Download - Drawing, Painting and Printmaking
Drawing
Everybody draws. There can scarcely be a person above the age of two who has never made a drawing.
Two qualities often associated with drawing are familiarity and intimacy. Drawing is familiar in that it
uses the materials we are accustomed to – the pencil, the pen, the stick of chalk.
Drawing seems intimate because it is frequently the artist’s note-taking. We think of drawings as direct
expression, from brain to hand.
Materials for Drawing
Dry Media
Pencil Metalpoint Charcoal Chalk and Crayon
Wet Media
Pen and Ink Brush and Ink
Supports
Parchment Vellum Paper Other
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 partials stick to the ground. • Tom make a area darker you have to use cross
hatching. • Very delicate in appearance.
Silverpoint
Figure 5.3, p.108: ALPHONSE LEGROS. Head of a Man (19th century). Silverpoint on white ground.
Leonardo da Vinci- Silverpoint
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, 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”.
Pablo Picasso-pencil
Charcoal
• Also 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 o
special hardwoods. • Ranges from hard to soft. • Can be smudged or rubbed. • Needs to be fixed with varnish, or can be rubbed
off. • Will show the surface of the paper.
Charcoal
Figure 5.7, p.110: KATHE KOLLWITZ. Self-Portrait (1924). Charcoal. 18 1/2 x 25 in.
Carracci-charcoal
Chalk and Pastel• Chalk and pastel are very similar to charcoal.• The compositions of the media differ.• Made or ground chalk mixed with powered pigments
and a binder. • Relatively young, only introduced to France in the
1400s. • Comes 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
Figure 5.9, p.111: MICHELANGELO. Studies for The Libyan Sybil (1510–1511). Red chalk. 11 3⁄8” x 8 3⁄8”.
Chalk and Pastel
Figure 5.11, p.112: EDGAR DEGAS. Woman at Her Toilette (1903). Pastel on paper. 30” x 30 1⁄2”.
Raphael-colored chalk
Pen and Ink
• Used since ancient times
• Earliest were s reeds
• Quills, plucked from live birds, were sue in the Middle Ages.
• Replaced in the nineteenth century with mass produced metal nib, which is slipped into a stylus.
Pen and Wash
Wash - diluted ink that is applied with brush.
• Often combined with fine clear lines of pure ink to provide tonal emphasis.
Vincent van Gogh-ink and pen
Figure 5.18, p.115: 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
Tiepolo-ink wash
New Approaches to Drawing
Drawing display endless versatility in:
• Purpose
• Media
• Technique
So what is drawing?
Fig. 5-25, p.119 MARGARET HONDA. Exchange (2003-2004). Vinyl on Mylar. 50 Elements, Dimensions variable.
New Drawing Media
Richard Long
Richard Long
Beth Secor
Beth Secor
Purposes of Drawings
Preliminary Study
Leonardo da Vinci, Sketch for the Madonna of the Cat, ~1480, Pen and Brown Ink.
Figure 5.1, p.106: REMBRANDT VAN RIJN. Copy of Leonardo da Vinci’s Last Supper. Red chalk on paper. 14” x 18 1⁄4”.
Figure studies by Rembrandt
Purposes of Drawings
Illustration
Jason D’Aquino
Purposes of Drawings
Expression
Purposes of Drawings
Drawing as Final Work
Kathleen Gilje
Painting
Painting is the queen of the arts. Ask ten people to form a quick mental image of “art,” nine of them are likely to visualize a painting on a wall.
There are several reasons for the prominence of painting. For one thing, paintings are usually full of color which is an important visual stimuli. For
another, paintings are often framed, some quite elaborately, so that one has the impression of a very special object.
Types of Painting
• Fresco
• Encaustic
• Tempera
• Oil
• Acrylic
• Watercolor
• Spray Paint
Fresco• Fresco - the art of painting on plaster.
– Was popular in the Renaissance – And was revived in Mexico after WWI.
• Buon fresco or true fresco - done on damp, lime plaster.
• Fresco secco - painting on dry plaster. Problems with fresco:• Have to work fast, you can only paint what
can be completed in one day. This can create visible seams.
• Some color don’t work well with lime. (like blue)
Painting Media
Fresco
Figure 6.1, p.122: GIOTTO. Lamentation (c. 1305). Fresco. 7’7” x 7’9”.
Encaustic
Encaustic - One of the earliest methods of applying color to a surface. Uses a pigment in a wax vehicle that has been heated to a liquid state.
• Very old• Extremely durable• Colors remain vibrant• Surface will retain a hard luster• Used by the Egyptians and the Romans
Painting Media
Encaustic
Jasper Johns, Flag
Figure 6.2, p.123: Mummy Portrait of a Man (Egypto-Roman, Faiyum, c. 160–179 CE). Encaustic on wood. 14” x 8”.
Tempera
Tempura - uses ground pigments mixed with vehicle of egg yolk or whole egg thinned with water
• Popular for centuries the tradition composition is rarely used today
• Used by the Greeks and Romans• Use the exclusive painting medium of artists in
the Middle Ages. • Fell out of favor in the 1300’s with the
introduction of oil painting.
Advantages of Tempera• toExtremely durable• Pure and brilliant colors• Color did not become compromised by
oxidation • Consistency and fluidity allowed for precision
Disadvantages: • Dries quickly• Hard to rework• Can not provide subtle gradation of tone.
Painting Media
Egg Tempera
Figure 6.5, p.125: FRANZ GERTSCH. Silvia (1998). Tempera on unprimed canvas. 9’6 1⁄4” x 9’ 2 1⁄4”.
Tempera
Oil
Oil painting - consists of ground pigments combined with a linseed oil vehicle and a turpentine medium or thinner.
