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A celebration of Robert Motherwell's drawings that provides new insight into the thematic continuities and techniques that informed the artist's working methods Throughout his long and prolific career, Robert Motherwell (1915-1991) sustained a fascination with making art on paper. His multifaceted drawing practice was an integral part of his search for a personal, spontaneous language of mark-making. Presenting works spanning from The Mexican Sketchbook of the early 1940s to the Joyce Sketchbook of the 1980s, this overview of Motherwell's work on paper highlights the way the artist embraced the suggestive potential of his materials-blending the accidental and the intentional in the creative gesture. Large-scale reproductions encourage close looking and immerse the reader in details such as a stroke of the brush or a tear of paper, while an essay by Edouard Kopp examines how the artist's practice of "automatic drawing" dovetailed with his love of paper and ink in the creation of these unique and compelling works. The book closes with Motherwell's own "Thoughts on Drawing" (1970)

Drawing --- drawing [image-making] --- Motherwell, Robert

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Drawing --- Painting --- Graphic arts --- etching [printing process] --- drawing [image-making] --- painting [image-making] --- techniques [processes] --- Rembrandt

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Optics. Quantum optics --- Art --- History --- drawing [image-making] --- painting [image-making] --- photography [process] --- art history --- light [energy] --- techniques [processes]

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Motoric--mechanical drawing techniques like tracing, copying, and cut and paste are among the fundamental workshop practices of the pre-modern era. They were also used in the training of renowned artists like Leonardo, Dürer, Michelangelo, and Rubens in order to modify designs, expand the supply of motifs, and produce new artworks. In the art theory of the time, however, they were largely ignored or even disparaged. It is only possible to take note of a few positions that show appreciation for these techniques until the decisive ennoblement of copying in the eighteenth century. The discrepancy between the importance of drawing techniques in practice and the addressing of them in art theory was overlooked for a long time. This volume thus strives to provide an indispensable new perspective in research on drawing and includes transdisciplinary contexts as well as aspects relating to art technologies and philosophy. Motorisch-mechanische Zeichentechniken wie Pause, Abklatsch und Cut&Paste gehören zu den elementaren Werkstattpraktiken der Vormoderne. Sie wurden ebenso in der Ausbildung wie von renommierten Künstler:innen wie Leonardo, Dürer, Michelangelo und Rubens eingesetzt, um Entwürfe zu verändern, den Motivvorrat zu erweitern und neue Kunstwerke herzustellen. In der damaligen Kunsttheorie waren sie jedoch weitgehend unbedacht oder gar herabgesetzt. Nur wenige Positionen der Wertschätzung bis hin zur entschiedenen Nobilitierung von Abklatschen im 18. Jahrhundert sind zu verzeichnen. Die Diskrepanz zwischen der Bedeutung der Zeichentechniken in der Praxis und ihrer Thematisierung in der Kunsttheorie blieb lange unbeachtet. Der vorliegende Band unternimmt in dieser Hinsicht eine unverzichtbare Neuperspektivierung der Zeichnungsforschung und bindet dabei transdisziplinäre Kontexte wie kunsttechnologische und philosophische Gesichtspunkte ein.

ART / Techniques / Pen & Ink Drawing. --- Drawing. --- Dürer. --- Michelangelo, Leonardo. --- aesthetics. --- art theory. --- art. --- cut and paste. --- Aesthetics of art --- Drawing --- drawing techniques --- drawing [image-making] --- art theory --- anno 1500-1799 --- drawings [visual works]

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This beautiful, in-depth reference book by illustration professor Martin Salisbury explores drawing for illustration. Salisbury places a special emphasis on drawing, treating it as a fundamental skill that every illustrator should engage with. Assisting students through exercises and case studies, this guide explores the often-unseen world of draftsmanship that underpins finished illustration work.From book illustration to graphic novels and caricatures to commercial design, this attractive volume draws on sketchbooks, projects, and historical examples to show how they started as drawings from observation and drawings from imagination.Salisbury starts out by explaining the fundamentals of this exciting discipline before outlining the basic principles of line, tone, composition, and color through inspired examples. Different approaches to drawing, including anecdotal, sequential, and reportage, are examined to help students acquire their own personal visual language. Interviews with illustrators also provide valuable insights into the creative process, as they discuss the challenges, rewards, and what drawing personally means for them.Visually appealing, Drawing for Illustration features detailed analysis of works by key illustrators from the past and present, including George Cruikshank, Ronald Searle, Sheila Robinson, Laura Carlin, Alexis Deacon, and Isabelle Arsenault, looking at the differing roles drawing plays in their particular illustrative languages and how styles have changed over time.

Drawing --- drawing [image-making] --- illustrations [layout features] --- Grafische vormgeving ; illustratie ; technieken ; materialen --- Grafische vormgevers ; illustraties ; tekeningen --- Gebruiksgrafiek ; illustraties --- Boekillustraties ; door kunstenaars --- Boeken ; tijdschriften ; illustraties --- 766.02 --- Gebruiksgrafiek ; technieken --- tekentechnieken --- portretten --- tekenstijlen --- 684.94 --- 799.931 --- illustraties --- het boek, boekillustratie --- animatiefilm, productie, technieken, tekenen --- drawings [visual works] --- illustratieve vormgeving --- 766.32.02 --- Grafische industrie en ontwerp ; beeld ; illustratie ; technieken