drawing lecture - hcc learning
TRANSCRIPT
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Drawing
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Two-Dimensional Art
• Drawing
• Painting
• Printmaking
• Imaging: Photography, Film, Video, and Digital Arts
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Drawing . . . is the necessary beginning of everything in art, and not having it, one
has nothing.
–Giorgio Vasari
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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
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DRAWING CATAGORIES
1. Sketches
2. Plans
3. Fully developed works of art
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Figure 5.2, p.107: GARY KELLEY. Promotion for the Mississippi Delta Blues Festival (c. 1989). Pastel. 24” x 14”.
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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.
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DRAWING MATERIALS
Dry Media
Wet Media
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Dry MediaSilverpoint
• 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
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Carol Prusa, Whirl, 2010silverpoint, graphite, titanium white pigment with acrylic
binder on acrylic hemisphere with fiber optics, 12” x 12” x 6”
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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
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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.
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Pencil
Figure 5.6, p.109: ADRIAN PIPER. Self-Portrait Exaggerating My Negroid Features (1981). Pencil on paper. 10” x 8”.
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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
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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
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Charcoal
Figure 5.8, p.110: KÄTHE KOLLWITZ. Self-Portrait (1924). Charcoal. 18-3/4” x 25”.
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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
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Charcoal and Pastel
Figure 5.9, p.111: CLAUDIO BRAVO. Package (1969). Charcoal, pastel, and sanguine. 30-7⁄8” x 22-1⁄2”.
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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
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Colored pencil on paper
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Figure 5.10, p.111: MICHELANGELO. Studies for The Libyan Sybil (1510–1511). Red chalk. 11-3⁄8” x 8-3⁄8”.
Chalk and Pastel
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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
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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.
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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”.
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Fluid Media
• Pen and Ink• Pen and Wash• Brush and Ink• Brush and Wash
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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
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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.
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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.
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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”.
Pen and Wash
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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”
• Fine, clear pen and ink lines
• But volume is created from use of wash
• Combination creates more illusion of three dimensionality and movement
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Brush and Ink
• Extremely versatile
• Brushes come in a wide variety of materials, textures, and shapes. – These create different effects.
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Figure 5.20, p.116: KATSUSHIKA HOKUSAI (c. 1800). Boy Playing Flute. Ink and brush on paper. 4 1⁄2” x 6 1⁄4”.
Brush and Ink
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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
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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.
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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".
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HONORÉ DAUMIER. Counsel for the Defense (the Advocate) (1862-1865). 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
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New Approaches to Drawing
Drawing displays endless versatility in:
• Purpose
• Media
• Technique
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Cai Guo-Qiang, Drawing for Transient Rainbow (2003), Gunpowder on two sheets of paper, 179” x 159 ½ “
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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