PART 2

MEDIA AND PROCESSES

Chapter 2.1
Drawing

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Copyright © 2011 Thames & Hudson
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

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M. Larmann, M. Kathryn Shields
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Introduction
 Drawing—defined as the depiction of shapes and forms on
a surface, primarily by means of lines—is a fundamental
artistic skill
 Even before we learn to write, we learn to draw
 Drawing provides a primal outlet for artistic energy
and ideas
 Artists draw for many reasons
 To define their ideas
 To plan for larger projects
 To resolve design issues in preparatory sketches
 To record their visual observations
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2.1 Leonardo da Vinci, Drawing for a wing of a flying machine, from the Codice Atlantico, fol. 858r. Pen and ink. Biblioteca
Ambrosiana, Milan, Italy
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Leonardo da Vinci,
Drawing for a wing of a flying machine

 Leonardo considered whether humans might also be able

to fly if the mechanics of a bird’s wing were re-created on a
human scale

 His drawing of a flying machine illustrates a concept that

had never been considered in this way before

 Drawing provided Leonardo with a way to express his

ideas beyond what could be said in words

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2.2 Leonardo da Vinci,
Studies of the foetus in the
womb, c. 1510–13. Pen and
ink and wash over red chalk
and traces of black chalk, 12
x 8¾”. Royal Collection,
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England
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Leonardo da Vinci,
Studies of the foetus in the womb
 Drawings like this are rare because the Church banned all
acts that desecrated the body, including dissection

 Leonardo may have been allowed to record his

observations because he practiced his drawing
methodically and with great care

 Some speculate that the Church was interested in

Leonardo’s observations as possible evidence of how the
human soul resides in the body

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Functions of Drawing
 All artists draw for the same reasons as Leonardo: as an
end in itself, to think, and to prepare and plan other works

 Drawing played an essential role in Raphael’s planning of

his fresco The School of Athens

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2.3a Raphael, Cartoon for The School of Athens, c. 1509. Charcoal and chalk, 9’4¼” × 26’4 ”. Biblioteca Ambrosiana, Milan, Italy
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2.3b Raphael, The School of Athens, 1510–11. Fresco, 16’8” × 25’. Stanza della Segnatura, Vatican City
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Gateway to Art:
Raphael, The School of Athens
Drawing in the Design Process
 Raphael’s preliminary drawings allowed him to refine his
ideas and perfect the image at a smaller scale
• The artist began the painting process by creating a large
drawing of the work
• This design, called the cartoon, was perforated with small
pinholes all along where the lines were drawn
• It was then positioned on the wall where Raphael intended
to paint the work, and powdered charcoal dust was forced
through the small holes in the cartoon s surface
• The impression left behind would aid Raphael in drawing
the image onto the wall

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

The Materials of Drawing: Dry Media

 Dry media offer the artist some unique and
versatile properties

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 DRY MEDIA: Pencil, Charcoal, Conte, Crayon,
Pastel.

•Fixative
•Binder
•Paper Tooth

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 Materials for Drawing
Dry Media
Charcoal/Graphite Metalpoint with white
gouache

Filippino Lippi,
Figure Studies,
c. 1490.
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Dry Media: Pencil

 A deposit of solid graphite was discovered in the
mid-1500s and gave rise to the manufacture of the
basic pencil we know today
 Pencils have different degrees of hardness
 The B or black graphite pencils are softer and darker
 The H or hard graphite pencils create a relatively light mark

2.4 Pencil hardness scale from 9H to 9B

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 MATERIAL CHOICES

Murray. Obsidian. Pencil on Arches Paper. 1988.

