6 Drawing

Learning Objectives Characterize drawing as an immediate means of communicating with visual images. Distinguish the use of drawings to record ideas, as preliminary studies, and as independent works of art. Discuss drawing tools and techniques used with dry and liquid media.

Learning Objectives Compare effects achieved through different drawing techniques. Recognize the role of drawing in comics and graphic novels. Examine contemporary drawing technologies.

Introduction Drawing Henry Moore's Shelter Drawings An immediate and accessible way to communicate through imagery Conveys an artist's imaginings Henry Moore's Shelter Drawings Londoners sheltering from Nazi bombing raids Valuable record of events where cameras could not function

Henry Moore. Study for Tube Shelter Perspective. 1940–1941 Henry Moore. Study for Tube Shelter Perspective. 1940–1941. Pencil, wax crayon, colored crayon, watercolor, wash, pen and ink, Conté crayon on wove paper. 8" × 6-1/2". Reproduced by permission of The Henry Moore Foundation. © The Henry Moore Foundation. All Rights Reserved, DACS 2013/www.henry-moore.org. [Fig. 6-1] Henry Moore. Study for Tube Shelter Perspective. 1940–1941. Pencil, wax crayon, colored crayon, watercolor, wash, pen and ink, Conté crayon on wove paper. 8" × 6-1/2". Reproduced by permission of The Henry Moore Foundation. © The Henry Moore Foundation. All Rights Reserved, DACS 2013/www.henry-moore.org. [Fig. 6-1]

The Drawing Process Children draw often before reading or writing, but it is a learned process. 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 da Vinci's Facial Proportions of a Man in Profilei

Discovering Art: Drawing Leonardo da Vinci. Facial Proportions of a Man in Profile. 1490–1495. Brown ink, charcoal, and red chalk. 11" × 8-3/4". Academia Venice. © 2013. Photo Scala, Florence—courtesy of the Ministero Beni e Att. Culturali. [Fig. 6-2] Leonardo da Vinci. Facial Proportions of a Man in Profile. 1490–1495. Brown ink, charcoal, and red chalk. 11" × 8-3/4". Academia Venice. © 2013. Photo Scala, Florence—courtesy of the Ministero Beni e Att. Culturali. [Fig. 6-2]

The Drawing Process Sketchbooks Receptive drawing Projective drawing Director/producer Guillermo del Toro's pages detailing Pan's Labyrinth Receptive drawing Attempts to capture the physical appearance of something before us Projective drawing Drawing something that only exists in our minds

Closer Look: Guillermo del Toro, Sketchbook Guillermo del Toro. Pages from sketchbook. 2006. Pan's Labyrinth. © MMVi. New Line Productions Inc. Photo appears courtesy of New Line Cinema/ Time Warner. [Fig. 6-3] Guillermo del Toro. Pages from sketchbook. 2006. Pan's Labyrinth. © MMVi. New Line Productions Inc. Photo appears courtesy of New Line Cinema/Time Warner. [Fig. 6-3]

The Drawing Process Projective drawing Martín Ramírez, Untitled No. 111 A train passing through an impossible tunnel Work based on imagination Favored today by artists in Europe and the United States Drawing process deeply important to artists' creativity

Martín Ramírez. Untitled No. 111 (Train and Tunnel). c. 1960–1963 Martín Ramírez. Untitled No. 111 (Train and Tunnel). c. 1960–1963. Gouache, colored pencil, and graphite on pieced paper. 15" × 31". © Estate of the artist. [Fig. 6-4] Martín Ramírez. Untitled No. 111 (Train and Tunnel). c. 1960–1963. Gouache, colored pencil, and graphite on pieced paper. 15" × 31". © Estate of the artist. [Fig. 6-4]

The Drawing Process Some artists present exceptional ability as children, but some who had to develop it include: Paul Cézanne Vincent van Gogh Carpenter compared to Old Man with His Head in His Hands, made two years later Good drawing can appear deceptively simple.

Vincent van Gogh. Carpenter. c. 1880. Black crayon. 22" × 15" Vincent van Gogh. Carpenter. c. 1880. Black crayon. 22" × 15". Kröller-Müller Museum, Otterlo, Netherlands. [Fig. 6-5] Vincent van Gogh. Carpenter. c. 1880. Black crayon. 22" × 15". Kröller-Müller Museum, Otterlo, Netherlands. [Fig. 6-5]

Web Resource: Vincent van Gogh Museum Vincent van Gogh. Old Man with His Head in His Hands. 1882. Pencil on paper. 19-11/16" × 12-3/16". Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6-6] Vincent van Gogh. Old Man with His Head in His Hands. 1882. Pencil on paper. 19-11/16" × 12-3/16". Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6-6]

