1. Upcoming Due Dates: 1. Typed journal 1st museum visit Due: In 3 weeks, Monday, March 23 2. Typed journal #4 – now on My Learning Web Due: In 4 weeks, Wednesday, April 1 The museum/gallery visit entry will be graded according to a rubric. Your admission ticket/sticker MUST be attached to your entry. Your response will not be graded without your proven attendance at the museum/gallery. No late work will be accepted past the due date unless you have a valid reason for missing the class. Typed journal #4 will be graded Pass/Fail.

2. Part II: The Fine Arts Media In this next part of the class, we will explore and learn about the materials that artists use to make art, and the history and complexity behind those materials. medium. Any material used to create a work of art is called a medium. (The plural is media.) If an artist is using several different media, their work’s materials may be referred to as mixed media. The history of the various media used to create art is the history of the various technologies that artists have employed. Technologies refer to the materials and methods available to a given culture. They have helped artists both to achieve their desired effects more readily and to discover new modes of creation and expression.

3. Part III: The Fine Arts Media Chapter 9: Drawing Chapter 10: Printmaking Chapter 11: Painting Chapter 12: Photography and Time-Based Media Chapter 13: Sculpture Chapter 14: The Crafts as Fine Art Chapter 15: Architecture Chapter 16: The Design Profession

4. Chapter 9 – Drawing Thinking Ahead: 1. What is a medium? 2. What is the technique known as metalpoint? 3. What are the characteristics of wet media? 4.How can drawing be an innovative medium?

5. Drawing is the most basic of all the art media. Artists draw for several reasons: Drawing is often used for preliminary study. Artists draw to practice their technical skills, or to evaluate the varied abilities of a medium, before they commit to a final work. Drawing is also used to record the world around us. Artists use drawing as a means of conveying information – from studying human anatomy, to recording the variety of botanical plants, to mapping the world. Artists draw because the process is an immediate form of expression. Most drawing media needs little surface preparation and requires little drying time, therefore, artists are encouraged to quickly visualize their thoughts through the direct application of drawing media. Because it records the path of the artist’s hand directly on paper, it is thought to be reflective of the artist’s soul or spirit. Drawing is autographic: it bears the artist’s style.

6. Various examples of cave drawings. Some date as far back as 40,000 years ago.

7. Left: Jacques-Louis David, Study for the Death of Socrates, 1787. Charcoal heightened in white chalk on gray-brown paper. Right: Jacques-Louis David, The Death of Socrates, 1787. Oil on canvas. - As we have seen before in class, drawing is often used to practice and create a study, or plan for a larger (often more expensive) work of art. The drawing on the left shows the artist planning out his composition, which we see finished in his painting on the right.

8. Excerpts from the Lewis and Clark Expedition, 1814. Pen and ink on paper. These illustrations record some of Lewis and Clark’s discoveries as they journeyed into the American West along the Missouri River.

9. Leonardo da Vinci was one of many Renaissance artists that explored human anatomy through drawing. Leonardo da Vinci, various drawings from sketchbooks, late 1400s.

10. Workshop of Pollaiuolo, Youth Drawing, late 15 th century. Pen and ink with wash on paper. Have you ever doodled on a piece of paper, or done a quick drawing, then thrown it away, to either start fresh or move onto something else? Paper was not always so available and inexpensive. This drawing, made when paper was rare, shows how most artists use to do preparatory sketches. The young boy draws on a block of wood, and he will have to sand the block down to a clean surface when he needs to do a new drawing. Paper was not manufactured in the Western world until the 13 th century in Italy, and it was made from cloth rags. (Papyrus and parchment were used before.) Paper as we know it, made from wood pulp, was not developed until the middle of the 19 th century!

11. Leonardo do Vinci, Madonna and Child with St. Anne and Infant St. John the Baptist, c. 1505-07 Charcoal, and possibly wash heightened with white charcoal on paper, then mounted on canvas. A preparatory sketch for a painting or fresco, but it illustrates why drawing merits serious consideration as an art form in its own right. Initially, drawing was not considered an art in its own right, but only a tool for teaching and preliminary study. Drawing came into its own as a respectable medium by the end of the 15 th century. It was seen as embodying the artist’s personality and creative genius.