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 Seurat. L’Echo (study for Une Baignade). Conte crayon.
O’Keefe. Banana Flower. Charcoal. 1933. 1883-4
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2.5 Ilka Gedö, Self-portrait,
1944. Graphite on paper,
11 x 8 ”. British Museum,
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London, England
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Ilka Gedö, Self-portrait

 Used thick dark lines to imply darkness and thin light

lines to suggest lightness
 The dark value of the eye and wavy hair, where the pencil
has been pressed hard, concentrates our attention on the
artist’s face
 Notice how softly the artist handles the graphite in the areas
representing the skin compared with the hair or clothing
 Gedö was a survivor of the Holocaust
 This drawing records her gaunt features shortly after her
internment

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Dry Media: Color Pencil

 Color pencil is manufactured much like the traditional
graphite pencil, but the mixture that makes up the lead
has higher amounts of wax and pigment

 Color pencils are used just like graphite pencils, although

their marks may be harder to erase or alter

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2.6 Birgit Megerle, Untitled,
2003. Pencil and colored
pencil on paper, 16¾ x 11¾”.
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MOMA, New York
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Birgit Megerle, Untitled

 Megerle applies the colored pencil lightly, allowing the

whiteness of the paper to dominate

 These pale tones of color give the drawing a light overall

appearance

 Megerle’s highly regarded style communicates a sense

of stillness

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Dry Media: Silverpoint

 Silverpoint is a piece of silver wire set in a holder to make
the wire easier to hold and control
 The artist hones the end of the wire to a sharp point
 Because of the hardness of the silver, artists can create finely
detailed drawings
 Because silver tarnishes, the drawing becomes darker and the
image more pronounced over time

 Historically, artists have drawn with silverpoint on wood

primed with a thin coating of bone ash

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2.7 Raphael, Heads of the
Virgin and Child, c. 1509–11.
Silverpoint on pink prepared
paper, 5 x 4 ”. British
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Museum, London, England
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Raphael, Heads of the Virgin and Child

 Because silverpoint has such a light value and is usually

drawn with very thin lines, much of the white paper is
exposed

 Closely overlapping many parallel lines across each other

creates the illusion of a darker value. This is called
hatching

 Artists use this technique to darken values and create the

effect of shading

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Dry Media: Charcoal

 Charcoal smudges easily, creates lines that can be easily
shaped and altered, usually has strong dark value, and is
soft compared to metal-based drawing materials
 Artists choose charcoal as a drawing material when they
want to express strong dark tones, add interest to a
surface, and make something look solid rather than linear
 Vine charcoal is made from thin vine branches and is very soft
and easily erased
 Compressed charcoal, to which a binding agent such as wax is
sometimes added, is much denser
 To draw with charcoal, an artist drags the stick across a
fibrous surface, usually paper, leaving a soft-edged line
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2.8 Käthe Kollwitz, Self-portrait in Profile to Left, 1933. Charcoal on paper, 18¾ × 25”. National Gallery of Art, Washington, D.C.
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Käthe Kollwitz,
Self-portrait in Profile to Left
 In her self-portrait we feel a sense of energy from the way
Kollwitz applies the charcoal

 Although she renders her own face and hand realistically,

in the space between we see the nervous energy connecting
the eye to the hand

 Kollwitz draws with a spontaneous burst of charcoal

marks along the arm, in expressive contrast to the more
considered areas of the head and hand

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2.9 Léon Augustin Lhermitte,
An Elderly Peasant Woman,
c. 1878. Charcoal on wove
paper, 18¾ x 15 ”. National
Gallery of Art, Washington,
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D.C.
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Léon Augustin Lhermitte,

An Elderly Peasant Woman
 Each line and blemish on this woman’s face has been
carefully rendered

 The charcoal’s dark value accentuates the contrast

between the highlights in the face and the overall darkened
tone of the work

 Lhermitte has controlled charcoal’s inherent smudginess

to offer an intimate view of the effects of aging

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Dry Media: Chalk, Pastel, and Crayon

 Sticks of chalk, pastel, and crayon are made by combining
pigment and binder

 Binders include oil, wax, gum arabic, and glues

 Chalk is powdered calcium carbonate mixed with a gum arabic
(a type of tree sap) binder
 Pastel is pigment combined with gum arabic, wax, or oil, while
crayon is pigment combined with wax
 Conté crayon is a heavily pigmented crayon sometimes
manufactured with graphite

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2.10 Michelangelo, Studies
for the Libyan Sibyl, 1510–11.
Red chalk, 11 x 8 ”.
Metropolitan Museum of Art,
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 Purposes for Drawing:
Preparatory Sketch

Michelangelo. Sketch for Libyan Sibyl. Sistine Chapel.

