DRAWING 101

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DRAWING 101
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Definition

• Drawing The most basic of all art forms-to
  produce a picture by making lines on a surface.

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General steps

• You will need a drawing tool, a piece of paper by
  making lines on a surface.

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Drawing Media

• Drawing tools can be divided into two
  categories-dry and wet.

• Dry media include pencil (invented in 1800s),
  color pencils, charcoal, silverpoint, conte,
  crayon, chalk, pastels and computer.
• Wet media include ink with pen or brush, and
  markers.

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Drawing papers

• Drawing papers can be soft, hard surfaced,
  smooth, textured, absorbent, wet, dry, wrinkled,
  light weight or heavy weight.

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Train your eye

• The most important step in drawing is training
  your eye to see and getting your eye, brain and
  drawing tool to work together.

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Illusion of depth

• To produce the illusion of depth different values
  can be obtained by

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Blending

• blending - In artwork, to merge colors applied to
  a surface, whether with a brush, crayon, colored
  pencil, or other medium.

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Hatching

• hatching - A technique used in drawing to
  indicate light and shade, or form, consisting of
  parallel lines of varying width, darkness and
  spacing. Cross-hatching is simply two or more
  overlapping sets of these parallel sets of lines,
  at a perpendicular or other angle to the first
  set of lines.

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Stippling

• stippling - A drawing technique consisting of
  many small dots or flecks to construct the image
  obviously, this technique can be very laborious,
  so generally small images are stippled. The
  spacing and darkness of the dots are varied, to
  indicate three dimensions of an object, and light
  and shadow can be a very effective and
  interesting technique, which can also be used in
  painting.

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Scumbling

• scumbling - A painting technique (the opposite of
  glazing), consisting of putting a layer of opaque
  oil paint over another layer of a different color
  or tone, so that the lower layer is not
  completely obliterated, giving an uneven, broken
  effect.

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Cross-hatching

• cross-hatching - The practice of overlapping
  parallel sets of lines in drawing to indicate
  lights and darks, or shading. (Hatching is one
  set of parallel lines, cross-hatching is one set
  going in one direction, with another overlapped
  set going in a different, often perpendicular,
  direction.)

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Techniques

• The following are techniques

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Sketch

• sketch - A quick drawing that loosely captures
  the appearance or action of a place or situation.
  Sketches are often done in preparation for
  larger, more detailed works of art.

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Contour

• contour - The outline and other visible edges of
  a mass, figure or object.

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Grid

• grid - A framework or pattern of criss-crossed or
  parallel lines. A lattice. When criss-crossed,
  lines are conventionally horizontal and vertical
  and when lines are diagonal, they are usually at
  right angles to each other. Typically graph paper
  is a grid of lines. Things which are often
  gridded tiles, tessellations, wire screens,
  chess boards, maps, graphs, charts, calendars,
  and modern street plans.

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Calligraphy

• calligraphy- Careful hand-lettering, handwriting,
  or the decorative art of lettering in an
  ornamental style using brushes or pens. Or the
  lettering that is produced in this way.

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More techniques

• gesture drawing -The act of making a sketch with
  relatively loose arm movements (gestures) -- with
  the large muscles of the arm, rather than with
  the small muscles of the hand and wrist of the
  artist. Or a drawing made this way. Gesture
  drawing is both widely considered an important
  exercise in art education, and a common practice
  artists use in "warming up" at the start of any
  new work. A gesture drawing is typically the
  first sort of drawing done to begin a more
  finished drawing or painting. It is used to block
  in the layout of the largest shapes in a
  composition.

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Continue gesture drawing

• There are compelling reasons too for artists to
  make gesture drawings simply for the sake of
  making them. The act of gesture drawing trains
  the simultaneous workings of the eyes, the brain,
  and the hand, especially in the act of drawing
  from life -- from direct observation of a
  subject. Intensifying this learning experience is
  the practise of gesture drawing at great speeds
  -- drawings made in as long as five minutes, and
  as short as a few seconds. Gesture drawing is
  likely to increase awareness of underlying
  structures, both in the subject of the work and
  in the work itself. The subject of a gesture
  drawing can be any at all, although the artists
  who made each of the following examples chose to
  make life drawings -- of human models.

