Drawing Futures brings together international designers and artists for speculations in contemporary drawing for art and architecture.Despite numerous developments in technological manufacture and computational design that provide new grounds for designers, the act of drawing still plays a central role as a vehicle for speculation. There is a rich and long history of drawing tied to innovations in technology as well as to revolutions in our philosophical understanding of the world. In reflection of a society now underpinned by computational networks and interfaces allowing hitherto unprecedented views of the world, the changing status of the drawing and its representation as a political act demands a platform for reflection and innovation. Drawing Futures will present a compendium of projects, writings and interviews that critically reassess the act of drawing and where its future may lie.Drawing Futures focuses on the discussion of how the field of drawing may expand synchronously alongside technological and computational developments. The book coincides with an international conference of the same name, taking place at The Bartlett School of Architecture, UCL, in November 2016. Bringing together practitioners from many creative fields, the book discusses how drawing is changing in relation to new technologies for the production and dissemination of ideas.

Drawing Futures brings together international designers and artists for speculations in contemporary drawing for art and architecture.Despite numerous developments in technological manufacture and computational design that provide new grounds for designers, the act of drawing still plays a central role as a vehicle for speculation. There is a rich and long history of drawing tied to innovations in technology as well as to revolutions in our philosophical understanding of the world. In reflection of a society now underpinned by computational networks and interfaces allowing hitherto unprecedented views of the world, the changing status of the drawing and its representation as a political act demands a platform for reflection and innovation. Drawing Futures will present a compendium of projects, writings and interviews that critically reassess the act of drawing and where its future may lie.Drawing Futures focuses on the discussion of how the field of drawing may expand synchronously alongside technological and computational developments. The book coincides with an international conference of the same name, taking place at The Bartlett School of Architecture, UCL, in November 2016. Bringing together practitioners from many creative fields, the book discusses how drawing is changing in relation to new technologies for the production and dissemination of ideas.

How architectural drawings emerged as aesthetic objects, promoted by a network of galleries, collectors, and institutions, and how this changed the understanding of architecture. Prior to the 1970s, buildings were commonly understood to be the goal of architectural practice; architectural drawings were seen simply as a means to an end. But, just as the boundaries of architecture itself were shifting at the end of the twentieth century, the perception of architectural drawings was also shifting; they began to be seen as autonomous objects outside the process of building. In Drawing on Architecture, Jordan Kauffman offers an account of how architectural drawings—promoted by a network of galleries and collectors, exhibitions and events—emerged as aesthetic objects and ultimately attained status as important cultural and historical artifacts, and how this was both emblematic of changes in architecture and a catalyst for these changes. Kauffman traces moments of critical importance to the evolution of the perception of architectural drawings, beginning with exhibitions that featured architectural drawings displayed in ways that did not elucidate buildings but treated them as meaningful objects in their own right. When architectural drawings were seen as having intrinsic value, they became collectible, and Kauffman chronicles early collectors, galleries, and sales. He discusses three key exhibitions at the Leo Castelli Gallery in New York; other galleries around the world that specialized in architectural drawings; the founding of architecture museums that understood and collected drawings as important cultural and historical artifacts; and the effect of the new significance of architectural drawings on architecture and architectural history. Drawing on interviews with more than forty people directly involved with the events described and on extensive archival research, Kauffman shows how architectural drawings became the driving force in architectural debate in an era of change.

Invaluable tutorials and insightful tips make Beginner's Guide to Fantasy Drawing a perfect start to a fantasy art journey.

Caldecott Medalist Allen Say presents a stunning graphic novel chronicling his journey as an artist during WWII, when he apprenticed under Noro Shinpei, Japan's premier cartoonist DRAWING FROM MEMORY is Allen Say's own story of his path to becoming the renowned artist he is today. Shunned by his father, who didn't understand his son's artistic leanings, Allen was embraced by Noro Shinpei, Japan's leading cartoonist and the man he came to love as his "spiritual father." As WWII raged, Allen was further inspired to consider questions of his own heritage and the motivations of those around him. He worked hard in rigorous drawing classes, studied, trained--and ultimately came to understand who he really is. Part memoir, part graphic novel, part narrative history, DRAWING FROM MEMORY presents a complex look at the real-life relationship between a mentor and his student. With watercolor paintings, original cartoons, vintage photographs, and maps, Allen Say has created a book that will inspire the artist in all of us.