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 14.21 overview (diff. than book)
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Michelangelo,
Studies for the Libyan Sibyl
 Drawn using red chalk known as sanguine
 Made in preparation for painting the Sistine Chapel ceiling
in Rome
 The artist’s study concentrates on the muscular definition
of the back and on the face, shoulder, and hand, and gives
repeated attention to the detail of the big toe
 These details are essential to making this twisting pose
convincing

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2.11 Edgar Degas, The Tub, 1886. Pastel, 23 x 32 ”. Musée d’Orsay, Paris, France
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 PASTELS

Degas. Breakfast after the Bath. C. 1894. pastel

Carriera Allegory of Painting. 1720. pastel on paper. on paper.
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Edgar Degas,
The Tub
 Degas is noted for pastel studies that stand as finished
works of art

 Degas lays down intermittent strokes of different color

pastels

 The charcoal-like softness of the material is used to

blend the colors together, giving them a rich complexity
and creating a variety of contrasting textures

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2.12 Georges Seurat, Trees
on the Bank of the Seine
(study for La Grande Jatte),
1884. Black Conté crayon
on white laid paper, 24½ x
18½”. Art Institute of
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Chicago
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Georges Seurat,
Trees on the Bank of the Seine
(study for La Grande Jatte)
 Conté crayon drawing

 Seurat designates the foreground by using darker values

 He allows the color of the paper to be more dominant in

areas he wants to recede into the distance

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES
Georges Seurat: Sunday on La Grande Jatte

Click the image above to launch the video

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 Chapter 2.1 Drawing
PART 2 Or for more on another artist who drew many studies
MEDIA AND PROCESSES before completing his final painting, watch:
Théodore Géricault: Raft of the Medusa

Click the image above to launch the video

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Erasers and Fixatives

 Erasers are used not only for correction but also to create
light marks in areas already drawn

 In this way the artist can embellish highlights by working

from the dark to light

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2.13 Robert Rauschenberg,
Erased de Kooning Drawing,
1953. Traces of ink and crayon
on paper, in gold leaf frame,
25¼ x 21¾ x ½”. San Francisco
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Museum of Modern Art
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Robert Rauschenberg,
Erased de Kooning Drawing
 Rauschenberg created a new work of art by erasing
a drawing by Willem de Kooning
 De Kooning agreed to give Rauschenberg a drawing,
understanding what the younger artist had in mind
 But, in order to make it more difficult, de Kooning
gave Rauschenberg a drawing made with charcoal,
oil paint, pencil, and crayon
 It took Rauschenberg nearly a month to erase it
 Rauschenberg’s idea was to create a performed work
of conceptual art and display the result

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

The Materials of Drawing: Wet Media

 The wet media used in drawings are applied with brushes
or pens

 Wet media dry or harden as the liquid evaporates

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Wet Media: Ink

 Ink is a favorite of artists because of its permanence,
precision, and strong dark color
 Carbon ink, made by mixing soot with water and gum, has been in
use in China and India since around 2500 BCE
• A contemporary version of carbon ink, called India (or Indian) ink, is
a favorite of comic book artists
 Most European ink drawings from the Renaissance to the present
day are made with iron gall ink
• Gall ink is not entirely lightfast, however, and tends to lighten to
brown after many years
 Other types of fluid media include bistre, which is derived from
wood soot and usually a yellow-brown color, and sepia, a brown
medium that is derived from the secretions of cuttlefish

