Transcript Directional Line

Directional Line
Albrecht Durer
1471-1528
1515
British Museum, London
Hatching
The most basic method of creating
value in ink drawing is linear
hatching.
Fine parallel lines fill an area, so that
from just a slight distance, we
have the illusion of value. The
closer the lines are, the less white
paper shows, and the darker the
value appears.
Heavier line weight (pressing more
firmly or using a bigger nib) also
gives a darker appearance.
Scumbling and
Random Hatching
•
Scumbling, often called the 'brillo
pad' technique, uses layers of
small calligraphic, scribbled marks
to build up value and texture.
Varying the direction and shape
adds more interest than a simple
circular scribble. Random hatching
uses layers of short, straight
marks. Various textures result
depending on whether these short
hatches are applied vertically, at
right angles, following a contour or
at random angles.
Contour Hatching
• This technique is often
used in figure drawing,
with the direction of line
helping to suggest the
cross-contours of the
body. Hatching which
follows a contour can
also help to make objects
appear more threedimensional.
Stipple is a drawing method employing dots
rather than long lines. Stippling uses tiny dots to create
value. The closer together the dots, the darker the tone.
Larger dots create a denser tonal value more quickly, but
can look coarse.
Cross Hatching
• Crosshatching uses
layers of hatching
placed at an angle.
Usually, the first layer
would be vertical, the
next horizontal, the next
at forty-five degrees,
and so on. This
methodical approach
can look a little
mechanical, so artists
often use variation in
direction to add interest.
Portrait Drawing using pen and ink
as it’s medium.
Value is the degree of light and dark
in a design.
Form can be achieved
by the use of line.
Landscapes, cityscapes and seascapes
are all subject matters.
Contrast refers to the differences
in value and texture.
The surface quality of this drawing
has simulated textures.
Space in a artwork that is positive
can be filled in with line.
Gallery
Subjects in Art
The Figure- From ancient Greece until today, the figure has been one of the most
important subjects in art—in painting, drawing, and sculpture.
Portraits-If a work of art depicts the personal characteristics of a particular
individual or group of individuals, it is a portrait.
Self-Portraits-The artist Albrecht Durer was the first to paint a self portrait.
Rembrandt painting 29 self-portraits—one almost every year of his adult life.
Still Life-A painting or drawing of objects of things that cannot move is called a
still life.
Landscapes-A work of art which shows the features of the natural environment.
Hudson River school artists Thomas Cole and Thomas Moran’s paintings of the
western U.S. probably influenced Congress to establish the National Parks
System.
Cityscapes-Views of City Street, plazas, courtyards, buildings, and activities in
an urban environment.
Animals-Animals of all kinds have been portrayed by artists in many cultures,
both in realistic and abstract styles.
Genre Subjects-are representations of subjects and/or scenes from everyday life
usually painted realistically. The word “genre” refers to the common or ordinary.
Narrative-this is art that tells a story. It usually depicts a realistically painted event
with interaction and activity.
Religious Subjects-Many artworks depict religious figures as subjects.
Historical subjects-An artist may choose an historical subject to tell about or
record people or events from history.
Literary Subjects-Subjects taken from writing such as sources from the
Bible, or from famous tales, myths and legends.
Social Comment-artists also create works of art to visually express their
opinions about political or social issues relevant to their lives.
Abstraction-it is the simplification of subject matter into basic and often
geometric shapes. Abstract works are not realistic. Subject matter may be
recognized, or it may become so simplified that it looses its identity and the
design and arrangement of shapes become the subject matter.
Non-Objective -works that are composed of colors, lines and shapes that are
fully abstract, or not representational of anything. The actual subject matter,
rather than trees, flowers, or people, might be color or the composition of the
work itself.
Expressionistic -a work that communicates to the viewer an artist’s personal
or emotional feelings about a subject.