1. Drawing
Art and Materials

2. Johannes Vermeer, The Allegory of Painting, 1665-1666

3. Henri Matisse, The Red Studio, 1911

4. Why do artists draw? To record. To practice technical skills.
To sketch preliminary studies.
For an immediate form of expression.

5. Leonardo, Madonna and Child with Saint Anne
and Infant St. John the Baptist,
cartoon – a preliminary drawing
done to scale for a painting
or fresco

6. Leonardo da Vinci, Hurricane over Horsemen and Trees, c. 1518,
pen and ink over black chalk

7. How Do You Learn To Draw Well?
Practice, Practice, Practice

10. “Sketch subjects quickly. Rough out
the arrangement of the limbs of your
figures and first attend to the
movements appropriate to the mental
state of the creatures that make up
your picture rather than to the beauty
and perfection of their parts.” - Leonardo

11. Raphael, Study for the Alba Madonna, c. 1511, red chalk, pen and ink
“Sketch subjects quickly. Rough out
the arrangement of the limbs of your
figures and first attend to the
movements appropriate to the mental
state of the creatures that make up
your picture rather than to the beauty
and perfection of their parts.” - Leonardo
Raphael, Study for the Alba Madonna,
c. 1511, red chalk, pen and ink

15. Observation and Preparation
The Genius of Drawing
Observation and Preparation

18. From the sketchbook of Elmer Bishoff, ca. 1950
graphite and ink

19. From the sketchbook of Isabel Bishop, ca. 1950
graphite and ink

20. Different Media, Different Qualities
Drawing Media
Different Media, Different Qualities

21. Dry Media

22. Raphael, St. Paul Rending His
Garment,
Dry Media:
Metalpoint – involves the use of a
metal stylus applied to paper
prepared with powdered bones or
lead white and gumwater. Popular
in Italy late 15th-early 16th century
but rarely used today.
linear in character, hatching or
crosshatching provide darker
values adding white chalk creates
highlights

23. St. Luke drawing with
metalpoint on parchment,
c. 1435
Rogier Van Der Weyden, St. Luke Drawing
the Virgin and Child, c. 1435

24. Charcoal: smooth, fluid lines and a wide
range of values created by smudging
encourage chiaroscuro and blending;
intensity of color depends upon hardness
of stick; dry pastels and charcoal are
examples.
Kathe Kollwitz, Self-Portrait, Drawing, 1933
Kollwitz exploits the tremendous expressive potential of this medium.

25. Georgia O’Keeffe, Banana Flower,
No. 1, 1933, charcoal and black
chalk on paper

26. Graphite: tonal qualities
and line qualities are subtle
and based upon pressure
of application and hardness
of the graphite
Jack Nichols, Merchant Ship Leaving at Night, 1943

27. Vija Celmins, Untitled (Ocean)(Venice, California), 1970
pencil on paper

28. Willem de Kooning,
Seated Woman, 1952
Pastel and Pencil

29. Pastel on paper
Degas preferred
pastels because of
the immediacy of the
and its unfinished
quality.
Edgar Degas, After the Bath, Woman Drying Herself,

30. Oil Pastels: similar to chalk pastels,
except the binder is oil based making
them take longer to dry, but they are
less prone to smudging and flaking
Beverly Buchanan, Shackworks, 2000

31. Liquid Media

32. Pen and Ink: creates varied linear qualities, encouraging expressionist
works; modeling is created by hatching and cross-hatching
Jean Dubuffet, Corps de Dame, June-December 1950

33. Ink Wash: provides a wider
value range
Giovanni Battista Tiepolo,
The Adoration of the Virgin and Child, 1735

34. Innovative Media

35. Alternative Media: Scissors
Henri Matisse, Venus, 1952
After suffering a stroke
that limited his use of
traditional drawing materials, Matisse was inspired to “sketch” by cutting out shapes of paper using scissors.

36. The Art of Ryan McGinness
Icons, Logos, and Art????

37. Ryan McGinness
Born in Virginia Beach, VA
Carnegie Mellon University, BFA
Curatorial Assistant, Andy Warhol
Museum, Pittsburgh, PA
Currently lives and works in
Manhattan, NYC
His work is described by some
critics as, “a Warhol for the
21st century…..”
And by others as, “simple, graphic
doodle…..”

38. “ARAB CADILLAC GENERATOR,” 2006,
ACRYLIC ON WOOD PANEL, 48 IN. DIA.

39. “KISSING,” 2006,
ACRYLIC AND
POLYESTERURETHANE
ON FIBERGLASS,
104 x 48 x 48 IN.

