concentrate on the shadows and shades.
Draw the shadow of your hand.
Redraw the same shadow but transform it into another object.
DISTORTIONS OF VISUAL REALITY
Draw your face as if it is pressed up against a window.
REPRESENTATIONS FROM THE REALISTIC EXPERIENCE
Draw your hand. Concentrate on all the details that you see, i.e., shades, hairs, wrinkles, etc.
Transform the above depiction into an idealized representation.
Draw a picture using reverse perspective.
Draw a scene from your everyday life. Make sure that the viewer can determine what season of the year it is through direct and indirect clues.
PRINTS & PRINTMAKING
Using a soft lead pencil, darken the fingerprint of your thumb. Then, press it firmly against the paper. Repeat until you have achieved a good, dark impression.
Draw the most bizarre thing you can think of, in the most bizarre manner.
Create unusual colors for these unusual circumstances.
Transform a common object to reflect some part your personality.
Draw yourself as an 8 feet tall phantom that haunts the countryside at night!
REALISTIC DEPICTIONS THAT CONTRADICT THE VISUAL EXPERIENCE
Draw a night landscape. In the picture, add several elements that contradict visual experience. Furthermore, the light must assume an unnatural and disturbing element.
PRESSURES OF TRADITION
Draw yourself in the shadows of giants.
Make a drawing that will challenge a commonly held belief or idea.
Make a drawing that has a bad attitude - in content and style.
Draw what you see in the clouds.
Draw a picture that only you could understand or explain.
Draw your portrait in chiaroscuro.
Create the following symbolic colors.
DEPICTIONS OF THE MIRACULOUS
Depict a lofty idea in abstract terms. Make it appear perfect and harmonious.
Draw yourself as a king or queen. Please include the royal gestures and paraphernalia.
STILL LIFE AND ALLEGORY
Draw your favorite dinner. Add a definite allegorical context.
Draw a caricature of yourself.
Draw a caricature of your Art or Art History professor.
Draw the contemporary landscape in classical terms.
Draw the contemporary landscape in anti-classical terms.
As in a snapshot, capture a fleeting moment in time.
Draw your face as a window into your soul.
Use the landscape as a metaphor for an 'idea'. The idea is:
VARIETIES OF LIGHT
Draw examples of these qualities of light. Physical Light.
SPACE & DISTANCE
Draw an object as close to your eyes as you can.
Draw the object from as far back as you can.
Draw and capture the following effects of light and shade.
A Transparent Object Containing Water
A Shiny Metal Object
Your Reflection in the Window
A Piece of Jewelry
Draw a picture that shows, without a doubt, your particular expertise.
If you could control the winds, what would you have them do?
Draw yourself in a chic outfit.
Invent 14 beautiful or ugly colors
Draw 4 ornamental decorations.
PSYCHOLOGY OF LINE
Draw 4 lines that convey a sense of luxury.
Draw 4 lines that convey passion.
Draw your fantasy day at paradise. Include whomever or whatever you want.
Draw your portrait. Make yourself excessively beautiful or handsome.
Draw a scene from your first love.
Draw a timeless theme.
VARIATIONS OF COLOR
Fill in with 12 varieties of ruddy brown.
Draw a person pondering the most important thing in his or her life. Include the appropriate setting for such an occasion. In addition, make the gestures of your figure correlate in some compositional way to the issues that are being contemplated.
Draw a comical picture that imparts a lesson to the viewer. Concentrate on actions, gestures and stage props.
DEPICTIONS FROM MEMORY
Draw something from your distant memory.
Draw a picture of a world-renowned historic figure. That person is .
REPRESENTATIONS FROM VISUAL EXPERIENCE
Spend time looking at any object around you. Draw it, keeping your attention and your eyes solely upon the object. Do not look down at your paper while drawing.
DEPICTIONS FROM MEMORY
Now, draw the object again without looking at it. Attempt to draw it in detail.
Draw a flattering and elegant half-length portrait of a friend. Enhance the person's character by placing him or her in an appropriate setting.
Give us a candid picture of your kitchen.
It is estimated that the eye can discern over 10,000,000 colors. Create 100 colors.
Draw a picture that asserts your individual personality.
Sketch an endangered species in its natural surroundings.
THE DREAM WORLD
Sketch one of your nightmares.
Sketch a romantic landscape.
Sketch the back of a famous personality. Give clues as to his or her personality.
Sketch a being from another planet.