12. Raphael, Studies for The Alba Madonna, c. 1511. Red chalk and pen and ink

13. Raphael, The Alba Madonna, c. 1510. Oil on panel transferred to canvas

14. Leonardo da Vinci, Study for a Sleeve, c. 1510-13, 3⅛ x 6¾ inches. Pen, lampblack (pigment), and chalk on paper. Note the fluidity and spontaneity of the artist’s line. The directness of the medium and the ability of the artist’s hand to move quickly over the paper create the sense of moving drapery and a creative imagination.

15. Drawing Materials dry mediawet media. Different drawing materials produce different types of visual effects. Drawing media are generally divided into two categories: dry media and wet media. Dry Media: Metalpoint (specifically silverpoint) Chalk and Charcoal Graphite Pastel Dry media consist of coloring agents, or pigments, that are sometimes ground or mixed with substances that hold the pigments together, called binders. Liquid Media: Pen and Ink Wash and Brush In liquid media, pigments are suspended in liquid binders.

16. Metalpoint aka Silverpoint Metalpoint is when a stylus (or pointed object) made of gold, silver, or some other metal is applied to a sheet of paper prepared with a mixture of powdered bones (or lead white) and gumwater. When the metalpoint is applied to this ground, a chemical reaction occurs, and the line is produced. The metalpoint line, which is pale gray, is very delicate, and can only produce a line as thick as the stylus’s metalpoint. The lines cannot be erased, so it requires some patience and skill. This mode of drawing is primarily concerned with delineation, or the descriptive representation of an object by means of outline or contour drawing.

17. Metalpoint A piece of silver wire is placed into a holder (to make it more comfortable to work with). The tiny point of the wire makes delicate light marks as it is dragged across the page.

18. Leonardo da Vinci, Study of a woman’s head or of the angel of the Vergine delle Rocce, 1473, 7⅛ x 6¼ inches. Silverpoint with white highlights on prepared paper. Leonardo da Vinci’s skill is obvious. He achieves shadow through careful hatching, but his inclusion of loose lines gives a sense of spontaneity, even in this most demanding of media. Metalpoint drawings excel at portraying delicacy and intricate line work. They are limited in value ranges, however. The metal oxidation can only achieve a medium gray as its darkest value. (Artists frequently draw with metalpoint on tinted paper, and often use white chalk to add highlights.)

19. Leonardo da Vinci, Study of Hands, c. 1510 Silverpoint on prepared paper. We can see where Leonardo began to draw the hand on the left, and then changed his mind and drew it higher in the composition. The unfinished hand shows us his process: he begins with delineation, by defining the form through its contour lines, and then, as we see in the two more developed hands, he uses cross- hatching to add more values and depth to the drawing.

20. Chalk and Charcoal Chalk and Charcoal are much softer, and the ease with which they spread across the paper allows for a more volumetric interpretation of the 3D form through variations of light and dark. Natural chalks were in common use by the middle of the 16 th century, often derived from red ocher hematite (providing an earthy red color), white soapstone, and black carbonaceous shale. Charcoal sticks are made from burnt wood, and the best are made from hardwood, especially vines. Charcoal has a tendency to smudge easily, which can be avoided by spraying synthetic resin fixatives over the finished work.

21. Various chalk sticks, in white, reddish-brown, and black. You can see a piece of chalk in placed in a bamboo holder, which can make it more comfortable and stable to work with.

22. Various charcoal sticks. The artist can choose to sharpen the point of a charcoal stick, in order to create fine detail and tighter drawings. The charcoal sticks can also be used with blunt ends, or dragged along their sides, to produce looser, gestural marks.

23. Charcoal and chalk both change in lightness or darkness of the marks depending on the pressure of the artist’s hand. If the artist lightly drags the charcoal or chalk stick across the page, it produces a soft, powdery line. If the hand uses more pressure, pushing hard with the medium across the paper, then the resulting line will be heavy and dark.

