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Drawing is experiencing an unparalleled surge in the art world. Passé notions that once defined drawing as being a preparatory stage for painting or sculpture have long since been cast aside. Drawing is now fully recognized as its own art form—in the biennials, art fairs, museum exhibitions, and beyond. Drawing has come of age. Contemporary artists are increasingly discovering that drawing is something unique and different from painting. It is an intense, sensitive, compelling, personal, and utterly direct art form, one with its own concepts, characteristics, and techniques. In addition, contemporary drawing is not governed by any particular imagery, but rather encompasses a variety of approaches, including realist, abstract, modernist, and post-modernist. Contemporary Drawing delves into the essential and far-reaching concepts of this medium, exploring surface, mark, space, composition, scale, materials, and intentionality in turn. Key techniques, such as using nature to induce marks and working with a checklist to determine a drawing’s problems, are introduced throughout. Plus, an in-depth chapter examines a number of artists, such as William Kentridge and Gego, who are breaking traditional boundaries that separate one artistic discipline from another. Lushly illustrated by a wide range of highly accomplished contemporary artists, Contemporary Drawing offers a broad perspective on this expansive and energized field of art.
Everywhere to-day is the Illustrator (artist he may not always be), for never was illustration so marketable as now; and the correspondence-editors of the Sunday papers have at length found a new outlet for the superfluous energies of their eager querists in advising them to "go in" for black and white: as one might advise an applicant to adventure upon a commercial enterprise of large issues and great risks before the amount of his capital (if any) had been ascertained.It is so very easy to make black marks upon white cardboard, is it not? and not particularly difficult to seize upon the egregious mannerisms of the accepted purveyors of "the picturesque"-that cliché phrase, battered nowadays out of all real meaning.But for really serious art-personal, aggressive, definite and instructed-one requires something more than a penchant, or the stimulating impulsion of an empty pocket, or even the illusory magnetism of the vie bohême of the lady-novelist, whose artists still wear velvet coats and aureoles of auburn hair, and marry the inevitable heiress in the third volume. Not that one really wishes to be one of those creatures, for the lady-novelists' love-lorn embryonic Michael Angelos are generally great cads; but this by the way!What is wanted in the aspirant is the vocation: the feeling for beauty of line and for decoration, and the powers both of idealizing and of selection. Pen-drawing and allied methods are the chiefest means of illustration at this day, and these qualities are essential to their successful employ. Practitioners in pen-and-ink are already numerous enough to give any new-comer pause before he adds himself to their number, but certainly the greater number of them are merely journalists without sense of style; mannerists only of a peculiarly vicious parasitic type."But," ask those correspondents, "does illustration pay?" "Yes," says that omniscient person, the Correspondence-Editor. Then those pixie-led wayfarers through life, filled with an inordinate desire to draw, to paint, to translate Nature on to canvas or cardboard (at a profit), set about the staining of fair paper, the wasting of good ink, brushes, pens, and all the materials with which the graphic arts are pursued, and lo! just because the greater number of them set out, not with the love of an art, but with the single idea of a paying investment of time and labour-it does not pay! Remuneration in their case is Latin for three farthings.Publishers and editors, it is said, can now, with the cheapness of modern methods of reproduction as against the expense of wood-engraving, afford to pay artists better because they pay engravers less. Perhaps they can. But do they?
The primary skill needed by anyone who works in fashion is the ability to convey—to clients and the general public alike—images of the designs. The impression given to the viewer depends on whether the fashion design drawings are good. Contemporary Fashion Illustration Techniques thoroughly describes the basics of fashion illustration, and covers the latest trends such as vivid images, sprightly movement, and garment material texture. After all, fashion drawing is not simply about sketching a body and face; only when you accurately reproduce the garments and their colors can the designs truly come to life.
The market for illustration is changing. How can illustrators survive and thrive? Illustration students, educators, and working artists will find illuminating commentary on editorial, graphic novels, comics, animations, Web, games, toys, fashion, textiles, and more, along with an exploration of how old platforms have changed and new ones emerged. Fifty working illustrators, including such top names as Christoph Niemann, Alex Murawski, Jashar Awan, Yuko Shimuzo, and Tomer Hanuka, share insights on what works now. Published in association with the School of Visual Arts, Marketing Illustration explores the impact of technology and the future of the illustration market. No illustrator can afford to miss this thought-provoking resource.
A guide for artists, illustrators, students, and hobbyists on how to use basic drawing principles and techniques to create fresh, expressive pieces of art. This isn’t a dry instruction manual; it’s a contemporary guide filled with instruction, encouragement, and tips. You’ll enjoy a dynamic, easy-to-follow exploration of drawing mediums and tools as you work through creative exercises and projects. Aspiring pencil artists and illustrators will also learn how to “see” a subject and render a personal yet modern interpretation of their observations on paper. From expressive architecture and landscapes to nature motifs, animals, and people, Modern Drawing provides a fresh, contemporary, and enjoyable approach to learning how to draw. The Modern Series of books offers a fun, contemporary method to working with traditional art media, demonstrating that with the right type of instruction, encouragement, and tips, drawing and painting success can be achieved by any artist or creative type. Also in the Modern Series: Modern Colored Pencil, Modern Acrylic, and Modern Watercolor.