Stick Figures Drawing As A Human Practice By D.b. Dowd Pdf

Stick Figures Drawing As A Human Practice
Stick Figures Drawing As A Human Practice Pdf
Stick Figures Drawing As A Human Practice By D.b. Dowd Pdf 4th Edition
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Stick Figures: Drawing as a Human Practice

by D.B. Dowd (interview)

This creates a “Michelein Man” or snowman effect, which is dumpy and undesir - able. Plumb lines are another helpful tool dur - ing the lay-in stage of the drawing. Plumb lines are basically straight vertical or horizontal lines to help establish proper placement in your drawing. This is especially helpful in the case of foreshortening. Figure drawing is the practice of drawing from a live model in different poses. Typically this is done with real models and working from life(not photos). Nude models are mostly used in figure drawing to capture the full essence of the human figure. Many artists use the phrase “life drawing” interchangeably with “figure drawing”. Klein was probably the first therapist to use a carefully planned playroom Her materials included a large number and variety of miniature toys with many human figures, drawing and painting materials, materials for cutting out, and water. Each child’s materials were kept in its own special drawer. Children directed their own play. Forgot to mention this in the video, but I learned this technique from Riven Phoenix of AlienThink, so all credits goes to him. You can check out his work he. From an accomplished practitioner, curator and theorist comes “Stick Figures: Drawing as a Human Practice” to reset the terms for an ancient activity. Dowd embraces drawing as a process for everyone, not just artists. This beautifully designed book uses a wonderful range of visual samples to explore an elemental human capacity.

D.B. Dowd, professor of art and American culture studies at Washington University and faculty director of the D.B. Dowd Modern Graphic History Library, writes that drawing is above all else a tool for learning. This beautifully printed book covers drawing as a means of discovery and communication, confusion between visual modes, a nostalgic look at the field of illustration, and musings about the teaching of art.

Visual Modes

Important to the discussion in this book in the distinction between the “glyphic” and “vedutic” visual modes from which the graphic and painterly sensibilities emerge. The following is an amalgam of charts that appear on pages 53 and 146.

GRAPHIC	PAINTERLY
Visual Mode	Glyphic	Vedutic
Visual Vocabulary	Linear	Tonal
Spatial Presentation	Schematic	Volumetric
Communicative Approach	Indicative	Descriptive
Visual Production	Symbol	Image
Digital Association	Vector-based	Pixel-based
Platemaking Requirement	Line Art	Halftone
Color Printing Approach	Spot Color	CMYK

“Egyptian hieroglyphs… are discrete pictorial units… In typeface design, glyphs are extra characters, like ligatures and currency symbols (€,¥)… Logos are glyphic in character… Historically grounded in proto-writing, glyphic images are fashioned for purposes of primary communication.”

“The best glyphic drawing can be breathtakingly lucid, elegant, preternaturally attuned to shifts in weight and density, delightfully inventive, strikingly dramatic, and above all… coherent… In my view, information and identity designers, classic comic artists, and contemporary hand-letterers do some of the best work in this realm. Such work tends to combine a quality of surprise—something wonderfully seen—with a strong analytical sense.”

Category Errors

“We should not see the contending sensibilities as absolutes… They coexist in many objects, practitioners, and careers, and often tussle for dominance.” That said, it’s important to use the right device for the task at hand.

The author observes the dysfunction when license plates migrate from the realm of graphic to painterly, using the example of a decorative Ohio plate. “The function of the artifact—the reason it exists at all—is to identify the vehicle to civil authorities, possibly while moving at high speeds. The critical design challenge is to provide separation between the alphanumeric information and the visual field upon which it appears… The plate is at war with its own function. The truly critical value relationships, between the letters/numbers and the field—blue against white—is undermined by other value contrasts, hue shifts, and variable saturation levels in ‘the picture.’”

Likewise, “the integrity of symbolic form is undermined by casual computer users who confuse the languages of pixels and vectors. This occurs when amateur designers use type in digital-imaging programs, unmooring letterforms from their vectorized ‘plans’… Why lament the shoddy treatment of letterforms? Symbolic integrity transcends questions of mere taste. Intelligibility, coherence, sobriety, and grace are positive contributions to the public commons. The well-made thing matters.”

“Digital tools tend to magnify, even aggrandize, half-baked visual ideas.”

The Process of Drawing

“To say that I ‘work to understand’ means that I mark the surface of my paper with a soft pencil, trying to find the right angle, distance, convergence. I don’t yet know: I draw through the form. I must repeat a given mark five or six times. If you look closely at da Vinci’s drawings, you will find the same thing: a thicket of lines, with the right one pulled out over time, through emphasis. Not didactically, but as discovery. The drawing is a byproduct. The process demands responsive tools that reward variable emphasis. I press harder, I get a fatter, darker mark. Soft drawing pencils, vine charcoal, litho crayons all do the trick.”

“A competently executed drawing of a plant will tend to isolate its salient features; whereas the found photography on the Internet has captured and compressed information willy-nilly.”

Illustration and Cartooning

“The emergence of illustration as a profession in the nineteenth century parallels an expansion of mass literacy… Financially speaking, during the explosive growth in periodical publishing from 1860 to 1940, successful illustrators did well… Leyendecker, Rockwell, and Parrish became household names.” Another illustrator featured in the book is Alfred Charles Parker whose “most famous and long-running project was a series of covers for the Ladies’ Home Journal, grandmother of the women’s magazines, founded in 1883.”