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What is this an example of?
Paul Klee (Swiss, born Germany, 1879-1940), The
Mocker Mocked (Oder der verspottete Spötter),
1930, oil on canvas, 17 x 20 5/8 inches (43.2 x
52.4 cm), Museum of Modern Art, NY. Also see
Bauhaus and Swiss art.
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More techniques

• concept- An idea, thought, or notion conceived
  through mental activity. The words concept and
  conception are applied to mental formulations on
  a broad scale.
• Quotes about concept
• "Art is the expression of the profoundest
  thoughts in the simplest way."Albert Einstein
  (1879-1955), German scientist.
• "I begin with an idea and then it becomes
  something else."Pablo Picasso (1881-1973),
  Spanish modern artist.
• "There is nothing worse than a brilliant image of
  a fuzzy concept."Ansel Adams (1902-1984),
  American photographer.

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More techniques

• fashion - The prevailing style or custom. Most
  often refers to clothing (costume), but may refer
  to any cultural trend. Manner or mode. Also, to
  give shape or form to to make. Fashion design
  refers specifically to designing clothing, and
  its associated accessories.

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Architecture

• architecture - The art of designing and
  constructing buildings (structures), and other
  environmental features. A person who practices
  architecture is called an architect.

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The Pencil

• Pencil is the most immediate of drawing
  materials.
• It can record lines, tones, feelings and ideas.
• Its variety is great
• Graphite (graphite comes in different hardness
  6B-the softest, to 9H-the hardest). The Graphite
  is mixed with clay the more- the more clay, the
  harder the pencil the lighter the line.

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The Charcoal

• Charcoal is probably the oldest drawing material.
  This can be seen in drawings on the caves of
  Lascaux, France-about !5,000 BC. Charcoal comes
  in stick-dry carbon, compressed-charcoal ground
  into powder and pressed into sticks, and
  pencil-compressed charcoal sheathed in wood.
  Rubbing charcoal will produce a variety of tones.
  It can be erased with a kneaded eraser and
  fixative can aid in stopping smudging.

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The Ink

• Ink was invented simultaneously by Egypt and
  China around 3000 BC.
• Indian ink is made with soot, while sepia ink is
  made from cuttlefish excretions.
• Waterproof inks are permanent, while soluble inks
  can be washed away if desired.

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The Ink Drawing Tools

• Ink drawings can be produced with a variety of
  tools- sticks, quill pens, radiograph pens and
  steel pointed nib pens.
• With steel pointed nib points- A are square, B
  are round, C are flat and D are oval.
• Each style has 7 sizes, from 0-boldest to
  6-finest.
• With Sumi-Japanese black watercolor ink you use a
  brush-with hairs longer than a watercolor brush.
  
• You use a brush with vertical position.
• The line can change dramatically with a slight
  change in pressure on the paper.

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The Carbon

• Chalk, like Charcoal, is an ancient medium first
  used in cave paintings.
• Natural carbons are black, iron oxids produce
  reds, umbers make brown, ochres make yellows and
  pure chalk makes white.
• Hard chalks are used in a linear fashion and soft
  chalks blend easily.

Antoine Watteau (French, 1684-1721), Six studies
of the head of a young woman and two of a young
boy, three crayons (red, black, and white chalk)
with red chalk of several tones, traces of red
chalk wash and white gouache on cream paper,
0.225 x 0.348 m, Louvre.
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The Pastels

• Pastels are ground pigments mixed with gum and
  formed into sticks.
• If pigments are ground into oil instead of gum
  they are called hard pastels.
• The paper used in pastels must have a tooth to
  take the color.
• Pastels may be used in a linear approach or may
  be smudged producing a blended effect or stippled
  in a pointillist approach.

John Singleton Copley (American, 1738-1815), Hugh
Hall, 1758, pastel on paper mounted on canvas, 15
1/2 x 13 inches (39.4 x 33 cm),
Metropolitan Museum of Art, NY.
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The Conte Crayon

• Conte Crayon is made specifically for drawing.
• It has a more adhesive quality than chalk,
  charcoal or pastels because of its high oil
  content.
• It comes in white, black, sepia and sanguine.

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Project Part 1(still life)

• Draw 28 Contour Drawings of the Still life using
  your view finder (the outline of the objects).
• Draw 28 Gestural Drawings of the Still life using
  your view finder (quick movements).
• Draw 10 Studies using blending and shading
  techniques using your view finder (study what you
  see shade).

• Materials
• Pencil
• Legal paper (2 for contour, 2 for gesture, 5 for
  studies)
• Eraser
• Directions
• Measure 4 ¼ on the horizontal of the paper

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Part 2 Still life with charcoal/pastels

• Complete your final composition on 18 X 24 inch
  sheet of paper. Use your view finder for the
  composition of the piece. Spray with a workable
  fixative when complete. To create a border use
  masking tape around the edges of the paper. Blend
  with your fingers to make shades and contrasting
  values. Remember the most important element in
  drawing a still life is observation.