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Thank you for checking out this book by Theophania Publishing. We appreciate your business and look forward to serving you soon. We have thousands of titles available, and we invite you to search for us by name, contact us via our website, or download our most recent catalogues. OUT OF THE FLESH of our mothers come dreams and memories of the Gods. Of other kind than the normal inducement of interest and increasing skill, there exists a continual pressure upon the artist of which he is sometimes partially conscious but rarely entirely aware. He learns early or late in his career that power of literal reproduction (such as that of the photographic apparatus) is not more than slightly useful to him. He is compelled to find out from his artist predecessors the existence, in representation of real form, of super-sessions of immediate accuracies; he discovers within himself a selective conscience and he is satisfied, normally, in large measure by the extensive field afforded by this broadened and simplified beyond this is a region and that a much greater one, for exploration. The objective understanding, as we see, has to be attacked by the artist and a subconscious method, for correction of conscious visual accuracy, must be used. No amount of manual skill and consciousness of error will produce good drawing. A recent book on drawing by a well-known painter is a case in point; there the examples of masters of draughtsmanship may be compared with the painter-author's own, side by side, and the futility of mere skill and interest examined. Therefore to proceed further, it is necessary to dispose of the subject in art also (that is to say the subject in the illustrative or complex sense). Thus to clear the mind of inessentials permits through a clear and transparent medium, without prepossessions of any kind, the most definite and simple forms and ideas to attain expression.
As forms of drawing go, scribbling is the most basic: it is seen as playing a formative role in the drawings of both children and primates. Doodling, while still being a widespread phenomenon, is largely an adult preoccupation—a nomadic form of drawing typically produced during meetings and phone calls. But even though those who engage in it are not necessarily trained artists, automatic drawing is a more dramatic event, and the results of an absentminded or trancelike state are sometimes astonishing. Because of their amateur and spontaneous character, all three forms of drawing have been adopted by modern artists seeking to escape from the constraints of their professional skills. In Line Let Loose, David Maclagan shows that each of these marginal forms of drawing has its own history in spiritualism, surrealism, abstract expressionism, and psychedelic art. Referring to Klee, Pollock, Miro, Twombly, and LeWitt, as well as many lesser-known or anonymous artists, he traces the links between them and a pervasive notion of the spontaneous and ‘unconscious’ creation of forms in art. He suggests that the original novelty of these unconventional drawing processes has begun to wear off, and he explores their new situation in our modern digital culture.
Drawing, often considered a minor art form, was central to surrealism from its very beginnings. Automatic drawing, exquisite corpses, and frottage are just a few of the techniques invented by surrealists to tap into the subconscious realm. Drawing Surrealism recognizes the medium as a fundamental form of surrealist expression and explores its impact on other media. Works of collage, photography, and even painting are presented in the context of drawing as a metaphor for innovation and experimentation. This volume, in addition to brilliant reproductions of drawings and other works by approximately one hundred artists, includes a substantial historical essay and illustrated chronology by the exhibition's curator, Leslie Jones, as well as informative essays by leading scholars Isabelle Dervaux and Susan Laxton. It also encompasses the contributions of a wide array of artists on a global scale - from the great figures in surrealist history to lesser-known surrealists from Japan, central Europe, and the Americas, where the movement had profound and lasting effects on the arts. Drawing Surrealism, which will become a definitive resource on the subject, offers a deep understanding of the techniques and concerns that made surrealism such an intimate perceptual revolution.
A lively, colorful figure drawing instruction book that encourages aspiring illustrators to work in ink and watercolor to create quick, confident renderings of diverse, contemporary people. While today's illustrators work primarily in ink and watercolor, figure drawing instruction still tends to emphasize work in pencil. Commercial illustrator Kagan McLeod offers an approach to figure and portrait drawing more in keeping with today's preferred tools and techniques, one that focuses on cultivating spontaneity, energy, and confidence by providing exercises for brush work in ink and watercolor. By breaking figure and portrait drawing into the three major aspects of line, tone, and color and recommending time limits for each exercise, McLeod encourages working fast and fearless, rather than worrying about getting your figures just right. Filled with numerous illustrative examples of diverse, modern people, Draw People Every Day reflects practical, applicable techniques to get you drawing the people you see in the world around you with speed and proficiency.
Zen of Drawing inspires you to pick up a pen, pencil or an iPad and start drawing what you see with a 'zen' approach. Author Peter Parr has spent his career in animation successfully teaching people to draw and encouraging students to nurture their skills through observational drawing. He advocates a fresh way of looking closely at your subject and enlisting an emotional response, in order to fully appreciate the nature of what you are about to draw. You will learn that whatever you are drawing, it is essential not only to copy its outline but also to ask yourself: is it soft, smooth or rough to the touch? How heavy is it? Is it fragile or solid? Then, having grasped the fundamental characteristics, or zen, of the object, make corresponding marks on the paper – crisp textures, a dense wash, a scratchy or floating line. The chapters cover: keeping a sketchbook; tools (pen, pencil, charcoal, watercolour and iPad); perspective; line and volume; tone and texture; structure and weight; movement and rhythm; energy, balance and composition.
This exhibition is a once-in-a-lifetime opportunity to see around 100 exceptional drawings created using the exquisite metalpoint technique. It features works by some of the greatest artists working from the late 14th century to the present including Rogier van der Weyden, Petrus Christus, Leonardo da Vinci, Raphael, Albrecht Dürer, Hans Holbein the Elder, Lucas van Leyden, Rembrandt, Edward Burne-Jones, William Holman Hunt, Otto Dix, Jasper Johns and Bruce Nauman. Works drawn from the British Museum's superb collection of metalpoint drawings sit alongside major loans from European and American museums as well as private collections, including four sheets by Leonardo da Vinci from the Royal Collection.--British Museum website.
The Book of Pleasure could be regarded as the central text among Austin Osman Spare's writings. It covers both mystical and magical aspects of Spare's ideas; as the modern ideas on sigils (as now have become popular in chaos magic) and Spare's special theory on incarnation are for the first time introduced in this book.There are some chapters in The Book of Pleasure that Spare has referred to within the text, but are omitted. It seems that they were destroyed during World War II
An inspiring collection of dark and macabre drawings and articles exploring the sketchbooks and artistic practices of 50 talented artists.