24. Georgia O’Keeffe, Banana Flower, 1933, 21¾ x 14¾ inches. Charcoal and black chalk on paper. The flower looks volumetric, like a 3D form. This is accomplished through the subtle transitions of light and dark areas that blend into one another. Charcoal and chalk are much softer than metalpoint, and they can spread across the drawing surface easily and blend together. Charcoal and chalk drawings are frequently more concerned with variations of light and dark value rather than delineation.

25. Käthe Kollwitz, Self-Portrait, Drawing, 1933, 18¾ x 25 inches. Charcoal on brown laid Ingres paper. Kollwitz reveals the extraordinary expressive capabilities of charcoal. You can almost imagine the artist’s hand dragging the charcoal up and down. Kollwitz appears to be holding the very charcoal used to create the work.

26. Watch the Video: Studio Technique: Figure and Gesture Drawing Watch the Video: Studio Technique: Figure and Gesture Drawing

27. Graphite Graphite is a soft form of carbon similar to coal. It was discovered in 1564 in Borrowdale, England. As quality black chalk became increasingly difficult to obtain, the pencil – graphite encased in wood – became more and more popular, eventually becoming the most common drawing tool. The hardness of pencil graphite can be altered and controlled by mixing different materials into the graphite. – The more material that is added, the harder and lighter the pencil will be. – The more graphite (and less added material) in the pencil, the softer and darker the pencil will be.

28. Right: lump of graphite. Middle: graphite powder. Left: graphite in pencil. You can still make marks with raw graphite lumps or by smearing powder, but the pencil offers more control and is more comfortable to draw with.

29. Pencils come graded, based on the graphite content (and hardness or softness). This scale begins in the upper left with the hardest pencil (9H), which has the least graphite in it, and transitions down to the softest pencil (9xxB), which has the most graphite. A “2B” pencil is most commonly used for writing.

30. An example of a highly developed photorealist graphite drawing Celmins uses extraordinary detail in her rendering of ocean waves as seen from the Venice Pier in Venice, California. She used a pencil of differing hardness for each drawing in the series, exploring the range of values offered by the medium.. Vija Celmins Untitled (Ocean) 1970 Graphite on acrylic ground on paper

31. Pastel Pastel is essentially a chalk medium with colored pigment and a non-greasy binder added to it. It is the only colored drawing medium discussed in Chapter 9. Pastels come in sticks and are labeled soft, medium, or hard depending on how much binder is in the medium. – The more binder, the harder the pastel, and the less intense the color. The lack of binder in pastels make them extremely fragile. Marks created by the chalky powder can literally fall off the paper unless the drawing is fixed to the paper. Special ribbed and textured papers were developed to help hold the medium to the surface.

32. Various chalk pastels on the left, and marks made with pastels above. Pastels are soft and powdery; they do not blend together easily. Instead, artists frequently layer the different colors through cross-hatch marks.

33. Edgar Degas, After the Bath, Woman Drying Herself, c. 1889-90 Pastel on paper Degas invented a new way of using pastel, building up the pigments in successive layers. Normally, this would not have been possible because the powdery chalks of the medium would not hold to the surface. Degas worked with a fixative that allowed him to build up layers of pastel without affecting the intensity of their color.

34. Mary Cassatt, Young Mother, Daughter, and Son, 1913, 43¼ x 33¼ inches. Pastel on paper. Cassatt was Degas’s student, and she uses the pastel medium with an even greater freedom and looseness than her teacher. Notice how some of the colored lines go beyond their intended boundaries (they go “outside the lines”), such as the blue cross-hatch lines on the edge of the child’s leg and hand. The implied motion of the marks creates a vibrating energy – it almost seems as though the drawing is moving.

35. Pen and Ink (Liquid Media) Pen and Ink became widely used through the Renaissance as paper became more and more widely available. Artists used quill pens made from goose or swan feathers. Quill pens allow for far more variation in line and texture than is possible with a metalpoint stylus or pencil.

36. Left: modern quill pen with ink jar. Middle: feather showing sharpened quill tip. Right: feather quill in ink jar.

37. Elisabetta Sirani, The Holy Family with a Kneeling Moastic Saint, c. 1660. Pen and brown ink, black chalk, on paper The line can be thickened or thinned depending on the absorbency of the paper. The more absorbent the paper, the more freely the ink will flow through its fibers. Diluted to a greater or lesser degree, ink provides the artist with a more fluid and expressive means to render light and shadow than the tedious hatching that was necessary when artists used a metalpoint stylus or chalk.

