Art Assignment
samialjaber
c10_jedit_2dmedia_original.pptPart III: Creative Expression – Diverse Media & Processes
Les Demoiselles d'Avignon by Pablo Picasso, 1907
- C10: 2D (two dimensional) Media
- C11: 3D (three dimensional) Media
- C12: 4D (four dimensional) Media
- C13: Architecture and Design
- C14: Emerging Media
*
Part III The Fine Arts Media
Each material presented:
bronze, oil paint, plaster,
Etc., is called a medium.
Most media consist of
pigments (the coloring
agents) mixed with a
binder, which holds them
together.
Jan Vermeer, The Allegory of Painting, 1665-1666
*
*Until the end of the 15th c., drawing was viewed as a “student medium.”
1. Dry media: metalpoint, chalk, charcoal, graphite, and pastel
2. Liquid media: pen & ink and brush & wash
3. Innovative Drawing Media
*
Hurricane over Horsemen and Trees by da Vinci, 1518
(Pen and ink over black chalk)
*
Virgin and Child with St. Anne and Infant St. John by da Vinci, 1505-1507
A cartoon (from the Italian “cartone,” meaning “paper” ) or drawing
*
Study for a Sleeve by da Vinci, 1510-1513
(Pen, lampblack, and chalk)
*
Youth Drawing by unknown artist, late 15th C. (Pen and ink with wash on paper)
*
Agenda Art100 (Thu., 10/18)
Discuss Part III: Creative Expression – Diverse Media and Processes (C10: 2D Media)
1) PPT info
2) Exercises: Complete the charts of Drawing, Printmaking and Painting with visual images (pp. 87-90) in/outside of class
- Updated schedule:
- Mid-term paper and its artwork
* All info will be updated under “What’s NEW” on Blackboard
* Due date: Thursday, 11/14 to class with workbook!
- Possible extra point activities based on work-book in the near future in addition to assigned exercises.
- my office hours:
- Tuesday and Thursday: 10 – 11:30 AM
- Wednesday: 1-3 PM
*
*Until the end of the 15th c., drawing was viewed as a “student medium.”
1. Dry media: metalpoint, chalk, charcoal, graphite, and pastel
2. Liquid media: pen & ink and brush & wash
3. Innovative Drawing Media
*
Dry Media 1:
Metal (silver) point)
- a stylus with a point of gold or silver is applied to a sheet of paper prepared with a mixture of powdered bone (or lead white) and gumwater.
Raphael, Saint Paul Rending His Garments
(1514-15. Metalpoint heightened w/white
gouache on lilac-gray perpared paper.
*
Dry Media 2: Chalk & Charcoal
- By the end of the 16th C., natural chalks derived from red, white and black mineral deposits were fitted into holders and shaved to a point.
Fra Bartolommeo, Study for a
Prophet Seen from the Front
(1499-1500). Black chalk,
Heightened w/white chalk, on
Brown prepared paper.
*
Charcoal on brown laid Ingres paper
*
Dry Media 3: Graphite
- The lead pencil (graphite encased in a cylinder of softwood) became increasingly popular.
Georgia O’Keeffe, Banana Flower, 1933 (Charcoal and black chalk on paper)
*
Pencil on paper
*
Dry Media 4: Conte crayon
- A substitute for graphite, a mixture of refined graphite and clay, which resulted in a very soft point.
Georges Seurat, Café concert
(1887-88). Conte crayon w/ white
Heightening on Ingres paper.
*
Dry Media 5: Pastel
- A chalked medium with colored pigment and a non-greasy binder added to it. The harder the stick, the less intense its color, which is why we associate the word “Pastel” with pale color.
Mary Cassatt, Young Mother,
Daughter, and son. 1913
Pastel on paper
*
Edgar Degas, After the Bath, Woman Drying Herself (1889-90)
Pastel on paper.
*
Pastel and pencil on cut and pasted paper
*
Liquid Media 1: Pen & Ink
- The quill pen used by most Renaissance artists allowed for far greater variation in line and texture than was possible with metalpoint.
