Request for consultation

Thanks for your request. You’ll soon be chatting with a consultant to get the answers you need.
{{formPostErrorMessage.message}} [{{formPostErrorMessage.code}}]
First Name is required. 'First Name' must contain at least 0 characters 'First Name' cannot exceed 0 characters Please enter a valid First Name
Last Name is required. 'Last Name' must contain at least 0 characters 'Last Name' cannot exceed 0 characters Please enter a valid Last Name
Institution is required.
Discipline is required.
Why are you contacting us today? is required. 'Why are you contacting us today?' must contain at least 0 characters 'Why are you contacting us today?' cannot exceed 0 characters Please enter a valid Why are you contacting us today?

A Guide to Drawing 8th Edition

David L. Faber, Daniel M. Mendelowitz

  • Published
  • Previous Editions 2007, 2003, 1993
  • 344 Pages


The best-seller for the introduction to drawing course, A GUIDE TO DRAWING provides an excellent balance of classic, historical examples from around the world coupled with the most current images that reflect the state of the art of drawing. The text provides a systematic and sound course of instruction, beginning with an introduction to the nature of drawing and an invitation into the initial experiences of drawing, both underscored by an emphasis on the importance of learning how to see. The text moves through chapters on art elements, drawing media and subject matter, concluding with more advanced topics that can be used in subsequent courses, encouraging students to keep this text as a reference throughout their program and into their careers as artists. The Eighth edition of A GUIDE TO DRAWING covers the most relevant drawing topics being taught today, with more emphasis on fundamentally expressive powers of drawing as a contemporary visual language, and more emphasis on coordinating sight and thought processes while drawing.

David L. Faber, Wake Forest University

David L. Faber is an American master printmaker and Professor of Art and Head of Printmaking at Wake Forest University where he has taught since 1984. He is the lead-author of A GUIDE TO DRAWING. Faber has had 22 solo exhibitions of his work since 1976 and has exhibited in numerous group and invitational exhibitions since 1974. He has lectured and worked as a guest artist in Canada, England, Germany, Italy, and South America. Some of his most notable works include: the Aberdeen Headlands series of chine collé monotypes; the Holstein Poetry-Catenary Curve series of intaglio prints; Saint Anna of Silos and Air; the Germans in Brazil series of lithographs produced in Sao Paulo, Brazil at Ymagos Atelier; the Red Holstein Factor series of plaster-cast intaglio prints; and the Piano Sheaves series of intaglio prints. Among Faber's most practiced printmaking techniques are intaglio, lithography, monotype, and plaster-cast intaglio prints. He specializes in drypoint, engraving, mezzotint, and etching techniques. His prints are held in the permanent collections of The Corcoran Gallery of Art, Washington, DC, The National Gallery of Art, Washington, DC, The Metropolitan Museum of Art, New York, The San Francisco Museum of Modern Art, The National Art Museum of the Ukraine in Kiev, The U.S. State Department, Washington, DC, and The American Bar Association, Chicago.

