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"The Science and Art of Model and Object Drawing" constitutes a fantastic introduction to drawing from real life objects and models, designed for the self-instruction of teachers and art students. It covers both theory and practice, offering the reader simple instructions and explanations coupled with simple, handy diagrams. Highly recommended for all with an interest in improving their drawing skills. Contents include: "Terms and Definitions", "Of Limits", "Of Extension", "Quantities of the First Degree-Lines", "Quantities of the Second Degree-Surfaces", "Quantities of the Fourth Degree-Inclination", "Words Denoting Position and Relation", "Orthographic Projections", "How to Read Apparent Forms", et cetera. Many vintage books such as this are becoming increasingly scarce and expensive. We are republishing this book now in an affordable, high-quality, modern edition complete with a specially commissioned new introduction on drawing and drafting.
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Excerpt from The Science and Art of Model and Object Drawing: A d104 Book for Schools and for Self-Instruction of Teachers and Art-Students in the Theory and Practice of Drawing From Objects The tendency of the American people to study art marks an era in our intellectual life. Students of art multiply rapidly: art-schools are well filled, and private teachers are in great demand. All branches of art are receiving attention, and especially the industrial department. There are two sources of art-instruction, - the teacher, and nature. There are also two methods of practice, - working from copies, and working from nature. Multitudes of private pupils do nothing but copy the work of others, and consequently they never acquire the power to produce original work themselves. The two methods may be combined, but nature must always be regarded as the great instructor. We can do no greater service to our pupils than to prepare them to learn from nature, to open their eyes and minds to the harmonies and melodies which she has in ample store for them. There is no department of public instruction better adapted to the development of the powers of observation than drawing from objects. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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From the INTRODUCTION. THE tendency of the American people to study art marks an era in our intellectual life. Students of art multiply rapidly: art-schools are well filled, and private teachers are in great demand. All branches of art are receiving attention, and especially the industrial department. There are two sources of art-instruction, - the teacher, and nature. There are also two methods of practice, - working from copies, and working from nature. Multitudes of private pupils do nothing but copy the work of others, and consequently they never acquire the power to produce original work themselves. The two methods may be combined, but nature must always be regarded sis the great instructor. We can do no greater service to our pupils than to prepare them to learn from nature, to open their eyes and minds to the harmonies and melodies which she has in ample store for them. There is no department of public instruction better adapted to the development of the powers of observation than drawing from objects. The art-student, in progressing through the various branches of his study, is soon confronted with the necessity of making for himself original drawings from objects. He cannot long follow copies, and depend upon them for guidance: he must read forms independently, as he would read a book ; and he must give his own rendering of them. At this stage he is presumed to have acquired a ready hand in drawing from the copy, and to be in possession of some knowledge of Plane Geometry. Thus prepared he enters upon a tour of investigation, not unlike the explorer of a new country. He must note all the facts presented to his observation, and deduce all the laws discoverable by his understanding. To the student it is emphatically a field of discovery. His eyes must be opened to new facts, which have been hitherto unnoticed by him. His method of seeing is to be changed from the casual and accidental to the accurate and discriminating method which penetrates and comprehends the subtleties of the apparent forms of objects, and of light, shade, shadow, reflections, and color. Every teacher of art knows that the principal part of his work is teaching his pupils to see and how to see. The pupil begins with little knowledge of the apparent forms of objects, and with no habit of observing them. This knowledge must be acquired, and the habit of seeing must be formed. This is the only foundation for true progress. In this respect, to draw is to know; and not to know, is not to be able to draw. The subject of Object-Drawing has a basis of fact throughout. There is no guess-work ; mathematical precision pervades the whole; every question can be settled by reference to fundamental principles. Model-drawing is the best possible preparation for sketching from nature. The student graduating from the study of models goes fully equipped to the delineation of natural scenery or of architectural objects. Without this preparation the results of his efforts would be uncertain, and accurate only by accident. It furnishes the scientific basis for free sketching; and without it, and an understanding of its principles, no artist can count himself secure in his work....
Drawing is not a talent, it's a skill anyone can learn. This is the philosophy of drawing instructor Brent Eviston based on his more than twenty years of teaching. He has tested numerous types of drawing instruction from centuries old classical techniques to contemporary practices and designed an approach that combines tried and true techniques with innovative methods of his own. Now, he shares his secrets with this book that provides the most accessible, streamlined, and effective methods for learning to draw.

Taking the reader through the entire process, beginning with the most basic skills to more advanced such as volumetric drawing, shading, and figure sketching, this book contains numerous projects and guidance on what and how to practice. It also features instructional images and diagrams as well as finished drawings. With this book and a dedication to practice, anyone can learn to draw!

Serial Drawing offers a timely and rigorous exploration of a relatively little-researched art form. Serial drawings – artworks that are presented as singular works but are made up of distributed parts – are studied in fresh, contemporary terms with a novel philosophical approach, emphasizing both the way in which this unique form of visual art exists in the world, and how it is encountered by the beholder. Inspired by the quadruple framework of Graham Harman's object-oriented ontology, Joe Graham explores a variety of serial drawings according to the idea that, in being serially arrayed, such artworks constitute a rather particular form of art object: one which is both unified yet pluralised, visible yet withdrawn. Examining works by artists such as Alexei Jawlensky, Ellsworth Kelly, Hanne Darboven, Jill Baroff and Stefana McClure, Graham interrogates the manner in which serial drawings are able to be appreciated by the viewer who beholds them in object-oriented terms. This task is carried out by paying attention to the manner in which three tensions – space, time and seriality –emerge for consideration within the beholders performative encounter with the work: an encounter which is 'seen serially', and which the medium of drawing specifically directs their attention towards.