Sketch the homeland of the above figure.
Draw the sky.
EXPLORING THE MUNDANE
Sketch a trashcan. In your drawing, convey its vital importance.
Select a photograph from the newspaper and cut it in half. Tape it here.
Sketch, quickly and expressively, the above photograph.
Look out a window and sketch everything that you see.
Redo the previous exercise in 15 seconds.
Sketch your portrait in 60 seconds.
Sketch your portrait in 30 seconds.
Sketch your portrait in 10 seconds.
DOODLES AND SPONTANEOUS IMAGERY
Look through some of your class notebooks. Copy random doodles that exist on the cover or on the margins of the pages.
VARIATIONS OF LIGHT
Sketch an object under 4 different light conditions.
DEPICTING THE INVISIBLE
Draw how you think the process of visualization works, both internally and externally.
JUXTAPOSITIONS OF UNUSUAL COLOR
Create unusual juxtapositions of color.
Draw any outdoor scene. Use monochromatic dots of different value.
Repeat the above, but use different values from many hues.
Quickly, draw your portrait with unreal and irrational colors.
Quickly, draw a landscape with unreal and irrational colors.
Squint at the above drawing. Redraw the dominant elements.
From the newspaper, take several different pictures and cut them into pieces. Recombine them to make a picture.
SIMPLIFICATION OF FORM
Draw the following:
A Straight Line
Some Black Dots
A Light Value
A Middle Value
A Dark Value
Redraw the collage from the previous page using only the above elements.
Place the previous picture in an automobile going through a city at 500 M.P.H! Draw this speedy event.
COLOR AND FORM
It has been suggested that each color has its own specific size and shape. Make a form for each primary and secondary color.
MULTIPLICITY OF VISION
Draw your head from the following angles.
Select the prominent elements from each of the above views. Recombine your selections to make an unusual self-portrait.
COLOR, FORM & COMPOSITION
1. Randomly draw 8 shapes of various sizes in the space provided below. Select a color and fill them in. 2. This time, place the above elements in specific spaces.
3. Randomly draw a square in the space provided. Select a color and fill it in.
4. Redraw another square. Place it in a specific space. Then select a color and fill it in.
COLOR AND FORM
Draw the following with a variety of colors.
Make an abstract drawing for each of the following emotions.
Improvise for 5 minutes and make a large, colorful, abstract drawing.
Draw a picture that would confuse and baffle your Art History professor.
Make an emblem for anarchy.
Draw 2 objects that would never be seen together.
Draw 2 objects participating in some strange activity.
Pick up something off the floor and draw it.
Erase your portrait found at the beginning of chapter 15. Then, copy that drawing in the space below.
DEPICTING THE SUBCONSCIOUS
Without hesitation, draw the first four things that come into your mind.
Draw your ceiling. Try to capture all the nuances of light.
Draw the most popular image of your generation.
POINT, LINE & PLANE
Fill in the boxes as requested with colored lines.
Thick & Bold Marks
Thin & Faint Lines
All of the Above
Create an abstract drawing with all the above elements. In addition, make the bottom portion of the drawing perceptually heavier than the top.
Redraw the previous drawing. Combine it with a light-to dark-tonal transition from the left of the picture to the right.
Redraw the previous drawing. Combine it with esoteric symbols and designs.
Make a bold drawing in the small space below.
Copy exactly the above drawing in the large space provided below.
