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Noodler's Golden Brown, Diamine Ancient Copper Iroshizuku Ina-ho & De Artametis Gold ink with water on Stillman & Birn, Zeta paper
...yes I was having fun today. :)
Drawing showing labels pointing to teeth, gums, roof of the mouth, bottom of the mouth, tongue, and inside of cheek.
Credit: National Institute of Diabetes and Digestive and Kidney Diseases, National Institutes of Health
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
The book consists of six multiple poses/multiple views figure drawing templates and one plate with ten (10) different head views. They are printed on durable translucent polyester substrate and are easy to use on a light box. Figure Drawing Templates by Irina V. Ivanova, ISBN 978-1-61539-263-6
This is a doodle I did one evening when I had nothing else to do. It's one of those drawings that developed as it appeared; I had no idea when I started what it would look like in the end.
My move to B.C is delayed for only a few days. Monday will be the big move. Not a biggie. In the mean time, I was doing some final editing of the book’s text, and below is my preface that takes the reader into the book. I thought it might be of interest to read what motivates me as an artist, or not. That is up to you. Enjoy.
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ICONS AND IDOLS: POP GOES THE CULTURE.
An “Icon” is an image, a depiction or representation, a pictogram or likeness that stands for an object by representing it by analogy. By extension, the word “icon” is also used, as seen in popular culture, in the general sense of symbol—such as a name, face or edifice. Idolatry is considered a sin to the Christian religion, being defined as worship of any cult image or object as opposed to the worship of a God.
The modern era worships gods of a different kind: the cult of celebrity. The modern cult of celebrity and popular culture is saturated with both icons and idols. And so I thought that Icons and Idols a most pertinent title--and as a satire, the subtitle “pop goes the culture” is also apt.
Let's contemplate lionizing worship. Who are the biggest worshippers? Stanch religionists, of course. Worshippers pray on bended knee. I admire many of the individuals I capture in art, but I don’t worship them. There is big difference between admiration and worship. Worship is like admiration wearing blinders. Admiration is quality-oriented, not person-oriented. “It strikes me as unfair, and even in bad taste,” Albert Einstein said, “to select a few individuals for boundless admiration, attributing superhuman powers of mind and character to them,” he said in 1921. “This has been my fate, and the contrast between the popular estimate of me and the reality is simply grotesque.”
Critics have responded to my art as though I was sui generis, a self-created eccentric without discernable origins. Very much the opposite is the truth. The origin of my art is the culture at large. I painted and drew as if I were an alien intelligence contemplating my own human species from a distant realm with a bemused objectivity, as though I was encountering them for the first time like David Bowie’s Ziggy. What I saw was a strange land filled with archetypes---caricatures. I saw a vast and vacuous wasteland populated with grotesque caricatures as if standing before funhouse mirrors.
Yes, I am a reluctant fan of popular culture. I can’t totally make up my mind in estimating the value of pop culture and the people who create and comprise it. I have always suffered from a terrible ambivalence. Is it ridiculous or brilliant, beautiful or ugly? I now realize that it is all of these things. I am inspired by the memory of hundreds of hours of observing mass media and pop culture, but always with a mixture of awe and contempt. I have painted our culture as monstrous and fascinating, bizarre and theatrical, stirring and ridiculous, brilliant and banal, beautiful and ugly, innovative and slavishly conformist.
Our culture is a vast Cecil B. Demille tableau, a grotesque tragicomedy, as it is a heroic drama. It is brilliant as it is bizarre. The fractions of an inspired and insipid culture are scattered all about like a shattered mirror: some of the fragments reflect a beautiful glitter, but most of it will cut you. It is this mixture that you will see in my paintings and drawings. A personality can be complex; it can even contain contradictory elements---and I do think my art is a reflection of my own contradictory personality. I have always thrived on ambivalence and complexity. I am praising popular culture and simultaneously ridiculing it.
Just as there are degrees of visual acuity, there are also degrees of awareness: I have an active mind intent on understanding the world and the people in it. I am prepared to summon every conscious resource that will enable me to grasp the things of my concern. After all, part of what makes art “good” is the artist’s skill at capturing his worldview and essential concerns in his art. A work of art embodies a viewpoint about human nature and humankind’s place in the world, but not necessarily in some didactic manner. It is more or less an “intuitive feeling” one can garner from a given art work, not “objective facts.”
