de Beaufort AA ch6

1. 1
Drawing

2. 1
Drawing
An immediate and accessible way to
communicate through imagery
Conveys an artist's imaginings
Henry Moore. Study for Tube Shelter
Perspective: The Liverpool Street
Extension. Pencil, wax crayon, colored crayon,
watercolor, wash, pen and ink, Conté crayon on
wove paper. 8” × 6-1/2”.
• Londoners sheltering from Nazi
bombing raids
•
Valuable record of events where
cameras could not function Moore
named an Official War Artist

3. 1
The meaning of drawing
To pull, push, or drag a marking tool
across a surface to leave a line or mark
Sketchbooks
• For developing ideas or taking
notes
Leonardo da Vinci. Facial Proportions
of a Man in Profile. 1490–95.
Brown ink, charcoal, and red chalk. 11”
× 8-3/4”.

4. 1
Guillermo del Toro. Pages from sketchbook. Pan's Labyrinth. 2006.

5. 1
Receptive and Projective
Drawing
Receptive drawing
• Attempts to capture the physical
appearance of something before
us
Mary Cassatt
• Captured family group on public
transportation
Mary Cassatt. In the Omnibus. c.1891.
Black chalk and graphite on paper.
National Gallery of Art, Washington,
D.C.

6. 1
Receptive and Projective
Drawing
Projective drawing
• Drawing something that only exists
in our minds
Martín Ramírez, Untitled No. 111
• A train passing through an
impossible tunnel Work based on
imagination
Martín Ramírez. Untitled. c.1953.
Gouache, colored pencil, and
graphite on pieced paper. 36” × 24”.

7. 1
Drawing and the Creative
Process
Many artists regard drawing as
deeply important
Some artists present exceptional
ability as children, but some who
had to develop it include Vincent
van Gogh
Carpenter compared to Old Man
with His Head in His Hands, made
two years later
Vincent van Gogh. Old Man with
His Head in His Hands. 1882.
Pencil on paper. 19-11/16” × 12-
3/16”.

8. 1
Vincent van Gogh: Mastering
Drawing
Believed he had to master drawing
before allowing himself to use color
Struggled with drawing
Vincent van Gogh. Self-Portrait with
Felt Hat. 1888.
Oil on canvas. 17-1/4” × 14-3/4”.

9. 1
Vincent van Gogh:
Mastering Drawing
Did not wish to achieve photographic
accuracy
Drawing from life
Admired more simple styles of
drawing, preferring Japanese style
Vincent van Gogh. Trees with Ivy in the
Garden of the Asylum. 1890.
Reed pen and pen and ink on cream
wove paper. 24-1/2” × 18-1/2”.

10. 1
Purposes of Drawing
Serves three functions
1. Notation, sketch, or record of something
seen, remembered, or imagined
2. Study or preparation for another, usually
larger and more complex work
3. As an end in itself, a complete work of
art
Michelangelo’s studies
•
Reclining Male Nude for the painting of
the figure on the Sistine Chapel ceiling
Careful drawing from observation
•
Repetition of parts needing further study
Michelangelo Buonarroti. Study of a Reclining
Male Nude. c.1511.
Red chalk over stylus underdrawing. 7-5/8” ×
10-1/4”.

11. 1
Picasso’s studies for Guernica
Forty-five studies are
preserved Gestural lines
convey work's essence
Pablo Picasso. First
Composition Study for
Guernica. May 1, 1937.
Pencil on blue paper. 8-1/4” ×
10-5/8”.

12. 1
Cartoon
Full-size drawing made as a guide for a
large work in another medium Often used
for fresco painting, mosaic, or tapestry.
Pablo Picasso. Composition study for
Guernica. May 9, 1937.
Pencil on white paper. 9-1/2” × 17-7/8”.

13. 1
Pablo Picasso. Guernica. 1937.
Oil on canvas. 11’6” × 25’8”.

14. 1
Tools and Techniques
Hatching
Parallel lines suggesting shadows or
volumes Cross-hatching,
Contour hatching
Types of Hatching.
From left: a. Hatching. b. Cross-
hatching. c. Contour hatching

15. 1
Used all three methods
Simple hatching on standing figure
Contour hatching on upper side of
bulging arm
Cross-hatching on darker areas
Bartolomeo Passarotti. Studies of a
Left Arm, a Young Woman, etc.
Undated 16th century.
Pen and iron gall ink on laid paper.
7-7/8” × 11-3/8”.

16. 1
Paper
Smooth surface or surface
with tooth
Rough grain gives texture
Georges Seurat, L’Echo
Toothy paper
Georges Pierre Seurat.
L'Echo, (detail). 1883–84.
Black Conté crayon on
Michallet paper.

17. 1
Dry media
Include pencil, charcoal, Conté crayon,
and pastel
Varying degrees of hardness
Controls darkness and line quality
The softer, the darker
States of Mind: The Farewells
Boccioni’s variety of tools and
techniques exhibited
Umberto Boccioni. States of Mind: The
Farewells. 1911.
Charcoal and Conté crayon on paper.
23” × 34”.

18. 1
Dry Media
Charcoal
Not all particles bind to the surface
• May be set with a thin fixative
varnish to prevent smudging
• Wide range of values
• Vija Celmins, Web #5
Vija Celmins. Web #5. 1999.
Charcoal on paper. 22” × 25-1/2”.

19. 1
Dry Media
Pastels
• Similar characteristics to natural
chalk
Mostly pigment with little binding
material
Do not allow much detail
•
Rosalba Carriera’s sensitivity of
medium
Rosalba Carriera. Portrait of a Girl with
a Bussola. 1725–30.
Pastel on paper. 13-3/8” × 10-1/2”.

20. 1
Liquid Media
Rembrandt van Rijn, Eliezer and
Rebecca at the Well
• Compositional arrangement for a
possible painting
• Lightened shade using white
gouache, an opaque watercolor
Rembrandt van Rijn. Eliezer and
Rebecca at the Well. 1640s.
Reed pen and brown ink with brown
wash and white gouache. 8-1/4” × 13-
1/16”.

21. 1
Drawing in combination with other media
Julie Mehretu. Back to Gondwanaland. 2000.
Ink and acrylic on canvas. 8’ × 10’.