• The transition from tempera to oil was gradual.• Naturally slow drying – can be speeded up with
agents• The first oils were on wood panels.Glazing - the application of multiple layers of
transparent films of paint to a surface.
Oil’s Advantages
• Colors can be blended easily.
• Slow drying lets you rework problem areas.
• Can creates nice delicate colors.
• The eventual use of canvas as a ground allowed paintings to get much bigger.
Painting Media
Oil
Figure 6.6, p.126: FOLLOWER OF REMBRANDT VAN RIJN. Head of St. Matthew (c. 1661). Oil on wood. 9 7⁄8” x 7 3⁄4”.
Painting Media
Watercolor
Watercolor
Watercolor - originally defined as any painting medium that employs water as a solvent. Today refers to a specific technique really called aquarelle.
Aquarelle - Transparent films of paint are applied to a white absorbent surface. – Egyptian artist used a form of watercolor painting. – Also used in the Middle Ages
Gouache - watercolor mixed with a high concentration of vehicle and opaque ingredients such as chalk primarily used during the Byzantine and Romanesque eras of Christian art.
Advantages and Disadvantages of Watercolor
• White does not exist. • White is created by letting the paper shine
through. • The artist must plan ahead. • Corrections are not possible. • Portable• Great for sketches and impressions. • Or can be a used as a final piece.
Figure 6.13, p.131: RALPH GOINGS. Rock Ola (1992). Watercolor on paper. 14” x 20 3⁄4”.
Nolde and the transparencies of tinted washes in his watercolors
Acrylic
Acrylic - is a mixture of pigment and a plastic vehicle that can be thinned with water.
Advantages of acrylic paint over oil paint:• “No mess”• Can be used on a variety of surface• Surfaces don’t need special preparation.
Painting Media
Acrylic
Figure 6.11, p.129: ROGER SHIMOMURA. Untitled (1984). Acrylic on canvas. 60” x 72”.
Spray Paint
Is spray painting like prehistoric cave painting? It raises similar questions:
• Why do they do it?
• Is it art?
• Is it urban ritual?
• Will is speak in history to the trails of inner-city living?
Figure 6.15, p.132: CRASH (JOHN MATOS). Arcadia Revisited (1988). Spray paint on canvas. 96 1⁄4” x 68”.
Mixed Media
Collage or papiers colles - Picasso and Braque were the first to incorporate pieces of newsprint, wallpaper, labels from wine bottles, and oilcloth into their paintings.
Miriam Schapiro create what she calls “femmage” with is a version of collage using feminine imagery and materials
Painting Media
Mixed Media
Robert Rauschenberg
Figure 6.16, p.133: HOWARDENA PINDELL. Autobiography: Water / Ancestors, Middle Passage / Family Ghosts (1988). Acrylic, tempera, cattle markers, oil stick, paper, polymer photo-transfer, and vinyl tape on sewn
canvas. 118” x 71”.
Figure 6.17, p.133: MIRIAM SCHAPIRO. Maid of Honour (1984). Acrylic and fabric on canvas. 60” x 50”.
If you have ever received a a handmade greeting card for Christmas or for your birthday or as an invitation to a party, then
you will appreciate the difference between an art print and a mass-produced reproduction. Commercial greeting cards are cranked out
by the thousands, even the millions, by the major card manufacturers.
A homemade card has a more personal touch. The design is unique- a personal expression of the individual who created it. Also, each card will be slightly different due to the human touch
which we find missing from commercial products.
Monotype
Edgar Degas, Female Torso,ca. 1885.
Relief
Woodcut
Relief
Woodcut
Albrecht Dürer,The Four Horsemen of the
Apocalypse, 1498.
Relief
Wood Engraving
Relief
Wood Engraving
Thomas Bewick, “Duck” from History of
British Birds,1797-1804.
Relief
Color Woodcut
Helen Frankenthaler, Essence Mulberry,
1977.
Relief
Color Woodcut
Uga da Capri, Diogenes, ca. 1527-
1530.
Relief
Linocut
Picasso with linocut of Jacqueline and the
original linoleum plate from which it was printed in 1959
Intaglio
Engraving• Burin
Intaglio
Engraving
Albrecht Dürer, Adam and Eve, 1504.
Intaglio
Drypoint
As the name suggests, drypoint prints are produced by scratching the
surface of the metal plate using a needle, this scratching creates a
metal bur that holds the ink The bur is very fragile and the wear created
through the process of printing means that the plate will only yield an edition of ten to twenty prints of good
quality.
Intaglio
Drypoint
Mary Cassat,Baby’s Back, 1889-1890.
Intaglio
Mezzotint
Chuck Close, Keith, 1972.
Intaglio
Mezzotint
The mezzotint process has the ability to create subtle variations of tone; from
beautiful rich blacks to delicate, glowing highlights. Mezzotint prints are unique to
the intaglio process as the print is developed from dark to light.
Intaglio
Etching
José Guadalupe Posada, La Calavera
catrina,
Intaglio
Aquatint Francisco Goya, A caza de dientes, 1799.
Aquatint is commonly used in conjunction with etching where the the etched line expresses the design and the aquatinting provides tone. Resin
is dusted onto the metal plate and melted forming an irregular pattern of globules on the plate. Variations in the method and distribution of the dust creates a large range of textural and
tonal effects in the print. The resin acts as resistance to the acid when immersed. The process can be repeated, creating a large
range of tones, that are visually similar to ink wash drawings.
Lithography
Lithography
Honoré Daumier,”This Mr. Courbet paints such coarse people,” 1855.
Screen Printing
Screen Printing
Andy Warhol, Marilyn Monroe from Ten Marilyns, 1967.