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Drawing distinctions : the varieties of graphic expression

Author: Patrick Maynard
Publisher: Ithaca, N.Y. : Cornell University Press, 2005.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
"Patrick Maynard surveys the rich and varied practices of drawing, from the earliest markings on cave walls to the complex technical schematics that make the modern world possible, from cartoons and the first efforts of preschoolers to the works of skilled draftspeople and the greatest artists, East and West. In this engagingly written and well-illustrated book, Maynard reveals the interconnections and developments  Read more...
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Additional Physical Format: Online version:
Maynard, Patrick, 1939-
Drawing distinctions.
Ithaca, N.Y. : Cornell University Press, 2005
(OCoLC)607711701
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Patrick Maynard
ISBN: 0810443244 9780810443242 0810472805 9780810472808 0801443245 9780801443244 0801472806 9780801472800
OCLC Number: 60543155
Description: xxiii, 266 pages : illustrations, maps ; 27 cm
Contents: Part I All Kinds of Drawings --
Philosophy and Drawing 3 --
Drawing and Arts of Drawing 4 --
Chapter 1 Picture of a Drawn World 7 --
The Modern World: Drawing the Line 7 --
"The Rationalization of Sight" I: Bold Claims 12 --
Method: The Dialectical Engineer 13 --
"The Rationalization of Sight" II: Naturalism 15 --
Villard's Saw 16 --
Chapter 2 Instruments of Change 19 --
Family Project 20 --
Cartoon Cases 30 --
Modelling Perspective: Durer's Devices 32 --
Panofsky's Perspective I: Panofsky's Purposes 35 --
Panofsky's Perspective II: "Post-perspective" Arguments 39 --
Panofsky's Perspective III: Assessments 41 --
Hands On: First and Second Geometries 43 --
Geo 2 Practical: Fixing Durer's Urn 47 --
Geo 2 Historical: What Is "Post-perspective"? 48 --
Defending Panofsky: Distinctions of Scales 49 --
Chapter 3 Drawing and Graphic Displays 53 --
Minding Gaps: Topological Values 55 --
Correspondence 57 --
Information Displays: Multivariation 58 --
Chapter 4 Drawing/Disegno 61 --
What Is Drawing? 62 --
Drawing Patterns 64 --
Words for Drawing 66 --
Part II The Course of Drawing --
Chapter 5 The Forms of Shape 71 --
Children's Drawing: Extended Studies 71 --
Shape's Forms 73 --
Shape as Contour 76 --
Children's "Perspectives" 79 --
Chapter 6 Depictive Drawing 84 --
Challenges of Depiction 84 --
Walton's Theory of Depiction 88 --
Vivacity 92 --
Chapter 7 Convincing Depiction 94 --
Gombrich's Principles of Convincing Depiction: The First Trio 94 --
Testing the Trio I: Contour 98 --
Testing the Trio II: Perspective 101 --
"The Beholder's Share": The Second Trio 103 --
"The Riddle of Style": Gombrich and Panofsky 105 --
Chapter 8 Depictions as Depictions 109 --
Perceptual Categories: Six Points about Pictures 109 --
Faces in Strange Places: A Projective Challenge 111 --
Fictional Worlds 117 --
Our Objects of Imagining 119 --
Pawahtun's Lessons 120 --
Chapter 9 Decorative Depiction 126 --
Plane Relations 127 --
Drawings on Things 128 --
Location 130 --
Rich Renaissance Contexts 130 --
Part III Drawing's Resources --
Chapter 10 Advancing the Drawing Course 137 --
The Drawing Kit 139 --
Rawson's Resources 140 --
The Blob 144 --
Western Lines 144 --
Drawing Distinctions: Space and Relief 148 --
Rendering Volume I: Depth-Slices and Plan-Sections 150 --
Rendering Volume II: Bracelets, Bubbles, Facets, and Ovoids 157 --
Shade and Shadow 160 --
Shadows Steal 165 --
Shadow's Paths 168 --
Fields 170 --
Chapter 11 Forms and Frameworks 173 --
The Floor 173 --
Perspective Looks: A Qualification 176 --
"Saint Jerome in His Study" 176 --
Chapter 12 Drawing's Own Devices 184 --
Composition 185 --
Drawing Dynamics I: Goya and Shifting 186 --
Drawing Dynamics II: Cezanne's Shades 187 --
Form and Facture I: Touch 188 --
Form and Facture II: Time 190 --
Meaning and Secondary Forms 193 --
Metaphor and Caricature 197 --
Twice Over 198 --
Sustaining Recognition 201 --
Part IV The Fullness of Drawing --
Chapter 13 Drawing's Dualisms 207 --
Dialogues on Dualisms 210 --
Biologically Normal 214 --
Ampersand Aesthetics 215 --
Chapter 14 Drawings as Drawn 217 --
Thought Balloons 217 --
Ways of Seeing 220 --
Appreciating Intention 221 --
Seeing the Fun 225 --
The Artist's Vision and Our Own 227 --
"Like the effort of a philosopher" 229.
Responsibility: Patrick Maynard.
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Abstract:

"If our procedure is to work steadily in the direction of drawing as fine art, rather than (as we so often find) beginning from examples of such art, where shall we begin? One attractive possibility  Read more...

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"Patrick Maynard maintains that drawing is a tool kit, an open-ended family of relatively autonomous techniques for controlling the marks we humans have the power to make on various available Read more...

 
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