Elisabetta Sirani, The Holy Family
w/ a Kneeling Monastic Saint (1660)
Pen and brown ink, black chalk,
On paper
*
Pen, reed pen, and ink
*
Liquid Media 2: Wash & Brush
- When ink is diluted with water and applied with a brush, the result is called a wash. The wash serves two purposes – it defines form and volume.
Giovanni Battista Tiepolo,
The Adoration of the Magi (1740).
Pen and brown wash over graphite
sketch
*
Brush drawing in brown ink and wash
*
Innovative Drawing Media: Example 1
- Matisse was inspired to cut shapes out of paper using scissors, and through this form of “sketching” he found what he considered to be the essence of form.
Henri Matisse, Venus (1952)
Paper collage on canvas
*
Innovative Drawing Media: Example 2
Walter De Maria’s Las Vegas Piece is a “drawing” made in
1969 n the Nevada desert with the six-foot blade of a bulldozer.
*
Innovative Drawing Media: Example 3
Drawing is now being accomplished by electronic means, especially
with the aid of computers (e.g. David Hockney’s “Untitled,” made by “drawing” on a digitized “tablet” developed by a company called Quantel).
*
- A print is a single impression, or example, of an edition of multiple impressions made on paper from the same plate or master image (a matrix).
- 5 basic processes of printmaking: relief, intaglio, lithography, silkscreen, & monotype.
*
Continued Printmaking
- 1. Relief Processes:
- Woodcut
- Wood Engraving
- Linocut
- 2. Intaglio Processes:
- Engraving
- Etching
- Drypoint
- Mezzotint and Aquatint
3. Lithography
4. Silkscreen Printing
5. Monotypes
*
- Relief refers to any printmaking process in which the image to be printed is
a raised surface which holds the ink.
*
Relief Process 1: Woodcut
- It offers the artist a
means of achieving
great contrast between
light and dark, and as a result, strong emotional effects.
The Prophet, woodcut by Emil Nolde, 1912
*
Relief Process 1: Woodcut
- It offers the artist a
means of achieving
great contrast between
light and dark, and as a result, strong emotional effects.
Great Bridge, Sudden Shower at Atake (One Hundred Famous Views of Edo) by Hiroshige, 1856-58
*
Relief Process 2: Wood Engraving
- By the late 19th C.,
woodcut illustration
had become very sophisticated, evolving
into wood engraving,
which consisted of
extremely fine lines cut
into end grain of wood
blocks.
Thomas Bewick. Barn Owl (Tyto alba) in History of British Birds. 1847
*
Relief Process 3: Linocut (Linoleum)
- Color can be added to a print by creating a
succession of different
blocks, each one printing a different color, and each one registered to line up with the others.
Michaelmas by Sybil Andrews, 1935
*
Intaglio (“engraving” in
Italian) Processes
- With the intaglio process, the areas to be
printed are below the surface of the plate.
In general, intaglio is any process in which cut,
incised, or etched lines on a plate are filled with
ink. The surface of the plate is then wiped clean,
and a sheet of dampened paper is placed over it.
*
Intaglio Process 1: Engraving
- the image is created on the plate by pushing a small V-shaped metal
rod (burin), across a metal plate, usually of copper or zinc, forcing
the metal up in slivers in front of the sharp tip. - St. Jerome in His Study by Albrecht Dürer, 1514
*
Intaglio Process 2: Etching
- It is a much more fluid and free process than engraving, and is
capable of capturing
some of the same
spontaneity as exists in a sketch (a drawing stage and an etching stage).
Soldier and his Wife by Daniel Hopfer (1470-1536) *the first one!
*
Intaglio Process 3: Drypoint
- the drypoint line is
scratched into a copper
plate with a metal point
that is pulled across the
surface.
A ridge of metal called a
burr is pushed up along
each side of the line, and
this gives a rich, velvety soft texture to the print.
The Bath Mary Cassatt, drypoint combined with aquatint, 1890-1
*
Lithography (“stone writing”)
- This is a planographic
printmaking process,
meaning that the
printing surface is flat.
The process relies on
the principle that
grease and water don’t mix.
Smiling Spider by Odilon Redon, 1891
*
Silkscreen Printing (“serigraphs”)
- The term is from the
Greek Graphos (to
write) and the Latin
seri (silk).