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Wet Media: Quill and Pen

 Traditionally a quill—the shaft of a bird’s feather, or
a similarly hollow reed—is carved to a point to apply
the ink
 A slit, running parallel to the shaft, helps control its
rate of flow
 The artist can control the flow of the ink by pressing
harder or more softly
 The artist can further increase or decrease the width
of the drawn line by holding the pen at different angles

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2.14 Vincent van Gogh, Sower with Setting Sun, 1888. Pen and brown ink, 9 × 12 ”. Van Gogh Museum, Amsterdam,
Netherlands
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Vincent van Gogh,

Sower with Setting Sun
 Van Gogh uses a reed pen and brown ink

 By changing the way he applies his pen strokes and by

controlling their width, he creates an undulating, restless
design

 Van Gogh’s emphatic direction of line expresses the

characteristic energy of his work

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Wet Media: Brush Drawing

 The ancient Chinese used brush and ink for both writing
and drawing
 These brushes are made with a bamboo shaft and either
ox, goat, horse, or wolf hair
 Traditionally, Asian artists use a stick of solid ink that they
hold upright and grind on a special ink stone with a small
amount of water
 Artists wet the brush by dipping it into this reservoir, and
then adjust the shape and charge of the brush by stroking
it on the flat of the grinding stone

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2.15 Wu Zhen, Leaf from an album of bamboo drawings, 1350. Ink on paper, 16 x 21”. National Palace Museum, Taipei, Taiwan
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Wu Zhen,
Leaf from an album of bamboo drawings
 This finely planned design contains carefully controlled
brushstrokes as well as loose, freer ink applications
 Because the artist uses only a few shapes, the arrangement
of the bamboo leaves becomes like a series of letters in
a word or sentence
 Wu achieves the changing dark and light values by adding
water to create a wash and lighten the ink
 This work was intended as a model for Wu’s son to follow
as he learned the art of brushwork from his father

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2.16 Claude Lorrain, The Tiber from Monte Mario Looking South, 1640. Dark brown wash on white paper, 7 x 10 ”. British
Museum, London, England
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Claude Lorrain, The Tiber from

Monte Mario Looking South

 Thoughtful brushstrokes give us a feeling of the

great expanse of the Italian countryside

 The wash that Lorrain uses gives a sense of depth

by making the values of the foreground areas both
the darkest and lightest of the whole drawing

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Paper
 Paper was invented in China by Cai Lun, who
manufactured it from pounded or macerated plant fibers

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2.17 Hishikawa Moronobu,
Papermaking in Japan,
showing the vatman and the
paper-drier, from the Wakoku
Shoshoku Edzukushi, 1681.
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Woodblock print
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Hishikawa Moronobu,
Papermaking in Japan
 This work depicts how the fibers are suspended in water
and then scooped up into a flat mold with a screen at the
bottom, so that the water can escape
 The fibers are now bonded to each other enough to keep
their shape when they are taken out
 The sheet is then pressed and dried
 Handmade papers are still manufactured this way in many
countries, mostly from cotton fiber, although papers are
also made of hemp, abaca, flax, and other plant fibers

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

2.18 Surface texture of wove and laid paper

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 ALTERNATE DRAWING SURFACES

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 DRAWING ON WALLS

Chauvet Caves. Prehistoric drawings

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 erased de kooning

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 Reaching for the Wall
Conceptual Art: Idea more Important than Form

Gary Simmons, boom, 1996. Chalk and slate paint on Wall

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 Recent Directions
Reaching For the Wall

Cy Twombly Gallery. Menil Collection. Houston.