Abstraction 4, 14, 17, 82, 135, 176, 177 Decoration 16 Imagery 90 Superimposition of abstract Principals 66, 93 Actions 151 Advertisement 81 Animals 19, 23, 39 Endangered species 157 Imaginary creatures 93 Architecture 73, 107 Entrances 108 Fantastic 73 Audience 81, 87 Addressing the, 26, 29 Attitude 132 Axis 24 Balance 7 Beauty 145, 149 Beeline 3 Billboard 87 Caricature 137 Cartoon 38, 46 Catastrophe 91 Chance 180 Chaos 20 Clothing 104 Seasonal 61 Clouds 133 Clues 158 Direct and indirect 128 Collage 170 Color 82, 121, 145 Analogous 83 Associative 85 Atmospheric 69 Complimentary Color 83 & Composition 174 Conventional 55 Earthy 18 & Form 172, 174, 175 Irrational 169 Juxtapositions of unusual 166 Local 85 Low saturated 99 Monochromatic 84 Primary 83 Principals 83 Psychology 85 Saturated 90 Split-Complementary 83 Strategies 85 Temperature 83 Unconventional 116, 129, 168, 169 Variations 150 Commemorative Architecture 73, 112 Pictures 59, 70, 73 Compositions 8 Asymmetry 8, 25 Center-Oriented 8 Off-Centered 8 Random 8, 23 Simultaneity 23 Stage-like 87 Structure 169 Symmetry 8, 25 Variations 8 Compound Decoration 45 Imagery 13, 19, 124 Contour 32 Contraposto 66 Controversy 132 Conventions of art 10 Copying 57, 97 Countryside 130 Decoration 9, 43, 73, 92, 146 Exterior 9 Incorporating 44 Interior 9 Labyrinths 42 Permeated with Symbolism 16 Representational 16 Variations 16 Doodles 18, 164 Drama 151 Drapery Language of 54, 114 Drawing Techniques 38 Dream 103 Eating utensils 92 Emblem 17, 178 Emotions 176 Mundane 160 Erasure 180 Eschatology 98 Expression 176 Expressionism 91 Eyes 80 Gaze 42 Facial features Into decorative patterns 94 Gestures 114 Figure Composition 64, 101, 115 Gestures 52, 96, 113, 151 Movement 52 Food 20 Foreground 121 Foreshortening 63 Form 77 Elongation 102 & Presence 34 Homogeneity 87 Hybrids 88 Implications 36 Linear 119 Powerful 99 Presence 35 Psychology 56 Reification 30 Simplification 56, 94, 171 Synthetic 100 Variations 34, 165 Genre scenes 128, 154 Gestures Language of, 70 Royal 136 Graphic Sign 17 Harmony 135 Heraldry 110 Hieroglyphs 62 Horizon line 5, 46, 122 Iconoclasm 76 Idealism 126, & Portrait 65 Illusion Of Movement 41 & Spatial depth 40 Imagery Esoteric 133, 156 Exotic 157 Fantastic 20, 148 Hybrid 15, 39 Imaginative 159 Irrational 178, 179 Popular 182 Spontaneous 164 Transformative 78, 133 Imagination 92 Games 43 Impressions & Impressionism 71 Improvisation 177 Infinity 135 Landscape 122, 140, 167 Anti-Classic 138 Classical 138 Everyday 162 Fantastic 71 Nocturnes 130, 131 Romantic 158 Lettering 105 Light 141, 182 Conditions 123 Divine 111 Nuances 182 Sources 120 Supernatural 141 Symbolic 141 Value 21 Variations 141, 165
Line 3, 183
Articulation 5 Convex 5 Direction 5 Diversity 4, 37 Psychology 147 Unusual lines 3 Lines 37 Concave 5 Diagonal 5 Dotted 3 & Emotions 3 Weights 3 Love 149 Magic 20, 28, 101 Masks 95 Medium lines 3 Memory 152, 153 Metaphor 140 Mimicry 72 Mosaic 89 Movement 42 & Countermovement 41 Depicting 22 Implied 7, 53 Narrative Pictures 64 Nightmare 157 Objects Delicate 113 Luxury 117 Precious 96
Outline 19 Overlapping 40 Pattern 31, 77, 84, 93 Delicate 117 & Form 94 Majestic 88 Perspective 6 Aerial 6 Atmospheric 122 Frontality 6 Linear 122 Multiple 50, 51 Reverse 127 Perfection 135 Personalization 130 Photography 161 Pictorial formats 46 Picture words 62 Plane 183 Point 183 Pointillism 167 Politics 28 Proportion Variations 165 Portraiture 152, 154, 163 Synthetic likeness 62 Positive and negative imagery 20 Pressures of Tradition 131 Printmaking 128 Profile 6 Propaganda 47
Purpose in art 28 Quick Sketch 163 Realism 118, 126 153 Alternative 77, 79 Contradictions of 74 Distortions 125 Dream World 103 Intermingling of 12 Invisible 20, 166 Variations 81 Rectangles 100 Reification 106, 107, 135 Roller-coaster 119 Scale 60, 94, 185 Hierarchy 59 Schema 33, 95 Sculpture 116 Secondary Color 83 Self-portrait 12, 69 Detailed 94 Simplified 94 Shade 21, 124 Simultaneity 76 Sky 160 Space 142 Activating 144 & Distance 142 Pictorial 7 Positive and negative 20 Three Dimensionality 118 Unusual 93
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