Drawing
Two-Dimensional Art Drawing Painting Printmaking Imaging: Photography, Film, Video, and Digital Arts
Drawing... is the necessary beginning of everything in art, and not having it, one has nothing. Giorgio Vasari
Drawing The most basic of all the visual arts The most common support is monochromatic paper or parchment. But, drawing can be found on a large variety of different surfaces. Drawing - the result of implement running over a surface and leaving some trace of this gesture Support - the surface Monochromatic - one color Linear - made of lines
DRAWING CATAGORIES 1. Sketches 2. Plans 3. Fully developed works of art
Figure 5.2, p.107: GARY KELLEY. Promotion for the Mississippi Delta Blues Festival (c. 1989). Pastel. 24 x 14.
GARY KELLEY. Promotion for the Mississippi Delta Blues Festival (c. 1989). Pastel. 24 x 14 Pastel drawing commissioned as a promotional piece for Mississippi Delta blues festival Has all of the detail, all of the finish of a work of art in a medium that may be considered more permanent.
DRAWING MATERIALS Dry Media Wet Media
Dry Media Silverpoint Uses a ground of bone or chalk mixed with gum, water and pigment Drag a silver tipped instrument over the surface, and the particles stick to the ground. To make an area darker you have to use cross hatching. Very delicate in appearance
Carol Prusa, Whirl, 2010 silverpoint, graphite, titanium white pigment with acrylic binder on acrylic hemisphere with fiber optics, 12 x 12 x 6
Carol Prusa, Whirl, 2010 Silverpoint is one of odlest drawing mediums (used widely from middle ages) Created by dragging silver-tipped tool over a surface that has been coated with a ground ground= a base layer (of bone dust or chalk mixed with gum, water, and pigment Coarse ground allows small flecks of silver to adhere to surface Very delicate medium
Dry Media continued Pencil Most traditional media Replaced silverpoint Capable of creating a wide range of effects History: Came into use in the 1500s Mass produced pencils invented in late eighteenth century Uses a thin rod of graphite encased in wood or paper The graphite is ground to dust, mixed with clay, and baked. The more clay that is added to the mixture, the harder the pencil.
Pencil Figure 5.6, p.109: ADRIAN PIPER. Self-Portrait Exaggerating My Negroid Features (1981). Pencil on paper. 10 x 8.
ADRIAN PIPER. Self-Portrait Exaggerating My Negroid Features (1981). Pencil on paper. 10 x 8. Piper invites viewer to focus on the aspects of her physical self that reveal her mixed black and white parentage
Charcoal Has a long history Used by prehistoric man on cave walls! Charcoal is burnt pieces of wood or bone. Now charcoal is made from controlled charring of special hardwoods. Charcoals range from hard to soft. Can be easily smudged or rubbed Shows the surface of the paper Needs to be fixed with varnish, or will rub off
Charcoal Figure 5.8, p.110: KÄTHE KOLLWITZ. Self-Portrait (1924). Charcoal. 18-3/4 x 25.
Chalk and Pastel Chalk and pastel are very similar to charcoal. The compositions of the media differ. Created by combining pigments and a binder such as gum arabic and then shaped into a workable stick Relatively young, only introduced to France in the 1400s. Available in many colors Ocher - dark yellow that comes from iron oxide in some clays Umber - yellowish or reddish brown color that comes from earth containing oxides or manganese and iron Sanguine - a earthy red color
Charcoal and Pastel Figure 5.9, p.111: CLAUDIO BRAVO. Package (1969). Charcoal, pastel, and sanguine. 30-7 8 x 22-1 2.
CLAUDIO BRAVO. Package (1969). Charcoal, pastel, and sanguine. 30-7 8 x 22-1 2 Finely rendered, has almost no trace of the artist s hand Illusion of smooth sheen and crinkles of the wrapping paper
Colored pencil on paper
Chalk and Pastel Figure 5.10, p.111: MICHELANGELO. Studies for The Libyan Sybil (1510 1511). Red chalk. 11-3 8 x 8-3 8.
