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- A means of drawing such as graphite pencil, charcoal, pastel, conte crayon, or computer printer ribbon, in which the base that carries the pigments is not fluid. as shown in the drawing, each of these media creates a different line quality.,
- Graphite (pencil), oil pastel, compressed charcoal, conte crayon (doesn't erase), chalk pastels, light charcoal.
- Dry media are those media that are applied dry;they include pencil,charcoal,crayon,and chalk or pastel.
- pigments are mixed together with binder that hold them together (charcoal and pastels) (Pencil) + (Graphite / Clay - Hardness) + (gray scale)
- A soft, crystalline form of carbon first discovered in the 16th century, graphite is a naturally occurring drawing medium.
- Pure, solid graphite need only be mined, then shaped into a convenient form.
- Dragged acros an abrasive surface, it leaves a trail of dark gray particles that have a slight sheen.
- Graphite was adopted as a drawing medium soon after its discovery.
- But pure, solid graphite is rare & precious (there is only one known deposit).
- More commonly, Graphite must be extracted from various ores & purified, resulting in a powder.
- Toward the end of the 18th century, a technique was discovered for binding powdered graphite with fine clay to make a cylindrical drawing stick.
- Encased in woof, it became the most common drawing medium tool called a PENCIL.
- Varying the percentage of clay in the graphite compound allows manufactures to produce pencils that range from very hard (lots of clay) to very soft (minimal amounts of clay).
- The softer the pencil, the darker & richer the line it produces.
- The harder the pencil, the more pale & silvery the line.
- Graphite Pencil: Made from carbon mixed with clay. Produces tight, thin lines
- Pencil (graphite)- soft (dark) to hard (light) and high-quality colored pencils in a wide range of colors.
- Graphite / Pencil; Metal Point; Crayon, Pastel, Chalk (gray scale)
- Few artists use it now due to it not being very forgiving on mistakes or indecision.
- Once put down, the lines cannot easily be changed or erased.
- Can use any soft metal then the wire would be put into wooden scribes- Creates drawings with pure, precise lines made by a thin wire (usually silver) held in a holder.
- Ancestor to the pencil; thin metal wire mounted in a holder (much like mechanical pencil); most common is the silverpoint; surface must be prepared w/ coating of poster paint or Chinese white.
- The drawing surface must be prepared by covering it with a "ground", a preliminary coating of paint.
- Traditional metal point ground recipe: A mixture of bone ash, glue, & white pigment in water.
- As the point of the wire is drawn across the dried ground, it leaves behind a thin trail of mental particles that soon tarnish to a pale gray.
- Metal point drawings are characterized by a fine, delicate line of uniform width.
- A drawing technique, especially silverpoint, in which a stylus with a point of gold, silver, or some other metal was applied to a sheet of paper treated with a mixture of powdered bones and gumwater. (Hardwoods) (gray scale)
- Best quality of Charcoal: vine, or willow twigs, slowly heated in an airtight chamber until only sticks or carbon remain- black, brittle, & featherweight.
- Natural charcoal creates soft, scattered line that smudges easily & can be erased with a few sticks of a cloth.
- For denser, more durable, or more detailed work, sticks of compressed charcoal are available, as are charcoal pencils made along the same lines as graphite pencils.
- A dry drawing medium made from charred (woods) twigs, usually vine or willow.
- A stick of black carbon material used for drawing.
- A block of dense material used to support work being soldered, also helps maintain heat while soldering.
- A(n) _______ drawing must be sprayed with a solution of thinned varnish to keep particles of the medium affixed to the surface.
- Burnt wood; hard (thinner line) & soft (bold line) types.
- A black substance made by burning wood slowly in an oven with little air. 2 (also ˌcharcoal ˈgrey) a very dark grey colour. (Oil Binder) (full range of colors)
- Conte Crayon: Most well known artist crayon, developed in france at the turn of the 19th century, it consists of compressed pigment compounded with clay & a small amount of greasy binder.
- ^ Initially conceived as a substitute for natural black & red chalks, Conte Crayons have since become available in a full range of colors.