40. “EQUO NE CREDITE, TEUCRI,” 2006, INSTALLATIONVIEW,
AUTOMOBILE PAINT ON STEEL 24 IN. DIA. X 2 IN. EA.),
PUBLIC ART FUND, METROTECH, BROOKLYN, NY

41. “SURRENDER,” 2005, ACRYLIC ON CANVAS,
60 x 72 IN.

42. Communicate with Drawings
Express Yourself!!!
Communicate with Drawings

43. Imagine that you are in a foreign country and your only means of communicating with the natives is through drawing.
Draw symbols, icons, logos or pictures that
communicate a question or message to the
person who does not speak your language.
Use one or any combination of drawing media
that will best convey your message.

44. Printmaking

45. Gutenberg Bible, ,
University of Texas at Austin.
One of five complete copies in the
United States.
Gutenberg Bibles were the first books printed with movable type.
Originating in the West, printmaking was used almost exclusively to illustrate books such as bibles and scientific texts.
Beginning in the 19th century, the art world began to explore printmaking.

46. WHY????
To respond to the industrialized where mass production was innovative and new.
Like photography, printmaking allows artists to creatively investigate mechanical modes of reproducing imagery.
Printmaking made art more affordable than unique works like a painting or sculpture.
This technology expanded the artists’ audience and market ($$$$$$$$!!!!!!!!).

47. Terms to Know
Print – a single impression of a multiple edition of impressions, made on paper from the same matrix.
Edition – the # of impressions made from a single matrix.
Matrix – the master image on the working surface.

48. Terms to Know
Original Print – an impression made by the artist or under the artist’s supervision.
Proof – trial impressions made before the final edition is run.
Artist’s Proof – designated “AP”; original plate usually destroyed after edition is made.

49. Five Basic Processes
Relief
Intaglio
Lithography
Silkscreen
Monotype

50. Relief
Any printmaking in which the image to be printed is raised off the background in reverse.

51. Woodcut Woodcut – the earliest form of relief printing.
A wood block surface is
cut or gouged away with
a knife.
The surface is rolled with a thick ink.
Paper is rolled through a
press directly against
this raised, inked surface.
What Is a Print?

52. Emile Nolde, Prophet, 1912

53. 18th and 19th century Japanese woodcut prints are called ukiyo-e, or “pictures of the transient world of everyday life.”
Hokusai, The Great Wave off Kanagawa,

54. Kitagawa Utamaro, Utamaro’s Studio, c. 1790

55. Kitagawa Utamora, Shaving a Boy’s Head, c. 1795

56. Japonaiserie: The Courtesan, 1887
Japanese woodblock prints revived an interest in this process among 19th century European artists.
Van Gogh owned
hundreds of prints
and often copied
them directly.
Vincent Van Gogh,
Japonaiserie: The Courtesan, 1887

57. Wood engraving –
fine, narrow grooves cut
into the block and do not hold
ink.
The grainy end of the wood
block is used for this process.
The result is extremely finite
modeling and contrasting is
possible.

59. Linocut –
matrix is made from
one linoleum block.
For color prints, the
block is printed after
each successive stage of
printing.
Pablo Picasso, Luncheon on the Grass, after
Eduoard Manet, 1962

60. Intaglio (Italian for “engraving”)
Areas to be printed are below the surface of the plate.

61. Intaglio (engraving)
A burin, a small v-shaped rod, is pushed across a metal plate forcing up metal slivers in front of the line.
Burins vary in size and depending on the force use, lines created can range from very fine to very broad.
The cut or incised lines are filled with ink.
The surface is wiped clean and a dampened paper is pressed into the plate with a heavy roller.

62. Engraving
wisdom and language
evil
Albrecht Durer,
Adam and Eve, 1504
melancholy
laziness
blood
anger and cruelty
deceit

63. Etching A more fluid and free process of engraving.
Metal plate is coated with a acid-resistant ground which is drawn upon.
The plate is exposed to an acid bath causing “scratched” areas to become etched into the plate.
The strength, depth, or appearance of individual lines can be controlled by stopping out a section through the application of varnish or another coat of ground.
What Is a Print?

64. Etching
Rembrandt van Rijn, The Angel Appearing to the Shepherds, 1634

65. Literally, “stone writing.”
Lithography
Literally, “stone writing.”

66. Lithography The printing surface is flat.
This is NOT a relief process.
The method depends on the fact that grease and water do not mix.

67. Lithography It is a very direct process, actually a drawing on stone.
It has been the favorite printmaking medium for 19th and 20th century artists.
It offers an artist the type of spontaneity and immediacy found in drawing.
What Is a Print?

