Drawing

1. Drawing Art and Materials

2. Johannes Vermeer, The Allegory of Painting, 1665-1666

3. Henri Matisse, The Red Studio, 1911

4. Why do artists draw? • To record. • To practice technical skills. • To sketch preliminary studies. • For an immediate form of expression.

5. Leonardo, Madonna and Child with Saint Anne and Infant St. John the Baptist, 1505-1507 cartoon – a preliminary drawing done to scale for a painting or fresco

6. Leonardo da Vinci, Hurricane over Horsemen and Trees, c. 1518, pen and ink over black chalk

7. How Do You Learn To Draw Well? Practice, Practice, Practice

10. “Sketch subjects quickly. Rough out the arrangement of the limbs of your figures and first attend to the movements appropriate to the mental state of the creatures that make up your picture rather than to the beauty and perfection of their parts.” - Leonardo

11. “Sketch subjects quickly. Rough out the arrangement of the limbs of your figures and first attend to the movements appropriate to the mental state of the creatures that make up your picture rather than to the beauty and perfection of their parts.” - Leonardo Raphael, Study for the Alba Madonna, c. 1511, red chalk, pen and ink

15. The Genius of Drawing Observation and Preparation

18. From the sketchbook of Elmer Bishoff, ca. 1950 graphite and ink

19. From the sketchbook of Isabel Bishop, ca. 1950 graphite and ink

20. Drawing Media Different Media, Different Qualities

21. Dry Media

22. Raphael, St. Paul Rending His Garment, 1514-1515 Dry Media: Metalpoint – involves the use of a metal stylus applied to paper prepared with powdered bones or lead white and gumwater. Popular in Italy late 15th-early 16th century but rarely used today. linear in character, hatching or crosshatching provide darker values adding white chalk creates highlights

23. St. Luke drawing with metalpoint on parchment, c. 1435 Rogier Van Der Weyden, St. Luke Drawing the Virgin and Child, c. 1435

24. Charcoal: smooth, fluid lines and a wide range of values created by smudging encourage chiaroscuro and blending; intensity of color depends upon hardness of stick; dry pastels and charcoal are examples. Kathe Kollwitz, Self-Portrait, Drawing, 1933 Kollwitz exploits the tremendous expressive potential of this medium.

25. Georgia O’Keeffe, Banana Flower, No. 1, 1933, charcoal and black chalk on paper

26. Graphite: tonal qualities and line qualities are subtle and based upon pressure of application and hardness of the graphite Jack Nichols, Merchant Ship Leaving at Night, 1943

27. Vija Celmins, Untitled (Ocean)(Venice, California), 1970 pencil on paper

28. Willem de Kooning, Seated Woman, 1952 Pastel and Pencil

29. Pastel on paper Degas preferred pastels because of the immediacy of the and its unfinished quality. Edgar Degas, After the Bath, Woman Drying Herself, 1889-1890

30. Oil Pastels: similar to chalk pastels, except the binder is oil based making them take longer to dry, but they are less prone to smudging and flaking Beverly Buchanan, Shackworks, 2000

31. Liquid Media

32. Pen and Ink: creates varied linear qualities, encouraging expressionist works; modeling is created by hatching and cross-hatching Jean Dubuffet, Corps de Dame, June-December 1950

33. Ink Wash: provides a wider value range Giovanni Battista Tiepolo, The Adoration of the Virgin and Child, 1735

34. Innovative Media

35. Alternative Media: Scissors Henri Matisse, Venus, 1952 After suffering a stroke that limited his use of traditional drawing materials, Matisse was inspired to “sketch” by cutting out shapes of paper using scissors.

36. The Art of Ryan McGinness Icons, Logos, and Art????

37. Ryan McGinness Born in Virginia Beach, VA Carnegie Mellon University, BFA Curatorial Assistant, Andy Warhol Museum, Pittsburgh, PA Currently lives and works in Manhattan, NYC His work is described by some critics as, “a Warhol for the 21st century…..” And by others as, “simple, graphic doodle…..”

38. “ARAB CADILLAC GENERATOR,” 2006, ACRYLIC ON WOOD PANEL, 48 IN. DIA.

39. “KISSING,” 2006, ACRYLIC AND POLYESTERURETHANE ON FIBERGLASS, 104 x 48 x 48 IN.

40. “EQUO NE CREDITE, TEUCRI,” 2006, INSTALLATIONVIEW, AUTOMOBILE PAINT ON STEEL 24 IN. DIA. X 2 IN. EA.), PUBLIC ART FUND, METROTECH, BROOKLYN, NY

41. “SURRENDER,” 2005, ACRYLIC ON CANVAS, 60 x 72 IN.

42. Express Yourself!!! Communicate with Drawings

43. Imagine that you are in a foreign country and your only means of communicating with the natives is through drawing. Draw symbols, icons, logos or pictures that communicate a question or message to the person who does not speak your language. Use one or any combination of drawing media that will best convey your message.

44. Printmaking

45. Gutenberg Bible, 1450-1456, University of Texas at Austin. One of five complete copies in the United States. • Gutenberg Bibles were the first books printed with movable type. • Originating in the West, printmaking was used almost exclusively to illustrate books such as bibles and scientific texts. • Beginning in the 19th century, the art world began to explore printmaking.

46. WHY???? • To respond to the industrialized where mass production was innovative and new. • Like photography, printmaking allows artists to creatively investigate mechanical modes of reproducing imagery. • Printmaking made art more affordable than unique works like a painting or sculpture. • This technology expanded the artists’ audience and market ($$$$$$$$!!!!!!!!).

47. Print – a single impression of a multiple edition of impressions, made on paper from the same matrix. Edition – the # of impressions made from a single matrix. Matrix – the master image on the working surface. Terms to Know

48. Original Print – an impression made by the artist or under the artist’s supervision. Proof – trial impressions made before the final edition is run. Artist’s Proof – designated “AP”; original plate usually destroyed after edition is made. Terms to Know

49. Five Basic Processes • Relief • Intaglio • Lithography • Silkscreen • Monotype

50. Relief Any printmaking in which the image to be printed is raised off the background in reverse.