Drawing As A Way Of Knowing In Art And Science

In recent history, the arts and sciences have often been considered opposing fields of study, but a growing trend in drawing research is beginning to bridge this divide. Gemma Anderson’s Drawing as a Way of Knowing in Art and Science introduces tested ways in which drawing as a research practice can enhance morphological insight, specifically within the natural sciences, mathematics and art. Inspired and informed by collaboration with contemporary scientists and Goethe’s studies of morphology, as well as the work of artist Paul Klee, this book presents drawing as a means of developing and disseminating knowledge, and of understanding and engaging with the diversity of natural and theoretical forms, such as animal, vegetable, mineral and four dimensional shapes. Anderson shows that drawing can offer a means of scientific discovery and can be integral to the creation of new knowledge in science as well as in the arts.

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!

Permit me in the first place to anticipate the disappointment of any student who opens this book with the idea of finding "wrinkles" on how to draw faces, trees, clouds, or what not, short cuts to excellence in drawing, or any of the tricks so popular with the drawing masters of our grandmothers and still dearly loved by a large number of people. No good can come of such methods, for there are no short cuts to excellence. But help of a very practical kind it is the aim of the following pages to give; although it may be necessary to make a greater call upon the intelligence of the student than these Victorian methods attempted.

A wide-ranging, first-of-its-kind anthology of art and writing exploring how surveillance impacts contemporary motherhood. The tracking of our personal information, activities, and medical data through our digital devices is an increasingly recognizable field in which the lines between caretaking and control have blurred. In this age of surveillance, mothers' behaviors and bodies are observed, made public, exposed, scrutinized, and policed like never before. Supervision: On Motherhood and Surveillance gathers together the work of fifty contributors from diverse disciplines that include the visual arts, legal scholarship, ethnic studies, sociology, gender studies, poetry, and activism to ask what the relationship is between how we watch and how we are watched, and how the attention that mothers pay to their children might foster a kind of counterattention to the many ways in which mothers are scrutinized. A groundbreaking collection, Supervision is a project about vision (and supervision), and all the ways in which vision intersects with surveillance and politics, through motherhood and personal history as well as through the histories and relations of the societies in which we live. Contributors: Melina Abdullah, Jeny Amaya, Gemma, Anderson, Nurcan Atalan-Helicke, Sarah Blackwood, Lisa Cartwright, Cary Beth Cryor, Moyra Davey, Duae Collective, Sabba Elahi, Laura Fong Prosper, Regina José Galindo, Michele Goodwin, Alexis Pauline Gumbs, Lily Gurton-Wachter, Sophie Hamacher, Jessica Hankey, Keeonna Harris, Laëtitia Badaut Haussmann, Jennifer Hayashida, Kenyatta A.C. Hinkle, Lisbeth Kaiser, Magdalena Kallenberger, Caitlin Keliiaa, Anjuli Fatima Raza Kolb, Stephanie Lumsden, Irene Lusztig, Tala Madani, Jade Phoenix Martinez, Mónica Mayer, Iman Mersal, Jennifer C. Nash, Hương Ngô, Erika Niwa, Priscilla Ocen, Litia Perta, Claudia Rankine, Viva Ruiz, Ming Smith, Sable Elyse Smith, Sheida Soleimani, Stephanie Syjuco, Hồng-Ân Trương, Carrie Mae Weems, Lauren Whaley, Kandis Williams, Mai'a Williams, Carmen Winant, Kate Wolf, and Hannah Zeavin

INTRODUCTION In my first book, The Art & Science of Drawing, I teach the fundamental skills required to draw. In this book, I teach how to apply those skills to figure drawing. Figure drawing is one the most challenging but fulfilling drawing practices you can undertake. Drawing the human body puts you in touch with the deepest parts of humanity. A successful figure drawing requires you to understand the body as a functional machine and to be captivated by the body’s intense beauty and expressive nature. I fell in love with figure drawing in my teens and have made it an absolute priority in my life. However, learning how to do it was not a straightforward path. It seems there are an infinite number of approaches to figure drawing, many of which contradict one another. I tried out every method I encountered as I struggled to master the craft. Over the years, I realized there were tried-and-true fundamentals that many of the masters agree upon and use in their own practice. But there also seemed to be significant gaps in the canon of figure drawing tools and techniques. There seemed to be many unanswered questions. So, in addition to learning from others, I began exploring and experimenting with new methods of my own. This book is my best attempt at providing you, dear reader, with a straightforward approach to the fundamentals of figure drawing that is both logical and lyrical. This is the book I wish I had found when I was learning. It contains many tried-and-true methods that have been refined over centuries. It also contains methods of my own design that, if they exist elsewhere, I am not aware of. In this book, I present a complete process for learning the fundamentals of figure drawing. No single book can contain the entirety of knowledge you will need to master the craft of figure drawing, but this book provides the essential, foundational skills and strategies you will need to develop competence. Once you have learned the skills in this book, you will be able to build upon them until you reach mastery.

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 that showcase Brent's creative work. With this book and a dedication to practice, anyone can learn to draw!

How the tools of STS can be used to understand art and science and the practices of these knowledge-making communities. In Art, Science, and the Politics of Knowledge, Hannah Star Rogers suggests that art and science are not as different from each other as we might assume. She shows how the tools of science and technology studies (STS) can be applied to artistic practice, offering new ways of thinking about people and objects that have largely fallen outside the scope of STS research. Arguing that the categories of art and science are labels with specific powers to order social worlds—and that art and science are best understood as networks that produce knowledge—Rogers shows, through a series of cases, the similarities and overlapping practices of these knowledge communities. The cases, which range from nineteenth-century artisans to contemporary bioartists, illustrate how art can provide the basis for a new subdiscipline called art, science, and technology studies (ASTS), offering hybrid tools for investigating art–science collaborations. Rogers’s subjects include the work of father and son glassblowers, the Blaschkas, whose glass models, produced in the nineteenth century for use in biological classification, are now displayed as works of art; the physics photographs of documentary photographer Berenice Abbott; and a bioart lab that produces work functioning as both artwork and scientific output. Finally, Rogers, an STS scholar and contemporary art–science curator, draws on her own work to consider the concept of curation as a form of critical analysis.

Using close visual analysis of drawings, artist interviews, critical analysis and exegesis, Drawing Investigations examines how artists use drawing as an investigative tool to reveal information that would otherwise remain unseen and unnoticed. How does drawing add shape to ideas? How does the artist accommodate to challenges and restraints of a particular environment? To what extent is a drawing complementary and continuous with its subject and where is it disruptive and provocative? Casey and Davies address these questions while focusing on artists working collaboratively and the use of drawing in challenging or unexpected environments. Drawing Investigations evaluates the emergence of a way of thinking among an otherwise disconnected group of artists by exploring commonalities in the application of analytical drawing to the natural world, urban environment, social forces and lived experience. Examples represent a spectrum of research in international contexts: an oceanographic Institute in California, the archives of Amsterdam's Rijksmuseum, the Antarctic Survey, geothermal research in Japan and the Kurdish diaspora in Iraq. Issues are situated in the contemporary theory and practice of drawing including relationships to historical precedents. By exploring drawing's capacity to capture and describe experience, to sharpen visual faculties and to bridge embodied and conceptual knowledge, Drawing Investigations offers a fresh critical perspective on contemporary drawing practice.