1. 6
Drawing

2. 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.

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

4. 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

5. 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/ [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/ [Fig. 6-1]

6. 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

7. 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. © 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. © Photo Scala, Florence—courtesy of the Ministero Beni e Att. Culturali. [Fig. 6-2]

8. 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

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

10. 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

11. 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]

12. 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.

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

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

15. 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

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

17. Vincent van Gogh. Trees with Ivy in the Asylum Garden. 1890
Vincent van Gogh. Trees with Ivy in the Asylum Garden 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 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]

18. 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

19. 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

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

21. Pablo Picasso. First Composition Study for Guernica. May 1, 1937
Pablo Picasso. First Composition Study for Guernica. May 1, 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, 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]

22. Pablo Picasso. Composition study for Guernica. May 9, 1937
Pablo Picasso. Composition study for Guernica. May 9, 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, 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]

23. Closer Look: Pablo Picasso, Guernica
Pablo Picasso. Guernica 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 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]

24. 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.

25. 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

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

27. Types of Hatching. [Fig. 6-14]

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

29. 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

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

31. 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

32. Vija Celmins. Web #5. 1999. Charcoal on paper. 22" × 25-1/2"
Vija Celmins. Web # Charcoal on paper. 22" × 25-1/2". Private Collection, NY. Courtesy McKee Gallery. [Fig. 6-17]
Vija Celmins. Web # Charcoal on paper. 22" × 25-1/2". Private Collection, NY. Courtesy McKee Gallery. [Fig. 6-17]

33. 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

34. 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]

35. 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

36. 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]

37. 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 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 Pastel on paper. 39-1/4" × 23-1/2". Private Collection/Photo © Christie's Image/The Bridgeman Art Library. [Fig. 6-20]

38. 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

39. 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, F [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, F [Fig. 6-21]

40. 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

41. 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 [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 [Fig. 6-22]

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

43. 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

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

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

46. 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

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

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

49. 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

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

51. 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

52. 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]

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

54. 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.

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