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 PART 2
MEDIA AND PROCESSES

Chapter 2.1
Drawing

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Copyright © 2011 Thames & Hudson
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Introduction
 Artists have painted surfaces of many kinds for tens
of thousands of years

 Paint in its most basic form is composed of pigment

suspended in a liquid binder that dries after it has
been applied
 Pigments have been extracted from minerals, soils, vegetable
matter, and animal by-products
 Binders are traditionally beeswax, egg yolk, vegetable oils and
gums, and water; in modern times, art-supply manufacturers
have developed such complex chemical substances as polymers

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 Chapter Seven
Painting

Paint is made of
Pigment: powdered color - compounded with a
Medium: a liquid that holds the pigments together without
dissolving them, which can also include a
Binder: an ingredient that ensures that the paint will adhere to
the surface. It is applied on a
Support: a surface on which the artist works, with a
Ground or Primer: a preliminary coating.
Grisaille: a painting technique executed in gray-scale values
before color glazes.
Glazes: thin, translucent layers of color
Note: media and medium are also used to refer to all materials
used in a work of art.

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Ceiling view. Altamira cave. Spain. 12,000BCE. Black manganese and red ochre.
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 Ptd ceiling of cubiculum in Catacomb of Sts. Peter and Marcellinus Rome, 4th C.

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Encaustic
 To use encaustic, an artist must mix pigments with hot wax
and then apply the mixture quickly
 Artists can apply the paint with brushes, palette knives, or
rags, or can simply pour it
 A stiff-backed support is necessary because encaustic,
when cool, is not very flexible and may crack

2.22 Palette knife, a tool that can

be used by the painter for mixing
and applying paint

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2.23 Portrait of a boy, c. 100–150 CE.
Encaustic on wood, 15 x 7½”.
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Metropolitan Museum of Art, New York
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Portrait of a boy

 This type of portrait would have been used as a funerary

adornment that was placed over the face of the mummified
deceased or on the outside of the sarcophagus in the face
position

 Was made by an anonymous artist during the second

century CE in Roman Egypt

 Encaustic portraits from this era are referred to as

Fayum portraits after the Fayum Oasis in Egypt where
many of them were found
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 Jasper Johns. Numbers in Color. 1958-9, Encaustic
and collage on canvas

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Fresco
 This technique involves pigment mixed with water painted
onto a freshly applied lime-plaster surface
 The pigment is not mixed into a binder, as it is in other
painting techniques
 Once this chemical reaction is complete the color is
extremely durable, making fresco a very permanent
painting medium
 The earliest examples of the fresco method come from
Crete in the Mediterranean (the palace at Knossos and
other sites) and date to c. 1600–1500 BCE

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2.27 Michelangelo, The Libyan
Sibyl, 1511–12. Fresco. Detail
of the Sistine Chapel Ceiling,
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Vatican City
 Chapter 2.1 Drawing
PART 2 For more on Michelangelo’s monumental work on the
MEDIA AND PROCESSES Sistine Chapel ceiling, watch:
St. Peter’s Basilica and the Sistine Chapel

Click the image above to launch the video

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2.29 Melchor Peredo, Remembrance Fresco, 1999. Fresco, each panel 4 x 8’. Harton Theater, Southern Arkansas University,
Magnolia
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Perspectives on Art:
Melchor Peredo
Fresco Painting Inspired by the Mexican Revolution
 In the 1920s a group of artists decided to champion the
struggles of ordinary Mexicans and express the ideals of
the Mexican Revolution by reviving the art of fresco painting
 The muralists were political radicals who were
influenced by the ideas of socialist and communist leaders
 Diego Rivera’s fresco Sugar Cane portrays the exploitation
of workers on the large sugar farms in Morelos, south of
Mexico City
 Peredo studied with the great mural painters
 His Remembrance Fresco focuses on important historical figures
and local folklore, based on ideas given to him by students and
members of an Arkansas community
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 Fresco: Paint into Plaster
Pigment is mixed with water
and applied to a plaster
support, usually a wall or
ceiling in plaster. It is usually
worked while the plaster is
damp, which requires working
on small areas at one time.

Advantages:
Large scale projects
Survives for centuries

Michelangelo. Sistine Chapel.

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 14.22,23 Creation of Adam, before and after
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 Fresco

Frescoes were re-

popularized in the 20th
century in Mexico.

Diego Rivera, Mixtec Culture, 1942.