- For Crayons, the binder is a greasy or waxy substance. (Wax binder: Crayola Crayons / Greasy binder: Oil pastels)
- Crayons made with waxy or greasy binders, in contrast, tend to favor discreet strokes that can be layered but not blended.
- Writing implement consisting of a colored stick of composition wax used for writing and drawing.
- Drawing material in stick form (include charcoal, chalk, and pastel, plus wax implements); often brighter in color.
- Ground pigment mixed with oil, gum, or wax. - (1571-1610)
An Italian baroque painter was renowned for his dramatic use of light and dark and his technique influenced many artists who followed. His work is also notable for it's provocative degree of naturalism. His work is so important that art works using extremes of dark and light is often termed "caravaggesque." His work is also notable for its provocative degree of naturalism. For example, He portrayed the Virgin Mary and the apostles not as notable figures in classic garb but as simple, poor folks in threadbare garments
- (1571-1610)
Leading Baroque painter in Rome +propensity for violence, brushes with the law +religious themes intended to appeal to the ordinary observer (innovative approach) +depicted homoerotic nature +sharp uses of tenebrism.
- 16-17th c.
Italian artist whose paintings, which combine a realistic observation of the human state, both physical and emotional, with a dramatic use of lighting, had a formative influence on the Baroque school of painting.
- Famous Paintings: "Famous works The Fortune Teller, The Cardsharps, Supper at Emmaus, The Taking of Christ, Martyrdom of Saint Matthew and Calling of Saint Matthew, " - A popular style in Europe in the eighteenth century, known for its soft pastels, ornate interiors, sentimental portraits, and starry-eyed lovers protected by hovering cupids.
- EXCESSIVELY ORNATE; HIGHLY DECORATED; STYLE OF ARCHITECTURE IN EIGHTEENTH CENTURY EUROPE.
- Period following the baroque and preceding the neoclassic. It includes a wealth of decorative detail suggestive of grace, intimacy, and playfulness. It was regarded as decadent in England.
-1730's Art that originated in France in the 1720's, then spread across Europe where there was a fascination with French art and culture. Grace and gentile action, rejected strict geometrical patterns, fondness for curves.
- A feminizing of the Baroque, it's not as strong or masculine. - Drawing inks generally consist of ultra fine particles of pigment suspended in water.
- A binder such as gum arabic is added to hold the particles in suspensions & help them adhere to the drawing surface.
- Inks today are available in a wide range of colors - historically, however, black & brown inks have predominated, manufactured from a great variety of ingenious recipes since at least the 4th century B.C.E.
- There are endless ways to get ink onto paper.
- Ways to get ink onto paper:
1.) You could soak a bit of sponge with it & swipe a drawing onto the page.
2.) You could use fingertips or a twig.
3.) If you want a controlled, sustained, flexible line, you'll reach for a brush or a pen.
- (^) Traditional artist's pens are made to be dipped in ink, then set to paper.
- (^) Depending on the qualities of the nib- the art of a pen that conveys ink to the drawing surface- the line a pen makes may be thick or thin, even, in width or variable, stubby, & coarse or smooth & flowing.
- TODAY, MOST PEN NIBS ARE MADE OF METAL.
- Before then, artist generally used either "REED PENS" - Pens cut from the hollow shafts of the wing feathers or large birds.
- Both "REED" & "QUILL PENS" respond sensitively to shifts in pressure, lending themselves naturally to the sort of varied, gestural lines.... Application of pigment to a surface.
- Paint is made of "PIGMENT", powdered color, compounded with a "MEDIUM" or "VEHICLE", a liquid that holds the particles of pigment together without dissolving them.
- The VEHICLE generally acts as or includes a "BINDER", and ingredient that ensures that the paint, even when diluted & spread thinly, will adhere to the surface.
- Without a BINDER; PIGMENTS would silly powder off as the paint dried.
- Artist's paints are generally made to paste like consistency & need to be diluted to be brushed freely.
- Aqueous Media can be diluted with water.
- Watercolors are an example of an aqueous medium.
- Non-aqueous media require some other diluted.
- Oil paints are an example of a non-aqueous medium; these can be diluted with turpentine or mineral spirits,
- Paints are applied to a "SUPPORT", which is the canvas, paper, wood panel, wall, or other surface on which the artist works.