MICHELANGELO. Studies for The Libyan Sybil (1510 1511). Red chalk. 11-3 8 x 8-3 8 Study for the sistine chapel Quick, sketchy notations of placement, are then built up with more precisely defined detail Exactness of muscular detail and emphasis on edges could be evident because of Michelangelo's primary interest being sculpture
Crayon Strictly defined, the term crayon includes any drawing material in stick form (This can include charcoal, chalk, and pastel, plus wax implements.) Conte Crayon is one of the most popular commercially manufactured crayons. Wax crayons combine ground pigment with wax as their binder. They are less apt to smudge.
Figure 5.13a and 5.13b, p.113 (top, left to right) Photographs of Ms. Mary Lou Furcron s home. Photo A shows the shack while Ms. Furcron was living in it and tending to it. Photo B shows the shack just one month after her placement in a nursing home. Figure 5.14, p.113 BEVERLY BUCHANAN. Hometown Shotgun Shack (1992). Wood, mixed media. 12 x 9 1 4 x 15. Figure 5.15, p.113 BEVERLY BUCHANAN. Henriette s Yard (1995). Oil pastel on paper. 60 x 60.
Fluid Media Pen and Ink Pen and Wash Brush and Ink Brush and Wash
Fluid Media The primary fluid medium used in drawing is ink. Instruments used with ink are primarily pen and brush. Ink has been used for thousands of years. Egyptians used it on papyrus. Ancient people made ink from dyes of plants, squid, and octopus. Oldest known ink is India or China ink Used in calligraphy Made of carbon black and water
Pen and Ink Used since ancient times Earliest were hollow reeds Quills, plucked from live birds, were used in the Middle Ages. Replaced in the nineteenth century with mass produced metal nib, which is slipped into a stylus. Many artists still use a these today.
Pen and Wash Wash - diluted ink that is applied with brush Often combined with fine clear lines of pure ink to provide tonal emphasis The use of a wash allows for a tonal emphasis, not visible in pen-and-ink drawings.
Pen and Wash Figure 5.21, p.116: GIOVANNI BATTISTA TIEPOLO. Hagar and Ishmael in the Wilderness (c. 1725 1735). Pen, brush and brown ink, and wash, over sketch in black chalk. 16-1 2 x 11-1 8.
GIOVANNI BATTISTA TIEPOLO. Hagar and Ishmael in the Wilderness (c. 1725 1735). Pen, brush and brown ink, and wash, over sketch in black chalk. 161 2 x 11-1 8 Fine, clear pen and ink lines But volume is created from use of wash Combination creates more illusion of three dimensionality and movement
Brush and Ink Extremely versatile Brushes come in a wide variety of materials, textures, and shapes. These create different effects.
Brush and Ink Figure 5.20, p.116: KATSUSHIKA HOKUSAI (c. 1800). Boy Playing Flute. Ink and brush on paper. 4 1 2 x 6 1 4.
KATSUSHIKA HOKUSAI (c. 1800). Boy Playing Flute. Ink and brush on paper. 4 1 2 x 6 1 4. Simplicity used to expertly define areas
Cartoons Cartoon - derived from the Italian word cartone meaning paper Originally referred to full-scale preliminary drawings done on paper for projects such as fresco paintings, stained glass, or tapestries. In 1843, the definition was expanded to what we know now, when a parody of fresco cartoons which were submitted for decoration of the House of Parliaments, appeared in an English magazine. Modern cartoons rely on caricature.
Figure 5.24, p.118: HONORÉ DAUMIER. Counsel for the Defense (the Advocate) (1862-1865). Pen and ink, charcoal, crayon, gouache, and watercolor. 20⅜" 23¾".
HONORÉ DAUMIER. Counsel for the Defense (the Advocate) (18621865). Pen and ink, charcoal, crayon, gouache, and watercolor. 20⅜" 23¾". Daumier made some 4,000 cartoons Known for images of social and moral injustices in the 19th century
New Approaches to Drawing Drawing displays endless versatility in: Purpose Media Technique
Cai Guo-Qiang, Drawing for Transient Rainbow (2003), Gunpowder on two sheets of paper, 179 x 159 ½
Cai Guo-Qiang, Drawing for Transient Rainbow (2003), Gunpowder on two sheets of paper, 179 x 159 ½ Renowned for his works of ephemerel art (contemporary genre where works are impermanent and not intended to last) This piece created through discharge of gunpowder on two sheets of paper