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2.28 Diego Rivera, Sugar Cane, 1931. Fresco on plaster, 4’10” x 7’11”. Philadelphia Museum of Art
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Tempera
 Painters who use egg tempera have different ideas about
what parts of the egg work best for tempera painting, but
artists during the Renaissance preferred the yolk

 Tempera is best mixed fresh for each painting session

 Tempera is usually applied with a brush and dries almost

immediately

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2.24 The Virgin and Child
with Angels, Ferrarese School,
c. 1470–80. Tempera, oil, and
gold on panel, 23 x 17 ”.
National Gallery of Scotland,
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Edinburgh
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

The Virgin and Child with Angels,

Ferrarese School
 Tempera paint consists of pigment and egg yolk
 Also incorporates oil and gold leaf, a common combination
at this time
 Artist has chosen to paint an illusionistic frame that makes
us think we are looking at the back of a damaged canvas
 Tempera is normally painted with short thin strokes and
lends itself to such careful detail

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2.25 Riza Abbasi, Two Lovers,
Safavid period, 1629–30.
Tempera and gilt paint on
paper, 7 x 4¾”. Metropolitan
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Museum of Art, New York
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Riza Abbasi,
Two Lovers
 Islamic artists enjoyed the sensitive detail that can be
achieved with tempera, and some used tempera with
gold leaf to create rich images for the ruling class
 This work, Two Lovers, combines a rich gold-leaf finish
with the high detail of tempera
 The artist used the transparency of the medium to make
the plant life look delicate and wispy
 The intertwined lovers stand out proudly from the
softness of the plants in the background

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 An aqueous (water) medium
like watercolor, with the
durability of oil.
Most famous emulsion is
egg yolk.

Advantages:
Retains its brilliance and
clarity-
Does not yellow like oil.
Dries quickly, form can
be built up.

Fra Filippo Lippi. Madonna and Child 1440-1445. Tempera on Wood.

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 12.3 Cimabue Madonna Enthroned. 1280-
90. Tempera on Wood. 12’7”.
Byzantine influence
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 12.4 Giotto. Madonna Enthroned. 1310
Spatial relationship. 3 Dimensionality

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 Tempera

Wyeth. That Gentleman. 1960. Tempera on Panel.

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 Oil/Tempera: Hybrid

Jan Van Eyck. Madonna and Child with the Chancellor Rolin. 1433-1434. Oil and
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Oil
 Artists used oil paint during the Middle Ages, but have
only done so regularly since the fifteenth century

 The oil most used as a binder was linseed oil, a by-product

of the flax plant from which linen cloth is made

 Giorgio Vasari, an Italian Renaissance writer and artist, credits

the fifteenth-century Flemish painter Jan van Eyck with the
invention of oil paint

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2.30 Jan van Eyck, The
Madonna of Chancellor Rolin,
1430–34. Oil on wood, 26 x
24 ”. Musée du Louvre, Paris,
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France
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Jan van Eyck,

The Madonna of Chancellor Rolin
 Although Van Eyck did not invent oil paint, he was an
exceptional practitioner of oil painting

 This painting exhibits his masterful use of thin layers of

color called glazes

 Glazes attain a rich luminosity, as though lit from within

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2.31 Joan Brown, Girl in Chair, 1962.
Oil on canvas, 5 x 4’. LACMA
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Joan Brown,
Girl in Chair
 Used oil in an impasto (thickly painted) fashion

 The paint can pile up, giving Brown’s work a three-

dimensional presence

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2.32 Hung Liu, Interregnum, 2002. Oil on canvas, 8’ x 9’6”. Kemper Museum of Contemporary Art, Kansas City, Missouri
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Hung Liu, Interregnum

 Hung grew up in Communist China before emigrating

to the United States

 Hung’s images express her Chinese roots

 The traditional Chinese style is reflected in the idyllic

figures in the upper part of Interregnum

 Hung’s work shows the discontinuity between reality

and the ideal
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2.33 Artemisia Gentileschi, Judith
Decapitating Holofernes, c. 1620.
Oil on canvas, 6’6 ” × 5’3¾”.
Uffizi Gallery, Florence, Italy
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 Rembrandt. Self Portrait. 1663. o/c