A practical, illustrated guide to overcoming the challenges of creative work, including where to start, how to give or get feedback, when to change direction, and how to stand up for what matters, from Stanford University’s world-renowned d.school. “Ashish Goel’s magnificently beautiful book illuminates a powerful new way to think about, discover, and act with your own personal courage.”—Dan Roam, international bestselling author of The Back of the Napkin and Draw to Win The everyday moments of creative work can be rife with fear and fraught with risk. Bringing ideas into reality takes courage! In Drawing on Courage, designer, entrepreneur, and d.school teaching fellow Ashish Goel examines what it takes to be courageous. Using comics to illustrate real-world situations with humor and insight, Goel explains the four stages of every courage journey: fear, values, action, and change. And he helps you develop the skills you need to master each stage (even if it scares you), from embracing fear and defining the values that drive you forward to taking action when you're unsure and adapting to the changes that result from your courage. Each chapter features a series of tools designed to develop a mindset of fearlessness: Open the Tap to generate new ideas; develop A Risky Streak to take the all-important first step; or create an Origin Story to remember your purpose. Whether you're launching a side hustle or trying to convince your company to recycle, creativity takes pluck, nerve, and grit. This indispensable guide will help you develop all of those skills and more.

Tracing the Past, Drawing the Futureexamines a crucial turning point in the development of Chinese ink painting in the twentieth century, a change represented by the beautiful and innovative work of four artists, Wu Changshuo (1844–1927), Qi Baishi (1863–1957), Huang Binhong (1864–1955), and Pan Tianshou (1897–1971). With careers spanning over a century of radical change in China, these artists were instrumental in propelling the ancient tradition of Chinese ink painting into the modern era in the face of compelling Western influences. As a group, their work represents an alternative approach to questions of relevance and modernity. This lavish book illuminates the context in which these artists worked, describes their overall contribution to the history of Chinese art, and highlights their individual ideas and achievements. In his introductory essay, Xiaoneng Yang offers a brief historical background for the evolution of modern Chinese painting. Richard E. Vinograd analyzes the ?alternative modernism? represented by these artists, each of whom worked in the brush-and-ink idiom, confronted the shift toward practices of the West, and gave new life through this confrontation to cherished traditions. Essays devoted to each artist are followed by individual entries discussing their works. Featuring more than one hundred works of both painting and calligraphy by the four artists, the book, which is published to accompany a traveling exhibition, also includes a glossary and detailed bibliography.

Drawing activities, art instruction, and advice for artists and non-artists alike. Urban sketching--the process of drawing on the go as a regular practice--is a hot trend in the drawing world. It's also a practical necessity for creatively minded people in a busy world. In this aspirational guide, self-taught French artist France Belleville-Van Stone emboldens readers to craft a ritual of their own and devote more time to art, even if it's just 10 minutes a day. She offers motivation to move beyond the comfort zone, as well as instruction on turning rough sketches into finished work. Belleville Van-Stone learned how to draw through her own daily practice and knows first-hand how hard it is to find time to incorporate creativity into a busy life. She encourages and teaches us how to do it with advice and guidance such as: · An A-to-Z list of daily sketch prompts, from airports to bananas, faces to hands, meetings and workplaces · Tips on what drawing supplies you can and should have--and how to carry them around · Sections on accepting mistakes, drawing with limited resources, and redefining completion · Plusses and minuses of going digital, including apps, styluses, and brushes For those of us who dream of drawing in the minutes between school and work, bathtime and bedtime, and waking and walking out the door, the practical advice in Sketch! is a revelation. By sharing her own creative process, Belleville-Van Stone Sketch inspires artists both established and aspiring to rethink their daily practice, sketch for the pure joy of it, and document their lives and the world around them.

Focusing on the creative and inventive significance of drawing for architecture, this book by one of its greatest proponents, Peter Cook, is an established classic. It exudes Cook's delight and catholic appetite for the architectural. Readers are provided with perceptive insights at every turn. The book features some of the greatest and most intriguing drawings by architects, ranging from Frank Lloyd Wright, Heath-Robinson, Le Corbusier, and Otto Wagner to Frank Gehry, Zaha Hadid, Coop Himmelb(l)au, Arata Isozaki, Eric Owen Moss, Bernard Tschumi, and Lebbeus Woods; as well as key works by Cook and other members of the original Archigram group. For this new edition, Cook provides a substantial new chapter that charts the speed at which the trajectory of drawing is moving. It reflects the increasing sophistication of available software and also the ways in which 'hand drawing' and the 'digital' are being eclipsed by new hybrids—injecting a new momentum to drawing. These 'crossovers' provide a whole new territory as attempts are made to release drawing from the boundaries of a solitary moment, a single-viewing position, or a single referential language. Featuring the likes of Toyo Ito, Perry Culper, Izaskun Chinchilla, Kenny Tsui, Ali Rahim, John Berglund, and Lorene Faure, it leads to fascinating insights into the effect that medium has upon intention and definition of an idea or a place. Is a pencil drawing more attuned to a certain architecture than an ink drawing, or is a particular colour evocative of a certain atmosphere? In a world where a Mayer drawing is creatively contributing something different from a Rhino drawing, there is much to demand of future techniques.