Although many of the early illustrators were trained as oil painters, a rift developed between fine art (autonomous, disinterested) and commercial art (contingent, serving a client). “Clement Greenberg published ‘Avant-Garde and Kitsch’ [in 1939] in Partisan Review, characterizing popular print as the rearguard, opposed to the avant-garde. Greenberg sought to explain and strengthen the position of art in a world swamped by mass culture. To the latter he assigned the label kitsch, using a then obscure German word for garish or tasteless mass-reproduced three-dimensional copies of artworks.”

Dowd conducted an informal study “to measure the incidence of illustration/illustrators and cartooning/cartoonists in high cultural output… Using the calendar year 2008 as the given interval, we counted more than 5,200 individual exhibitions, publications, and art history courses.” Fewer than 4% of the data points covered illustration or cartooning—commercial artists continue to be snubbed.

“Broadly speaking, in rare cases when works of illustration are held to be culturally or aesthetically meritorious, they are celebrated for having transcended illustration. When such works do appear in high cultural contexts, their roots in publishing are often actively suppressed… Though I consider myself a graphic connoisseur, I decline to argue for illustrations as Art. Illustrations are best regarded—and most appropriately apprehended—as cultural artifacts with aesthetic properties, not objets d’art.”

Education

“Students have had too little engagement with drawing as thinking or planning, which is how most people actually use it… The reason to study drawing is fundamentally, resoundingly humane. It’s the quickest route known to a confrontation with ignorance. Habits of casual assumption cannot survive an afternoon of drawing objects or plants on a table. The act of reporting from the physical world soon reveals how little we know, and tests our ability to discern structure.”

“A course of study in drawing should be occupied by fundamental questions of observation, perception, conception, knowledge, and representation—in other words, with epistemological inquiry. Thus, today’s Drawing 101 needs to be reconceived. In some institutions, that process has begun. The motives are practical: Students vote with their feet.”

“People write and speak of the ‘post-studio-artist.’ It seems clear that we face a crisis of relevance in art education. Enrollments are down… Meanwhile, design programs continue to grow, due to expanding opportunities and increase cultural currency.”

“The modern university has thrived on specialization, which has been patrolled and presided over by academic disciplines, consolidated into departments. Much of the important work of the coming decades will happen in the spaces between fields. As things stand in American universities, departments are incentivized to stay within themselves and protect their borders. The fertile interstices will remain relatively unmolested if we do not overcome the tyranny of categories. Blended pursuits may show the way.”

Dowd, D. B. Stick Figures: Drawing as a Human Practice. St. Louis, MO: Spartan Holiday Books, in Association with the Rockwell Center for American Visual Studies, Norman Rockwell Museum, 2018. Buy from Amazon.com

Disclosure: As an Amazon Associate I earn from qualifying purchases. I received a review copy of this book.

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Before learning how to draw stick figures: some fun facts before starting sketching!

Stick figures are very popular in the world of icons and clip arts.
They are usually drawn by hand with a minimum of lines and details.

Stick Figures Drawing As A Human Practice

Step 1

Yes... I know! This is a tutorial on... drawing stick figures! Easy? Very easy! But why? Why do I dedicate a whole page of my website for this? Simply because you can make a fantastic comic strip with stick figures!

You just need to know how to draw them in an original way. So original that it might even become a successful strip! I don't need to tell you how they are made. You already know.

Step 2

So, let's see how you can draw one that is more original. First, draw a circle for the head and a rectangle for the body. Add some legs and arms to your character.

Notice how I made the hands and the feet with a small oval shape. You can now sketch the eyes, the mouth and some lines to form the shirt. Now you have it! A simple stick figures with personality!

Stick Figures Drawing As A Human Practice Pdf

Step 3

Look at all those characters below. Some are really simple (2) (5). Others have big eyes (7) (11). One girl has even a small breast (9)! The lesson here is simple.

You can draw stick figures with more attitude by adding details like big eyes, clothes, hair or any other things that you might think of. They don't need to be like the drawing on top of this page. You know... straight lines with a big circle for the head and dots for the eyes.

Many artists are able to make a living simply by drawing comic strips involving some nice stick figures. Sometimes you might even think that they were made by a seven year old girl! Being original is the key! Now that you know how to draw cool stick figures, try to create one... a never-seen-before one!

Stick Figures Drawing As A Human Practice By D.b. Dowd Pdf 4th Edition

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1. Drawing an Elf
2. Drawing a Penguin
3. Drawing a Monster
4. Drawing an Elephant
5. Drawing a Rose
6. Drawing a Train
7. Drawing Snowflakes
8. Drawing a Shark
9. Drawing a Bow
10. Drawing a Bed

Stick Figures Drawing As A Human Practice By D.b. Dowd Pdf Format

Hidden Treasures :

Stick Figures Drawing As A Human Practice By D.b. Dowd Pdf File

- Drawing a Cactus
- Drawing a Desert
- Drawing a Doughnut
- Drawing a House
- Drawing a Ladybug
- Drawing a Llama
- Drawing a Manatee
- Drawing an Ostrich
- Drawing a Palm Tree
- Drawing a Unicycle