- The "SUPPORT" may be prepared to receive paint with a "GROUND" or "PRIMER", a preliminary coating.
- Some pigments & binders have been known since ancient times. Others have been developed only recently.
- Two techniques perfected in the ancient worlds that are still in use today are "fresco" & "Encaustic". - Strong, weatherproof, industrial paints using a vehicle of synthetic plastic resin. (invented in 1930's).
- For the first time since it was developed, oil paint had a challenger as the principle medium for Western painting.
- Acrylics (synthetic artists colors) AKA Polymer Paints.
- Vehicles in Acrylic: Acrylic Resin, Polymerized (its simple molecules linked into long chains) through emulsion in water.
- As Acrylic paint dires, the resin particles coalesce to form a tough, flexible, & waterproof film.
- Depending on how they are used, acrylics can mimic the effects of oil paint, watercolors, gouache, and even tempera.
- They can be used on both prepared or raw canvas, & also on paper & fabric.
- They can be layered into a heavy impasto like oils or diluted with water & spread in translucent washes like watercolor.
- Like tempera, they dry quickly & permanently (artist using acrylics usually rest their brushes in water while working, for if the paint dries on the brush, it is extremely difficult to remove).
- Unlike watercolors, Acrylic paints are not soluble once they have dried. - Vehicle / Water
- Medium / Egg Yoke
- Tempera shares qualities with both water color & oil paint.
- Like watercolor, tempera is an aqueous medium.
- Like oil paint, it dries to a tough, insoluble film.
- Yet whereas oil paint tends to yellow & darken with age, tempera colors retain their brilliance & clarity for centuries.
- Technically, tempera is paint in which the vehicle is an emulsion, which is a stable mixture of an aqueous liquid with an oil, fat, wax, or resin.
- Vehicles to make Tempera: Derivative of milk called casein, Naturally occurring Emulsion- Egg Yolk (most famous vehicle).
- Tempera dies very quickly, & so colors can not be blended easily once they are set down.
- Although tempera can be diluted with water & applied in a broad wash, painters who use it most commonly build up forms gradually with fine hatching & cross-hatching strokes, much like drawing.
- Traditionally, Tempera was used on a wood panel support prepared with a ground of "Gesso", a mixture of white pigment & glue that sealed the wood & could be sanded & rubbed to a smooth, ivory like finish. - In this process, a waxy pencil or crayon delineates an image on a matrix made of stone, zinc, or aluminum; the print-maker applies water then ink to the plate; only the wax lines become inked; finally, a press applies the ink to the paper; much less difficult compared to engraving or wood cut.,
- A method of printing pictures that uses flat metal or stone surfaces, parts of which are covered with ink.
- Planographic printing process in which printing areas attract ink and non-image areas repel ink. Text books, magazines, business forms, checks, etc. are often printed with litho. - While artist associated with Europe's many expressionist tendencies were exploring the possibilities of colors, the two artist in Paris were reducing the role of color to a minimum to concentrate on the problem of representing form in space. (Ex: Pablo Picasso).
- Abstraction: A visual representation that may have little resemblance to the real world. Abstraction can occur through a process of simplification or distortion in an attempt to communicate an essential aspect of a form or concept.
- Abstract Art: Art form that represents ideas using geometric and other designs instead of natural forms seeking to break away from traditional representation of physical objects. Pioneered by Kandinsky and others in the early 20th century.
- Abstract Art: Art that does not resemble things in real life, stresses the form of the subject matter rather than the actual appearance.
- Cubism: 1910.This movement in painting and sculpture was fathered by Picasso and Braque, and influenced by the conceptual painter, Paul Cezanne. Cezanne believed that the world could be perceived as groups of planes or solid geometric forms, (cubes, cylinders, spheres).
- Cubism: Style of painting and sculpture developed in the early 20th century, characterized chiefly by an emphasis on formal structure, the reduction of natural forms to their geometrical equivalents, and the organization of the planes of a represented object independently of representational requirements.
- Cubism: A form of painting that rejected visual reality and emphasized instead geometric shapes and forms that often suggested movement 