Forming Art Vincent van Gogh: Mastering Drawing Believed he had to master drawing before allowing himself to use color Struggled with drawing Did not wish to achieve photographic accuracy Drawing from life Admired more simple styles of drawing, preferring Japanese style

Vincent van Gogh. Self-Portrait with Felt Hat. 1888. Oil on canvas Vincent van Gogh. Self-Portrait with Felt Hat. 1888. Oil on canvas. 17-1/4" × 14-3/4". Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6-7] Vincent van Gogh. Self-Portrait with Felt Hat. 1888. Oil on canvas. 17-1/4" × 14-3/4". Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6-7]

Vincent van Gogh. Trees with Ivy in the Asylum Garden. 1890 Vincent van Gogh. Trees with Ivy in the Asylum Garden. 1890. Reed pen and pen in ink on cream wove paper. 24-1/2" × 18-1/2". Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6-8] Vincent van Gogh. Trees with Ivy in the Asylum Garden. 1890. Reed pen and pen in ink on cream wove paper. 24-1/2" × 18-1/2". Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6-8]

Purposes of Drawing Serves three functions Notation, sketch, or record of something seen, remembered, or imagined Study or preparation for another, usually larger and more complex work As an end in itself, a complete work of art

Purposes of Drawing 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 Picasso's studies for Guernica Forty-five studies are preserved Gestural lines convey work's essence

Michelangelo Buonarroti. Study of a Reclining Male Nude. c. 1511 Michelangelo Buonarroti. Study of a Reclining Male Nude. c. 1511. Red chalk over stylus underdrawing. 7-5/8" × 10-1/4". The British Museum © The Trustees. [Fig. 6-9] Michelangelo Buonarroti. Study of a Reclining Male Nude. c. 1511. Red chalk over stylus underdrawing. 7-5/8" × 10-1/4". The British Museum © The Trustees. [Fig. 6-9]

Pablo Picasso. First Composition Study for Guernica. May 1, 1937 Pablo Picasso. First Composition Study for Guernica. May 1, 1937. Pencil on blue paper. 8-1/4" × 10-5/8". Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 6-10] Pablo Picasso. First Composition Study for Guernica. May 1, 1937. Pencil on blue paper. 8-1/4" × 10-5/8". Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 6-10]

Pablo Picasso. Composition study for Guernica. May 9, 1937 Pablo Picasso. Composition study for Guernica. May 9, 1937. Pencil on white paper. 9-1/2" × 17-7/8". Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 6-11] Pablo Picasso. Composition study for Guernica. May 9, 1937. Pencil on white paper. 9-1/2" × 17-7/8". Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 6-11]

Closer Look: Pablo Picasso, Guernica Pablo Picasso. Guernica. 1937. Oil on canvas. 11' 6" × 25' 8". Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 6-12] Pablo Picasso. Guernica. 1937. Oil on canvas. 11' 6" × 25' 8". Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 6-12]

Purposes of Drawing Preliminary sketches not generally considered finished pieces Treasured for intrinsic beauty of process Cartoon Full-size drawing made as a guide for a large work in another medium Often used for fresco painting, mosaic, or tapestry.

Tools and Techniques Lines Paper Hatching Parallel lines suggesting shadows or volumes Cross-hatching, seen in Preacher Contour hatching Paper Smooth surface or surface with tooth Rough grain that gives texture

Drawing Tools and Their Characteristic Lines. [Fig. 6-13]

Types of Hatching. [Fig. 6-14]

Charles White. Preacher. 1952 Charles White. Preacher. 1952. Pen and black ink, and graphite pencil on board. 22-13/16" × 29-15/16" × 3/16". Collection of Whitney Museum of American Art, New York. Purchase. 52.25. Photo by Geoffrey Clements, New York ©1952 The Charles White Archives. [Fig. 6-15] Charles White. Preacher. 1952. Pen and black ink, and graphite pencil on board. 22-13/16" × 29-15/16" × 3/16". Collection of Whitney Museum of American Art, New York. Purchase. 52.25. Photo by Geoffrey Clements, New York ©1952 The Charles White Archives. [Fig. 6-15]

Tools and Techniques Dry media Include pencil, charcoal, Conté crayon, and pastel Varying degrees of hardness Controls darkness and line quality The softer, the darker States of the Mind: The Farewells Boccioni's variety of tools and techniques exhibited

Umberto Boccioni. States of Mind: The Farewells. 1911 Umberto Boccioni. States of Mind: The Farewells. 1911. Charcoal and Conté crayon on paper. 23" × 34". Museum of Modern Art (MoMA) Gift of Vico Baer. Acc. n.: 522.1941 © 2013. Digital image The MoMA, New York/Scala, Florence. [Fig. 6-16] Umberto Boccioni. States of Mind: The Farewells. 1911. Charcoal and Conté crayon on paper. 23" × 34". Museum of Modern Art (MoMA) Gift of Vico Baer. Acc. n.: 522.1941 © 2013. Digital image The MoMA, New York/Scala, Florence. [Fig. 6-16]

