2D MEDIA  A Brief Overview of Drawing and Painting

DRAWING

¢ Drawing is the result of running a marking tool over a surface to leave a line or mark.

 

   

¢ Drawing provides an immediate way to communicate through imagery.

     

¢ Drawing predates writing by at least 30,000 years.

Bull from the Hall of Bulls, Lascaux Cave, France, ca. 15,000 – 13,000 BCE

DRAWING

¢ Three Categories of Drawing:

     

1.  Sketches that record something seen, remembered, or imagined.

2.  Plans or preparatory studies for other larger and more complex works.

3.  Fully developed works of art.

         

Fig 4.8 Michelangelo, Studies for the Libyan Sibyl.“Receptive” drawing

RECEPTIVE  DRAWING:    We  use  it  to  a6empt  to  capture  the  physical  appearance  of  something  before  us.  

Auguste  Rodin.  Cambodian  Dancer.  1906.  11  3/4"  x  7  7/8".  

PROJECTIVE  DRAWINGS:    We  may  draw  something  that  exists  only  in  our  minds,  either  as  a  memory  of  something  we  have  seen  or  a  vision  of  something  we  imagine.    ArRsts  whose  work  is  based  on  imaginaRon  oTen  use  this  sort  of  drawing,  as  do  architects  when  they  plan  new  structures.      

Leonardo  da  Vinci.  Three  Seated  Figures  and  Studies  of  Machinery.  c.  1490.  Leonardo  da  Vinci.  Three  Seated  Figures  and  Studies  of  Machinery.  c.  1490.      

STUDY FOR PICASSO’S GUERNICA

Study for Guernica by Picasso. Figure 4.10 “Projective” drawing.

DRAWING

¢ A work is considered a drawing (usually) if it is made with one of the following media:

 

   

¢ Dry Media: ●  Pencil ●  Silverpoint ●  Charcoal ●  Chalk (pastel or

otherwise) ●  Crayon (Pastel or

otherwise) ¢ Liquid Media: ●  Pen and ink ●  Brush and

ink Barry McGee. Untitled, 2006. Figure 4.27

DRAWING: PUSHING THE BOUNDARIES

Christine Hiebert, Wall Drawing (detail), 2004. Blue adhesive tape. Figure 4.26

Julie  Mehretu.  Back  to  Gondwanaland.  2000.    8'  x  10'.  

Drawing, like any skill, takes practice! Anyone can learn. Look at the difference two years made in Van Gogh’s techniques.

PAINTING

¢ “The Queen of the arts”.      

¢ “Drawing is often a natural prelude to painting, and painting is often drawing with paint”.

     

¢ Paintings are art objects usually meant for public display.

     

¢ 9 out of 10 people imagine paintings when asked to imagine what art is.

¢  Paintings are often classified by the liquids that the pigment is mixed into.

●  Encaustic (wax) ●  Tempera (egg) ●  Oil ●  Acrylic (plastics) ●  Watercolor

PAINTING: IMPORTANT TERMS

¢ Pigment: powdered color.      

¢ Binder: sticky substance that holds pigments together.

     

¢ Vehicle: makes the paint into a liquid.

     

¢ Support: Item/surface being painted, a canvas, a vase, a wall, etc.

     

¢ Until the 19th century, pigment was created by grinding rocks and minerals by hand into a powder.

PAINTING: TEMPERA

¢ Pigment is mixed into a binder of egg yolk.

       

¢ Pros: Allows artist to create delicate, precise lines.

       

¢ Cons: Dries very fast…too fast to rework. No mistakes allowed!

¢ Finished product has a matte appearance. Filippo Lippi, Madonna and

Child. Figure 5.4

Tempera:    h6p://www.youtube.com/watch?v=ngzmdl112w0      

PAINTING: OILS

¢ Pigment mixed into a binder of oil.

     

¢ Pros: Rich, luminous color and shiny surfaces. Can be spread thin (glaze) or thick (impasto). Dries slowly.

     

¢ Cons: Dries slowly. Oil can yellow over time.

     

●  Glaze: thin film of transparent color applied over a previously painted surface.

●  Impasto: paste-like Madonna and Child with the Chancellor Rolin, Oil and tempra. Figure 5.6

A “PAINTERLY” APPROACH

¢ Impasto: A technique that highlights the thick, paste-like quality of oil paint.

       

¢ Provides actual texture and highlights brushwork.

Rembrant van Rijn, Detail of a Self-Portrait. Figure 5.7

PAINTING: WATERCOLOR

¢ Pigment is mixed with water and a gum arabic binder.

       

¢ Pros: Often done on paper, works can be completed quickly, great for showing atmosphere and water.

       

¢ Cons: Can’t be reworked. Too much paint can result in a muddy finished product. White areas must be left unpainted.

Winslow  Homer.  Sloop,  Nassau.  1899.    14  7/8"  x  21  7/16".  

PAINTING: FRESCO ¢ Painting on plaster. Pigment

is mixed with water. Lime in plaster is the binder.

     

¢ Fresco secco = dry fresco. The plaster dries and then paint applied.

     

¢ Pros: Artists can paint large surfaces at a time without worry about the plaster drying.

     

¢ Cons: Prone to flaking as seen in Egyptian tombs.

Diego  Rivera,  Detroit  Industry,  detail.  1932–1933.    (Figure  5.13)  

BUON FRESCO ¢ Buon Fresco:

true fresco on wet plaster.

     

¢ Pros: Paint is absorbed into wall and becomes one with it. Very Durable.

     

¢ Cons: Only small areas can be worked at a time because plaster has to be wet. Mistakes have to be chiseled off.

 Figure 16.1 Giotto, The Lamentation in the Arena Chapel, Padua Italy

PAINTING: ACRYLIC

¢ Synthetic or natural pigments mixed with a plastic resin binder called acrylic polymer.

       

¢ Pros: Fast drying, countless colors, no fading or discoloration over time. (That we know of!) Can be used for airbrushing. Cheaper than oils.

¢ Cons: Don’t layer or rework as well as oils. Audrey Flack, Wheel of

Fortune, Oil over acrylic on canvas. Figure 5.12

COMPARE  /  CONTRAST    

Rembrandt  van  Rijn.  Self-­‐Portrait,  detail.  1663.   Frank  Auerbach.  Head  of  Michael  

Podro.  1981.    13"  x  11".  

Jasper  Johns.  Target  with  four  faces.   Anne  Appleby.  Mother  E.  2009.  

AFTER LECTURE YOU SHOULD BE ABLE TO:

¢ Describe the functions of drawing, painting, and printmaking.

       

¢ Identify the specific media and tools utilized when creating drawings and paintings visually and by written description.

       

¢ Discuss how the artists of the late 20th and early 21st centuries are using old media in new ways.

       

¢ Define the terms as outlined in lecture.