68. Lithograph
Honore Daumier, Rue Transnonian, April 15, 1834, 1834

69. Lithograph
Elaine de Kooning, Lascaux #4, 1984

70. Silkscreen Printing
A printmaking process in which the image is transferred to paper by forcing ink through a mesh.

71. Silkscreen It is the newest form of printmaking.
Allows the freedom of drawing similar to the lithographic process.
No expensive, heavy machinery is needed.
It was originally used in commercial printing, particularly in the advertising industry.
Became a very popular artist process in the 1960’s.
What Is a Print?

72. Silkscreen
Andy Warhol, Marilyn,

73. Silkscreen
Andy Warhol, 30 Are Better Than One, 1963

74. A combination of plate and press printing, it creates a unique image.
Monotypes
A combination of plate and press printing, it creates a unique image.

75. The artists forms an image on a plate with ink or paint and requires
considerable planning.
The paint is applied in layers so the foreground elements must be applied first.
The image is transferred to paper under pressure, usually with an etching press.

77. Pop Art
The Art of The Thing

78. What Is Pop Art? An American-born art movement.
First exhibition – New Realists – Nov.-Dec
Subject matter is derived mostly from the commercial domain.
It was a complete departure from the preceding art movement, Abstract Expressionism.

79. From this…….
Jackson Pollock, Number 8, 1949

80. To this…….. Robert Indiana, Love, 1967. Screenprint
“Pop is everything art hasn’t been for the last two decades.
It is basically a U-turn back to representational visual
communication. – Robert Indiana, 1963

81. “I don’t know – the use of commercial art as subject matter
“I don’t know – the use of commercial art as subject matter.” – Lichtenstein, 1963
Roy Lichtenstein, Look Mickey, 1961, oil on canvas
“….its contribution is the isolation and glorification
of “Thing.” – Lichtenstein, CAA annual meeting, 1964

82. “Yes. It’s liking things.” – Warhol 1963
This “Thing”
sold for $71.7
million in May, 2007
Andy Warhol, Green Car Crash, Screenprint.

83. “I am not a Pop artist!” – Johns, 1963
Jasper Johns, Beer Cans, Cast bronze.

84. “I dislike labels in general and Pop in particular, especially
because it over-emphasizes the materials used.”
– Wesselmann, 1963
Tom Wesselmann, Bathtub Collage #3, 1963.
Oil on canvas and collage.

85. “When I use a combination of fragments of things,
the fragments or objects or real things are caustic to
one another, and the title is also caustic to the
fragments.” – Rosenquist, 1963
James Rosenquist, Nomad, Oil on canvas.

86. The Store 107 East 2nd Street, New York
Claes Oldenburg
The Store
107 East 2nd Street, New York

87. “I am for an art that is political-erotical-mystical, that does
something other than sit on its ass in a museum.” – From,
Store Days, Documents from the Store (1961) and Ray
Gun Theater (1962). - Oldenburg
Claes Oldenburg, The Store,
Dec. 1, 1961-Jan. 31, 1962.
Multi-media installation.

88. The Things in the Factory (Hey babe, take a walk on the wild side.)
Andy Warhol
The Things in the Factory
(Hey babe, take a walk on the wild side.)

89. “Home” to Lou Reed, Bob Dylan, Truman Capote, Mick Jagger,
The Velvet Underground……………..
Andy Warhol in The Factory, 1967

90. In 2003, VH1 named Sticky Fingers the “No. 1 Greatest Album Cover
Of All Time.”
Andy Warhol, Album Cover for Sticky Fingers,
Rolling Stones, 1971

91. Lou Reed wrote, “Walk on the Wild Side,” for Holly Woodlawn and
the other Warhol drag queens.
Photo of Warhol and His
Factory-era Protégés, 1967

92. Andy Warhol, 200 Campells Soup Cans, 1962.
Oil on canvas.

93. Andy Warhol, Triple Elvis,
Screenprint.

94. Andy Warhol, Jackie, 1964.
Screenprint.

95. Andy Warhol, Cambells Soup
Can, Screenprint.

96. Andy Warhol, Electric Chair, 1965. Screenprint.

97. Andy Warhol, Camoflage Self-Portrait, 1986.
Photograph and screenprint.

98. Andy Warhol,
John Wayne, 1986.
Screenprint.

99. Why do you think Warhol believed
that 30 Mona Lisas are better
than one?
What does this suggest for
Warhol’s attitude toward
“original” works of art?
Why did he call his studio,
The Factory?