Tools and Techniques Dry media Charcoal Dark passages drawn quickly 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" Vija Celmins. Web #5. 1999. Charcoal on paper. 22" × 25-1/2". Private Collection, NY. Courtesy McKee Gallery. [Fig. 6-17] Vija Celmins. Web #5. 1999. Charcoal on paper. 22" × 25-1/2". Private Collection, NY. Courtesy McKee Gallery. [Fig. 6-17]

Tools and Techniques Dry media Conté crayon Pastels Graphite mixed with clay Resists smudging with similar variation of charcoal Wax crayons avoided by serious artists Georges Seurat, L'Echo Pastels Similar characteristics to natural chalk

Georges Seurat. L'Echo, study for Une Baignade, Asnières. 1883–1884 Georges Seurat. L'Echo, study for Une Baignade, Asnières. 1883–1884. Black Conté crayon on Michallet paper. 12-5/16" × 9-7/16". Bequest of Edith Malvina K. Wetmore. Yale University Art Gallery, New Haven, Connecticut, USA. [Fig. 6-18] Georges Seurat. L'Echo, study for Une Baignade, Asnières. 1883–1884. Black Conté crayon on Michallet paper. 12-5/16" × 9-7/16". Bequest of Edith Malvina K. Wetmore. Yale University Art Gallery, New Haven, Connecticut, USA. [Fig. 6-18]

Tools and Techniques Dry media Pastels Mostly pigment with little binding material Do not allow much detail Rosalba Carriera's sensitivity of medium Edgar Degas's constructed compositions showing casual, fleeting glimpses of everyday life

Rosalba Carriera. Portrait of a Girl with a Bussola. 1725–1730 Rosalba Carriera. Portrait of a Girl with a Bussola. 1725–1730. Pastel on paper. 13-3/8" × 10-1/2". Gallerie dell'Accademia. © Cameraphoto Arte, Venice. [Fig. 6-19] Rosalba Carriera. Portrait of a Girl with a Bussola. 1725–1730. Pastel on paper. 13-3/8" × 10-1/2". Gallerie dell'Accademia. © Cameraphoto Arte, Venice. [Fig. 6-19]

Edgar Degas. Le Petit déjeuner après le bain (jeune femme s'essuyant) Edgar Degas. Le Petit déjeuner après le bain (jeune femme s'essuyant). c. 1894. Pastel on paper. 39-1/4" × 23-1/2". Private Collection/Photo © Christie's Image/The Bridgeman Art Library. [Fig. 6-20] Edgar Degas. Le Petit déjeuner après le bain (jeune femme s'essuyant). c. 1894. Pastel on paper. 39-1/4" × 23-1/2". Private Collection/Photo © Christie's Image/The Bridgeman Art Library. [Fig. 6-20]

Tools and Techniques Liquid media Include black/brown inks, washes of ink (thinned with water), felt- and fiber-tipped marker pens Hokusai, Tuning the Samisen Elegance of line created by control over a responsive brush Same brush used for writing and drawing

Hokusai. Tuning the Samisen. c. 1820–1825. Brush drawing Hokusai. Tuning the Samisen. c. 1820–1825. Brush drawing. 9-3/4" × 8-1/4". Freer Gallery of Art, Smithsonian Institution, Washington. D.C.: Gift of Charles Lang Freer, F1904.241. [Fig. 6-21] Hokusai. Tuning the Samisen. c. 1820–1825. Brush drawing. 9-3/4" × 8-1/4". Freer Gallery of Art, Smithsonian Institution, Washington. D.C.: Gift of Charles Lang Freer, F1904.241. [Fig. 6-21]

Tools and Techniques Liquid media van Rijn, Eliezer and Rebecca at the Well Compositional arrangement for a possible painting Lightened shade using white gouache, an opaque watercolor Nancy Spero, Peace Smudged ink creates an aura of exuberant, impulsive force

Rembrandt van Rijn. Eliezer and Rebecca at the Well. 1640s 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". National Gallery of Art, Washington D.C. Widener Collection 1942.9.665 [Fig. 6-22] 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". National Gallery of Art, Washington D.C. Widener Collection 1942.9.665 [Fig. 6-22]

Nancy Spero. Peace. 1968. Gouache and ink on paper. 19" × 23-3/4" Nancy Spero. Peace. 1968. Gouache and ink on paper. 19" × 23-3/4". © Estate of Nancy Spero/Licensed by VAGA, New York, NY. [Fig. 6-23] Nancy Spero. Peace. 1968. Gouache and ink on paper. 19" × 23-3/4". © Estate of Nancy Spero/Licensed by VAGA, New York, NY. [Fig. 6-23]