38. Jean Dubuffet, Corps de Dame, 1950 Pen, reed pen, and ink The line can also be thickened or thinned depending on the artist’s manipulation of the flexible quill. In this drawing, lines range from very fine up to ½ inch thick. The artist has used thick and thin lines in a spontaneous, almost frantic, manner. Dubuffet’s drawing, while seeming to derogate women, actually might be aimed more at attacking the academic notion of drawing

39. Wash and Brush (Liquid Media) When ink is diluted with water and applied with a brush in large, flat areas, the result is called a wash. Entire ink drawings can be accomplished with a brush, when the artist uses the small tip of the brush with ink to create lines of varying length.

40. Ink wash (in the small bowl) and the brush to apply it with. You can see from the streaks on the bowl that the ink has been diluted and is much lighter than the concentrated black. Artists can also use many different brush shapes to apply washes.

41. Giovanni Battista Tiepolo. The Adoration of the Magi, c. 1740s. Pen and brown wash over graphite sketch. 3 layers deep: Preliminary graphite sketch Pen and ink drawing Brown wash The brown wash helps to define volume and form by adding shadows AND creates a visual pattern of alternating light and dark elements

42. Liang King, The Poet Li Bo Walking and Chanting a Poem. Southern Song Dynasty, c. 1200 Hanging scroll, ink on paper Many artists prefer to draw with a brush, which provides a sense of spontaneity and allows the artist to control the width of the lines. Drawing with a brush is a technique with a long tradition in the East, where the brush is used as a writing instrument. Think of Chinese calligraphy. This artist juxtaposes the quick strokes of diluted ink that forms the robe with the fine, detailed brushwork of the face.

43. Innovative Drawing Media Drawing is by nature an exploratory medium. It invites experimentation. Many modern and contemporary artists have pushed traditional boundaries of drawing, using new techniques and materials, working at a large scale, and integrating drawing with film.

44. Henri Matisse. Harmony in Red (The Red Room), 1908-09. Oil on canvas, 70 7/8 × 86 5/8 in.

45. Henri Matisse, Venus, 1952 Paper collage on paper Drawing with scissors After stroke limited his use of traditional drawing materials, Matisse was inspired to “sketch” by cutting out shapes of paper using scissors. Through this method of sketching, he found what he considered the essence of form. Cutouts such as Venus dominated Matisse’s work until his death in 1954, and their boldness conveys his mastery of line and shape. “Scissors,” he said, “can acquire more feeling for line than pencil or charcoal.” https://www.youtube.com/watch?v=rLgSd8ka 0Gs

46. Whitfield Lovell, Whispers from the Walls, 1999, varying dimensions. Mixed media installation.

47. Whitfield Lovell, Whispers from the Walls, alternate view. Drawing on walls Lovell has used charcoal to draw life-size figures based on actual photographs of African American slaves living in Denton, Texas during the 1920s. The fragility of the charcoal medium lends the drawings a ghost-like presence. The sound of softly speaking voices can be overhead on an old phonograph, as if emanating from the drawings themselves.

48. Watch the Video: William Kentridge on His Process William Kentridge One of the great drawing innovators of the day; employs his drawings to create his own animated films. These films are built up from single drawings in charcoal and pastel on paper that are successively altered through erasure, additions, and re-drawings that are photographed at each stage of evolution. Why is this process so innovative? Instead of being constructed, as in normal animation, out of hundreds of separate drawings, Kentridge’s films are made of hundreds of photographs of drawings in process.

49. Homework Multiple choice questions for Ch. 10: Printmaking Due: Next class, Monday, March 9 Upcoming Due Dates 1.Typed journal 1st museum visit Due: Monday, March 23 2. Typed journal #4 – now on My Learning Web Due: Wednesday, April 1 3. Group PowerPoint presentation and research paper Will assign and discuss on Monday, March 9 Due: Last day of class, Wednesday, May 13