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 Auerbach. Head of Michael Podro. 1981. oil on board.
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Demo Version, City Life. 1956. 81” x 98 ½” o/cand http://www.verypdf.com
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Hartigan.
 Mitchell. Border. 1989. o/c
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Watercolor and Gouache

 Watercolor and gouache suspend pigment in water with
a sticky binder, usually gum arabic
 Watercolor is transparent
 An additive (often chalk) in gouache makes the paint opaque
 Usually watercolor and gouache are painted on paper
because the fibers of the paper help to hold the suspended
pigments in place
 Any white area in a watercolor is simply unpainted paper
 White gouache can be used to cover areas of a watercolor
that become too dark

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2.36 Albrecht Dürer, A Young Hare,
1502. Watercolor and gouache on
paper, 9 x 8 ”. Graphische Sammlung
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Albertina, Vienna, Austria
 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Albrecht Dürer,
A Young Hare
 Reflects direct observation of a natural subject

 Combination of watercolor with opaque white heightening

 Conveys a sense of the creature’s soft, striped fur

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2.37 Sonia Delaunay, Prose of the Trans-Siberian
Railway and of Little Jehanne of France, 1913.
Watercolor and relief print on paper, support 77 x 14”
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Sonia Delaunay, Prose of the Trans-

Siberian Railway and of Little Jehanne of
France
 Delaunay was the first woman to have her work shown at
the Louvre Museum during her lifetime
 Prose… is an artist’s book
 Collaboration with the poet Blaise Cendrars
 If all 150 copies of the first edition were placed end to end,
it was intended they would stretch the height of the Eiffel
Tower
 Meant to be folded like a roadmap
 Illustration progressively changes as the reader advances
down the page

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M. Larmann, M. Kathryn Shields
 Watercolor
Pigment with a medium of water
and gum arabic that acts as a
binder.
Usually, white is not added,
using the transparent effect of
water instead.

Advantages:
Transparency
Portability
Spontaneity

John Singer Sargent, Mountain

Stream, c. 1912-14.
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 Watercolor

Homer. Sloop Nassau. 1899. Watercolor on Paper.

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 Gouache
Gouache is
watercolor with an
inert white
pigment added for
opacity.
Similar to poster
paints.
Advantages:
Dries quickly.
Light colors can
be layered over
dark ones. Wilfredo Lam,
The Jungle, 1943.
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 Acrylic
Synthetic/ polymer paint perfected in 1950’s.
Medium is acrylic resins
and water.

Advantages:
Tough, flexible & waterproof.
Fast drying.
Effects can mimic oils, watercolor, gouache & tempera.
Plastic quality for Mixed Media.

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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Acrylic
 Acrylic paints are composed of pigments suspended in
an acrylic polymer resin

 These paints have only been in use since about 1950

 They dry quickly and can be cleaned up with relative ease,

using water

 When dry acrylics have similar characteristics to those of

oil paint

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M. Larmann, M. Kathryn Shields
2.35 Roger Shimomura, Untitled, 1984. Acrylic on canvas, 5’½” × 6’¼”. Kemper Museum of Contemporary Art, Kansas City, Missouri
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 Chapter 2.1 Drawing
PART 2
MEDIA AND PROCESSES

Roger Shimomura,
Untitled
 Shimomura uses acrylic paint to create works that
investigate the relationships between cultures
 He merges traditional Japanese imagery with popular
culture and typically American subjects
 This combination of styles reflects the mixing of cultures
resulting from communication and contact between
nations
 The painting explores the effects of conflict between
two cultures

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M. Larmann, M. Kathryn Shields
 Hockney. A Bigger Splash. Acrylic on canvas. 1967.
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 Flack. Wheel of Fortune. 1977-8/ acrylic on canvas. 8’ x 8’
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