Comics and Graphic Novels Sequential artforms based on drawing Culmination of development through ancient Egyptian murals, medieval tapestries, and print series in the 1730s Featured in newspapers Little Nemo in Slumberland More serious in recent years

Windsor McCay. Little Nemo in Slumberland (detail). April 4, 1906 Windsor McCay. Little Nemo in Slumberland (detail). April 4, 1906. Published in New York Herald. [Fig. 6-24] Windsor McCay. Little Nemo in Slumberland (detail). April 4, 1906. Published in New York Herald. [Fig. 6-24]

Gilbert Hernandez. Cover of Fear of Comics. 2000 Gilbert Hernandez. Cover of Fear of Comics. 2000. Courtesy Fantagraphics Books, Inc. © Gilbert Hernandez, 2007. [Fig. 6-25] Gilbert Hernandez. Cover of Fear of Comics. 2000. Courtesy Fantagraphics Books, Inc. © Gilbert Hernandez, 2007. [Fig. 6-25]

Comics and Graphic Novels Marjane Satrapi's Persepolis Could have been written as a narrative without pictures, but Satrapi combines word and drawn image to add power to both. Untitled abstract comic of Janusz Jaworski Leaves context to imagination of viewer

Marjane Satrapi. Page from Persepolis. 2001. L'association, Paris. [Fig. 6-26]

Janusz Jaworski. Untitled abstract comic. 2001 Janusz Jaworski. Untitled abstract comic. 2001. Ink and watercolor on paper. Courtesy of the artist. [Fig. 6-27] Janusz Jaworski. Untitled abstract comic. 2001. Ink and watercolor on paper. Courtesy of the artist. [Fig. 6-27]

Contemporary Approaches Drawing in combination with other media Julie Mehretu, Back to Gondwanaland Swatches of cut paper along with drawn ink lines Shapes suggest the impersonal public spaces of today's mass-produced world

Video: Art21: Julie Mehretu: Painting Conservator Luca Bonetti Video: Art21: Julie Mehretu: Mural Video: Art21: Julie Mehretu: Studio Assistants Julie Mehretu. Back to Gondwanaland. 2000. Ink and acrylic on canvas. 8' × 10'. Collection A & J Gordts-Vanthournout, Belgium. Courtesy of the artist and Marian Goodman Gallery. [Fig. 6-28] Julie Mehretu. Back to Gondwanaland. 2000. Ink and acrylic on canvas. 8' × 10'. Collection A & J Gordts-Vanthournout, Belgium. Courtesy of the artist and Marian Goodman Gallery. [Fig. 6-28]

Contemporary Approaches Christine Hiebert, Reconnaissance Lines made directly on the walls with blue tape normally used by painters to mask negative spaces Resemble drawn lines Ingrid Calame, #334 Colored pencil drawing from rubbings taken in an abandoned steel plant in NY and the Los Angeles river

Podcast: Christine Hiebert, Brooklyn, NY Christine Hiebert. Reconnaissance (view #2). 2009–2010. Blue tape and glue on wall. Wall coverage c. 110' running wall length × c.35' high. Installation view from the Davis Museum and Cultural Center at Wellesley College. Photo © the artist. [Fig. 6-29] Christine Hiebert. Reconnaissance (view #2). 2009–2010. Blue tape and glue on wall. Wall coverage c. 110' running wall length × c.35' high. Installation view from the Davis Museum and Cultural Center at Wellesley College. Photo © the artist. [Fig. 6-29]

Ingrid Calame. #334 Drawing (Tracings from the L. A Ingrid Calame. #334 Drawing (Tracings from the L.A. River and ArcelorMittal Steel). 2011. Colored pencil on tracing Mylar. 115-1/4" × 75" × 3-1/4". Courtesy of Susanne Vielmetter Los Angeles Projects and James Cohan Gallery, New York/Shanghai. [Fig. 6-30] Ingrid Calame. #334 Drawing (Tracings from the L.A. River and ArcelorMittal Steel). 2011. Colored pencil on tracing Mylar. 115-1/4" × 75" × 3-1/4". Courtesy of Susanne Vielmetter Los Angeles Projects and James Cohan Gallery, New York/Shanghai. [Fig. 6-30]

Contemporary Approaches Electronic media David Hockney's iPad drawings A drawing every day for several months in 2011 Marks made with finger on screen Technology makes new movements of art possible.

David Hockney. The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty-eleven)—4 January. 2011. iPad drawing. 56-3/4" × 42-1/2". © the artist. [Fig. 6-31] David Hockney. The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty-eleven)—4 January. 2011. iPad drawing. 56-3/4" × 42-1/2". © the artist. [Fig. 6-31]