As for the “ugliness” of my art: By their very nature, my caricatures cannot come out decorous and beautifully detached; they must be (and are) charged with fear, horror, anger, humour, and irreverence. They are also inspired by love, passion and good-natured humour. After all, you need an extraordinary gift for humour to laugh away all the madness of popular culture.
It is believed that the art of any period is a faithful mirror of that culture’s philosophy. So when you see some of the monstrous and grotesque caricatures I create, the composite picture that emerges is merely a microcosm of your culture. In view of the responses I have received, my effort to achieve a highly stylized representation has succeeded with flying colours. This is, perhaps, where I came into trouble. Newton had taught us that for every action there is an equal opposite reaction, so it could be argued that the enormity of some people’s hysterical animosity toward me and my art had its own logic.
But to what, I ask, do I attribute homage when it is bestowed to me? Perhaps only this: I find that there are scores of people who agree with my artistic interpretation and who share my sense of humour. They have exercised their own independent judgement and saw the merit of my work. It is also the critics and media commentators, juggling its shrill adjectives like a 42nd street movie marquee---‘daring,’ ‘hilarious,’ ‘brilliant” ‘amazing’---among other Broadway-like ballyhoo---that vindicate my vision. I am confirmed in my conclusions about popular culture.
Pardon me if I sound a tad shrill, but I am an artist and it’s my business to feel more intensely about things. It was once said “love the artist, for he gives you his soul.” Truer words have never been spoken. Sadly, they were spoken as a bromide to people who did not understand their profundity. Yes, I have given you my soul---contradictory as it is. I have satirized your culture and made a mockery of it. I have reflected in caricature what I considered to be frightfully bizarre and inverted. Yes, I have done all of these things, but I have nonetheless paid this culture homage too. I know just how ridiculous and nihilistic and brilliant this civilization can be. I see it as the end and the beginning, as archetypical and superficial, as dark and light, disturbing and irresistibly funny. I look at the state of the culture and I feel as if I have landed on a truly bizarre planet. But I am held captive to it by its charms nonetheless. In the end, my own views toward pop culture are radically ambivalent. I can live with that.
The genre of caricature serves me best to carry my artistic vision. Caricature, like pop culture, can be beautiful and grotesque, inspired and funny. It exaggerates the truth, without distorting it, as is commonly thought. My motive for creating caricature art hasn’t change from the days of my childhood. It has only matured and expanded. As a child, I observed the adults moving about in the world and I captured it all as I drew—in admittedly crude snap shots. I absorbed what I took to be the essence of reality: a surreal carnival of mostly preposterous beings, stumbling in the dark of their own follies. For this same reason, it is the culture that I want to now caricature.
There’s a wonderful essay by George Orwell called “Why I Write,” in which he says that every great writer is motivated by two things: one, the desire to show off—and two: the habit of noticing unpleasant facts. This could very well be true of caricaturists of my ilk.
What I try to accomplish is to distil the essence of the offending and inspiring phenomenon found in popular culture into well chosen images, and give those images an ironic twist that will leave the viewer chortling inwardly with satisfaction. But along with savage indignation, you will also often find a playful and indulgent wink. It’s not all dark.
The decisive currency in my art is not sardonic derision, disdainful diminution for its own sake---but rather: to capture and report what I see which might effect change or not. Mind you, I don’t rate the success or failure of my art as to its effecting social change, but only on my ability to capture what I believe is the essence of my subject.
The playful and mischievous child in me has never died, but he does battle with the angry and frustrated idealist that also resides in me. If you ever feel demoralized, beleaguered, appalled or befuddled by the times we all inhabit, I’m simply trying to give a visual voice to those feelings.
Victor Pross, 2008
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Daily Drawings - in this format since 1 January 2012. (Freehand, no underdrawing, Pitt Pens, Pink Pig sketchbooks 10 X 10cm). Copyright Viv Owen All rights reserved #drawing #fabercastell #pinkpigsketchbooks
on the bus. some strange dude i saw one day, looked odd and had a high pitched voice, as if he was really a she in drag.
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Inspired by the scene in Stick It!
I'm aware of the strange proportions, but all errors aside I'm generally happy with the result.
Also I think I'm addicting to drawing gymnasts/dancers. Help.