The principles used are essentially the same as those employed in
stenciling.
Campbell's Soup I by Andy Warhol, 1968
*
Monotypes
- They are considered a combination of the techniques of printmaking and painting.
- *Unlike other types of
prints, once a monotype has been printed, it can never be printed again.
An Oriental Man by Giovanni Benedetto Castiglione, 1655
*
Painting
- Until the 15th century, painting had been considered a craft.
*
Artemisia Gentileschi, Self-Portrait
as the Allegory of Painting, 1630
(Oil on canvas)
Giorgio Vasari,
The Art of Painting, 1542
(Fresco)
Cimabue, Madonna Enthroned, 1280 (Tempera on Paper)
Giotto, Madonna and Child
Enthroned, 1310 (Tempera on Paper)
Until the 15th century, painting had been considered a craft.
- Encaustic
- Fresco
- Tempera
- Oil painting
- Watercolor
- Gouache
- Synthetic Media
*
Encaustic
- Made by combining pigment with hot wax, it is a very old medium. Its origins date back to classical and Hellenistic Greece.
Mummy Portrait of a Man, Faiyum, Egypt, 160-170 ce.
(Encaustic on wood)
Fresco
It started as a medium of wall paintings by the Egyptians,Greeks, and Romans where the pigment is mixed with limewater and applied to a plaster wall.
Still Life with Eggs and Thrushes, Pompeii, before 79 ce (Fresco)
Fra Andrea Pozzo,
The Glorification of
Saint Ignatius, 1691
1694 (Ceiling fresco)
Giotto, Lamentation, 1305 (Fresco)
Michelangelo, Study for the Libyan Sibyl, 1510 (Red chalk on paper)
The Libyan Sibyl, 1511-1512 (Fresco)
Tempera
A medium made
by combining
Pigment with water
and a Gummy
Material
such as egg yolk.
The gesso surface
was very absorbent
and the tempera
paint would fuse
with the surface to
create a very durable
and vibrant surface.
Andrew Wyeth, Braids, 1979
(Egg Tempera on canvas)
Sandro Botticelli, Primavera, 1462
(Tempera on a gesso ground on poplar panel)
Diego Rivera, Sugar Cane, 1931 (Fresco)
Oil Painting
- Oil paintings are slow to dry, unlike fresco and tempera, so artists could work almost endlessly to perfect their images.
Jan Van Eyck, The Madonna of Chancellor Rolin, 1433-1434
(Oil on Panel)
The Master of Robert Campin, The Annunciation, 1425-1430
(Oil on wood, triptych, central panel)
Jan de Heem, Sill Life with Lobster, late 1640s (Oil on canvas)
Susan Rothenberg, Biker, 1985 (Oil on canvas)
Pat Passlof, Dancing Shoes, 1998 (Oil on linen)
Willem de Kooning, Door to the River, 1960 (Oil on canvas)
Watercolor
Watercolor paintings are
made by applying pigments
suspended in a solution of
water and gum arabic to
dampened paper.
Working quickly, an artist
can create very
Spontaneous, gestural
effects, similar to those
attained w/ brush & ink.
Geog Baselitz, Untitled, 1981 (Watercolor & chalk patel on white paper)
Winslow Homer, A Wall, Nassau, 1898
(Watercolor and pencil on paper)
Gouache
- Gouache is watercolor mixed with white chalk. The medium is opaque and white. This quality results in a light reflecting brilliance. It is difficult to blend brushstrokes together.
Jacob Lawrence, You can buy bootleg whiskey for twenty-five cents a quart,
From the Harlem Series, 1942-1943. (Gouache on paper)
Synthetic Media
- A group of Mexican painters (e.g. Siqueiros) started to use new media to create large-scale revolutionary art. One of the first medium used at the workshop was pyroxylin, commonly known as Duco, a lacquer developed as an auto paint.
David Alfaro Siqueiros, Cuauhtemoc against the Myth, 1944
(Mural, pyroxylin on celotex and plywood)
Helen Frankenthaler, Flood, 1967 (Synthetic polymer on canvas)
Judith Baca, The Great Wall of Los Angeles, detail, Division
Of the Barrios and Chavez Ravine, 1976- (Mural)