Daniel M. Mendelowitz, late of Stanford University

  • The Eighth edition of A GUIDE TO DRAWING has been revised and reorganized to provide a leaner text with more focus on the art and methods of drawing, and the materials used for drawing.
  • In response to users and reviewers, chapters 4 and 16 from the prior edition have been removed, with key concepts from them incorporated into other chapters. Elements from the final two chapters in the previous edition have been combined into the final chapter of the Eighth edition, while mixed media coverage has been removed to allow for a greater focus on drawing.
  • The chapter on perspective has been refreshed with clearer pedagogy, diagrams, and projects.
  • 25% of the project assignments have been updated and have been made as flexible as possible to serve the needs of many studio situations and creative intentions.
  • 25% (approximately 105) of the photos are new and there is a higher percentage of contemporary images, while new illustrations with deeper connections to the field of drawing (e.g. I.M. Pei, Robert Stackhouse) have been added. Inserts of color drawings that demonstrate important concepts have increased from 8 pages (24 images) to 16 pages (48 images).
  • Sketchbook Activities provide practice skills, promote swiftness in seeing and drawing, deepen awareness of unusual and alternate ways of seeing, and build confidence in drawing outside of the classroom.
  • Key terms are defined in the text where they first appear and are collected in a full glossary at the end of the book for easy student reference.
  • A GUIDE TO DRAWING introduces the breadth and range of subjects, media, and techniques that provide a basic framework for developing individual approaches, with expression as the goal.
  • Each topic is accompanied by a selection of master drawings, past and present, and a series of projects designed to allow beginning students to master basic skills.
  • Projects appear throughout the chapter providing students with a direct, creative experience as they apply skills and practice the techniques discussed within the chapter.
  • Critique Projects appearing throughout promote conversation and require students to develop the language skills of visual analysis as they assess the quality of their work as well as that of their peers.
1. The Nature and Purpose of Drawing.
Developing Our Sight Skills. The Legacy of Seeing. What Is Drawing? What Should It Do? First Glimpses--Types of Drawings. Informative Drawings of Specific Purpose. The Expressive Nature of Drawing. The Expressive Mysteries of Drawing.
2. Initial Experiences: Looking, Seeing, and Drawing.
Getting Started--Making the First Drawings. Looking at Other Drawings. Beginner’s Media. Charcoal. Graphite Pencil. Ballpoint and Felt-Tip Pens. Brush and Ink Drawing. Ink Wash Techniques and Effects.
3. Learning to See Deeply.
Coordinating Seeing and Thinking Skills. Atmospheric Seeing--Understanding Forms in Space. Perspective and Foreshortening. Mechanical Aids to Perception. Visualization with Vertical and Horizontal Alignments. Putting Visualization Skills into Practice. Proportional Relationships. Defining Forms with Negative Space. Modular Analysis--A Refined Approach. Seeing, Imagining--More than Physical Sight. The Inner Eye Overtaking Physical Sight.
4. Line: The Purest Power of Expression.
Line Qualities. Gesture Line--Describing Motion. Contour and Blind Contour Line. Making Contour Drawings. Expressive Contour Line and Line Variation. Line--Lost and Found Edges. Searching and Cross-Contour Lines. The Tonal Line--Shading and Modeling. Hatching, Cross-Hatching, Scribbling, and Stippling.
5. Texture: Expression, Perception, Sensual Response.
The Textures of Familiar Surfaces. Drawing Textures and Their Likenesses. Inherent Textures of Drawing Media. Textured Line and Stippling. Actual and Simulated Textures. Uniform Texture. Invented or Synthetic Textures.
6. Color: Value Delineation and Expressive Function.
The Value Scale. Form Defined by Light and Shadow. Chiaroscuro--The Expressive Use of Value. Qualities of Light and Shadow. The Expressive Range of Value. High Key, Middle Key, Low Key. Full-Range Value Drawings. Value Contrasts for Emphasis. Color and Its Dimensions. Hue and the Value Scale. The Value Scale and Intensity. Color Schemes. Warm and Cool Colors. Mixing Colors.
7. Composition: The Art Elements.
Form and Shape--Mass and Volume. Positive Shape and Negative Space. Size and Scale Relationships. Open and Closed Composition. Balance--Harmony--Rhythm. Dominance--Subordination. Eye Movement--Spatial Dynamics. Pattern--Repetition; Rhythm--Unity.
8. Linear Perspective: Drawing Forms in Space.
Fixed Viewpoint and Cone of Vision. Picture Plane. Horizon Line and Ground Plane. Central Line of Vision--Central Vanishing Point. One-Point Perspective. Establishing a Grid. Two-Point Perspective. Inclined Planes. Uphill and Downhill Streets. Three-Point Perspective. Circles in Perspective--Ellipses. Ellipses in Varying Perspectives. Drawing Circular Objects.
9. Dry Media Expression.
The Family of Dry Drawing Materials. Charcoal--Carbonized Wood. Types of Charcoal and Charcoal Techniques. Charcoal Papers of Varying Tooth and Weights. The Nature of Chalk. The Expressive Qualities of Pastels. Conté Crayon. Wax Crayons--Their Capabilities. Lithographic Crayon. Graphite--Pencil, Powdered, Stick Forms. Soft Graphite, Hard Graphite, and Graphite Powder. Drawing Methods for Color Pencils. Burnishing and Wax Bloom. Water Soluble Color Pencils.
10. Wet Media Expression.
Pen and Ink. Types of Pens. Types of Paper for Wet Media. Value, Texture, Pattern with Wet Media. Stippling Effects of Wet Media. Brush and Ink. Drawing with Ink Wash. Modulating with Wash Drawing and Other Media. Monotype Methods and Drawing.
11. The Still Life: Our Love of Objects.
Advantages of Still Life Drawing. Still Life Forms and Value Studies. Reducing Objects to Schematic Forms. Still Life Composition and Treatments. The Unmannered Still Life--Avoiding Cliché. Pushing the Still Life Envelope. Transparent and Reflective Surfaces.
Expanded Still Life Subjects.
12. Landscape Spaces, Skies, and Atmospheres.
Landscapes--Varieties of Expression. The Deeper, Darker Moods of Landscape. Needs of the Landscape Artist. Selecting Landscape Imagery. Texture and Pattern in the Landscape. Spatial Relationships in Nature. Selecting Sky and Landscape Relationships. Rural Villages--Actual and Fantasized. Seascapes.
13. The Human Figure.
Drawing the Human Anatomy. Design Elements within Human Anatomy. Preparing to Draw the Live Model. Gesture Drawing and the Human Figure. The Extended Pose. The Human Figure and the Picture Plane. Hands, Feet, Limbs, Foreshortening. Deeper Explorations of Gesture Drawing. Drawing Human Figures in Action. The Clothed Figure in Action and Repose. Bodily Structures Supporting Drapery.
14. Drawing the Human Portrait.
The Human Head--Form and Proportion. The Facial Features. Drawing the Self-Portrait. The Objective Portrait. The Idealized Portrait. The Psychological Portrait. Capturing and Drawing a Caricature.
15. Expressive Drawing.
Forms of Expression. Empathy in Drawing. Memory and Emotion in Drawing. Imagination and Expression. Metaphor, Imagination, and Expression. Responding Subjectively--Making Media Choices. Perspective Thrusts and Expression. Representation and Abstraction. Expressive Style--More than Talent and Technique.

Cengage provides a range of supplements that are updated in coordination with the main title selection. For more information about these supplements, contact your Learning Consultant.


Instructor's Companion Web Site

ISBN: 9781285184609
The Instructor Companion Sites provide additional course content, study aids, and sample test questions to help students succeed in the course. Many companion sites also contain critical-thinking questions, activities, and web links. The instructor side includes tools and resources that are password-protected and will help you facilitate your course. To access both student and faculty Companion Sites, please visit and search by ISBN.

CourseMate Instant Access

ISBN: 9781285186269
Many of our print offerings are also available in digital formats on CengageBrain eBooks & eChapters are compatible with desktop computers and mobile devices such as the iPad, iPhone, iPod Touch, Kindle Fire & Android devices. Students can highlight, take notes and access content without a software download. For more information, visit,


CourseMate Instant Access

ISBN: 9781285186269
Many of our print offerings are also available in digital formats on CengageBrain eBooks & eChapters are compatible with desktop computers and mobile devices such as the iPad, iPhone, iPod Touch, Kindle Fire & Android devices. Students can highlight, take notes and access content without a software download. For more information, visit,