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This title in other formats:Drawing from Observationby Brian Curtis
Synopses & ReviewsPublisher Comments:Perceptual drawing, in which one renders the physical world as it appears to an observer, is the focus of this new text for the introductory drawing course. Drawing from Observation offers a balanced mix of hands-on technique and perceptual theory while making a compelling argument for the long-term value of studying perception-based drawing. Synopsis:Includes bibliographical references (p. 318-319) and index.
About the AuthorBrian Curtis joined the art department at The University of Miami in 1985. He is a representational painter whose current series of psycho-mythological narratives explores those transitional, tentative moments that occur between times of purposeful activity. In an age that is often categorized as being in a perpetual state of crisis he seeks, by monumentalizing the ordinary, to reinforce the shared human core that is embedded in everyday experience. Brian completed a five-year project of writing, illustrating, and designing an introductory perceptual drawing text, Drawing from Observation, which McGraw-Hill published in 2002. This book contains over two hundred drawings from Miami students. Brian spent 2001 in his studio preparing for a solo exhibition of his narrative paintings, charcoal drawings, and digitally manipulated images installed at the Lowe Art Museum. In February of 2002 Brian presented a paper at the 90th Annual College Art Association conference in Philadelphia. His paper, titled "Preserving the Post-Medieval Mindset" was part of a session on Perceptual Drawing in Higher Education. In the spring of 1999 Brian was awarded the Dean's Excellence in Teaching award and was also a finalist for the Excellence in Teaching Award for the University of Miami for both 1999 and 2000. Brian is the head of Miami's drawing program and works with students in painting and printmaking programs. Table of ContentsGetting Started — Materials — Drawing Mechanics — Intuitive Gesture — The Perceptual Grid — Intuitive Perspective — Positive/Negative Space — Proportion — The 'Golden Mean' — Cross-Contour — Foreshortened Circles — Biomorphic Form — Chiaroscuro — Historical Framework — Linear Perspective, 1 & 2 Point — Linear Perspective, 3 Point — Appendix. Drawing Assignments — Appendix. Bibliography and Works Cited.
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