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Drawing is the technique of producing images on a surface, usually paper, by means of marks, usually of ink, graphite, chalk, charcoal, or crayon. Although drawings differ in quality, they have a common purpose--to give visible form to an idea and to express the artist's feeling about it. Besides the way in which they feel about their subjects, artists reflect in their drawing their individual approaches to techniques and tools. In line drawings, for example, form is usually expressed by line only. This volume deals with drawings' aesthetic characteristics, mediums of expression, subject matter, and some leading artists and their works.
This broad introduction to illustration reveals the artistic, intellectual, and organizational skills needed to study and practice as a freelance illustrator. It includes a practical introduction to image-making, covering basic techniques, andalso looks at the mechanics of visualization and communication. There are chapters on how to deal with different kinds of brief, from publishing and editorial to light entertainment, as well as information on career paths and how to workin the industry.
Arguably the first standard textbook of its kind, Exploring Illustration presents a curriculum methodology to learning illustration. Written in a friendly, conversational style with input from experienced instructors, this introductory-level book offers a "gallery" of representative approaches to illustration. Fundamental concepts, techniques, styles, and mechanics are highlighted in an approachable compare-and-contrast format, with functional, step-by-step visuals that enhance understanding. The result is an eclectic cross-section of the real world of illustration that is an innovative introduction for students and young professionals alike.
This book looks at the transformation that Art and Art history is undergoing through engagement with the digital revolution. Since its initiation in 1985, CHArt (Computers and the History of Art) has set out to promote interaction between the rapidly developing new Information Technology and the study and practice of Art. It has become increasingly clear in recent years that this interaction has led, not just to the provision of new tools for the carrying out of existing practices, but to the evolution of unprecedented activities and modes of thought. This collection of papers represents the variety, innovation and richness of significant presentations made at the CHArt Conferences of 2001 and 2002. Some show new methods of teaching being employed, making clear in particular the huge advantages that IT can provide for engaging students in learning and interactive discussion. It also shows how much is to be gained from the flexibility of the digital image OCUa1/4 or could be gained if the road block of copyright is finally overcome. Others look at the impact on collections and archives, showing exciting ways of using computers to make available information about collections and archives and to provide new accessibility to archives. The way such material can now be accessed via the internet has revolutionized the search methods of scholars, but it has also made information available to all. However the internet is not only about access. Some papers here show how it also offers the opportunity of exploring the structure of images and dealing with the fascinating possibilities offered by digitisation for visual analysis, searching and reconstruction. Another challenging aspect covered here are the possibilities offered by digital media for new art forms. One point that emerges is that digital art is not some discreet practice, separated from other art forms. It is rather an approach that can involve all manner of association with both other art practices and with other forms of presentation and enquiry, demonstrating that we are witnessing a revolution that affects all our activities and not one that simply leads to the establishment of a new discipline to set alongside others."
An art-historical perspective on interactive media art that provides theoretical and methodological tools for understanding and analyzing digital art. Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art. Kwastek lays the historical and theoretical groundwork and then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance--with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedüs, Tmema, David Rokeby, Sonia Cillari, and Blast Theory.