Drawing

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Drawing is a visual art which makes use of any number of drawing instruments to mark a two-dimensional medium. Common instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, chalk, pastels, marker pens, stylus, or various metals like silverpoint. (Its use in visual art is to be distinguished from a number of areas of technical drawing such as graph drawing.) An artist who practices or works in drawing may be referred to as a draftsman or draughtsman.

A small amount of material is released onto the two dimensional medium which leaves a visible mark - the process is similar to that of painting. The most common support for drawing is paper, although other materials such as Paperboard, 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 also become popular as a means of public expression via graffiti art, because of the easy availability of permanent marker pen.

Some galleries, such as The Drawing Center in New York, focus specificially on drawing (more or less broadly defined).

Definitions Drawing is a form of visual expression and is one of the major forms within the visual arts.

The word 'drawing' is used as both a verb and a noun:

Drawing (verb) is the act of making marks on a surface so as to create an image, form or shape.
The produced image is also called a drawing (noun). A quick, unfinished drawing may be defined as a sketch (See sketch (drawing))

Drawing is distinct from painting. The techniques of "drawing" and "painting" can be confused, because similar tools can perform both tasks; the operations are distinct in that painting involves the application of pigments, usually by means of a brush, onto cloth or prepared surfaces, whereas drawing is generally concerned with the marking of lines onto paper.

The term drawing also suggests a process that is distinct from the traditional act of painting. While there are drawings that are finished artworks, drawing is often exploratory, with considerable emphasis on observation, problem solving and composition, often as a means of preparation for a painting. In contrast, traditional painting is often a means of execution or finishing an artwork. It is fair to note that modern painters often incorporate methods of drawing in their painting process.

Subject matter .Drawings may be representational, depicting objects or scenes which the artist views, remembers, or imagines. They may be realistic to the point of lifelike resemblance (e.g. traditional portraits), architectural drawing or looser approximations of reality (e.g. sketch (drawing)es), and highly stylized (e.g. cartoons, caricatures), or Abstract art (e.g. automatic drawing, Surrealist techniques#Entoptic graphomania). Underdrawings are preparatory drawings for a painting, which are covered over in the course of work.

A specific type of representational drawing (although generally not considered in the realm of visual art) is that performed by the police sketch artist.

Media 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 water-based (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencil, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink.

Materials Paper comes in a variety of different sizes and qualities, ranging from newspaper grade for practice up to high quality and relatively expensive paper sometimes sold as individual sheets. Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper will hold the drawing material better. Thus a more coarse material is useful for producing deeper contrast.

For pen and ink work, typing paper is often used for practice drawings, but heavier paper holds up better. Bristol board makes a hard surface that is especially good for ink or fine detailed graphite drawing. Coldpressed watercolor paper is sometimes favored for ink drawing due to its texture. Tracing vellum is often used for experimenting on top of a pencil drawing, prior to committing a technique to the final page.

Various tools are routinely used in the process of drawing. These include a pencil sharpener, sandpaper, kneaded eraser, blending stumps, and chamois. Other tools that sometimes prove useful are tracing paper, a circle compass, ruler, frisket (art material), fixative, and drafting tape. The use of an easel or slanted table reduces the distorting effects of perspective. Metalpointing can include copper, bronze, and even gold some of which metals can change color over time and produce interesting results. Invisible ink is also used (see below)).

One new tool for drawing is the computer's 'drawing option'. Contemporary artists have broadened the sphere of associations the term 'drawing' encompasses to include performance and multimedia work, employing the branches of trees as drawing instruments, and fashioning images with carbon deposit from smoke, in addition to working in a number of unconventional drawing mediums, such as blood. Hard brushes such as the Incredible Nib Brush blurs the distinction between drawing and painting to some extent.

Aspects of the drawing process Applying media Drawing is almost invariably done with one or both hands, except (primarily) in the case of some disabled artists who draw with the mouth or one or both feet. There is one example of a woman drawing using her vagina.

Prior to working on an image, the artist will likely want to gain an understanding of how the various media will work. The different drawing implements can be tried on practice sheets in order to determine value and texture, and how to apply the implement in order to produce various effects.

by Leonardo da VinciThe stroke of the drawing implement can be used to control the appearance of the image. Ink drawings typically use hatching, which consists of groups of parallel lines. This use of hatching is to be distinguished from the use of a hatching system in heraldry to indicate tincture (heraldry) (i.e. what "color," in layman's language, the arms are) in a monochromatic context.) Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, is used to form lighter tones, and by controlling the density of the breaks a graduation of tone can be achieved. stipple, uses dots to produce tone, wiktionary:Texture or shade.

Sketch drawings use similar techniques, although with pencils and drawing sticks continuous variations in tone can be achieved. For best results the lines in a sketch are typically drawn to follow the contour curves of the surface, thus producing a depth effect. When drawing hair, the lines of the sketch follow the direction of the hair growth.

Typically a drawing will be filled in based on which hand the artist favors. A right-handed artist will want to draw from left to right in order to avoid smearing the image. Sometimes the artist will want to leave a section of the image blank while filling in the remainder of the picture. A frisket can be used for this purpose. The shape of the area to be preserved is cut out of the frisket, and the resulting shape is then applied to the drawing surface. This will protect the surface from receiving any stray marks before it is ready to be filled in.

Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This will hold loose material more firmly to the sheet and prevent it from smearing. However the fixative spray typically uses chemicals that can negatively affect the respiratory system, so it should be employed in a well-ventilated area such as outdoors.

Tone 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 move the drawing material on the paper so as to hide the original drawing strokes. This can only be done when drawing with a material such as graphite or charcoal that is not permanently attached once applied. When shading and blending is needed, the artist can employ a combination of a Tortillon, Facial tissue, and a specialized putty-rubber eraser. The chamois cloth in particular is useful for creating smooth textures, and for removing material to lighten the tone.

There are a number of methods for producing texture in the picture. In addition to choosing a suitable paper, the type of drawing material and the drawing technique will result in different textures.

Texture can be made to appear more realistic when it is drawn next to a contrasting texture. Thus a coarse texture placed next to a smoothly blended area will appear more notable. A similar effect can be achieved by drawing different tones in close proximity. A light edge next to a dark background will stand out to the eye, and almost appear to float above the surface.

Layout Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the aertically 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.

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.

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 Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. The parallel, straight edges of any object, whether a building or a table, will follow lines that eventually converge at infinity. Typically this point of convergence will be 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 will all 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". Converging the vertical lines to a point in the sky 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 will appear 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 amount of contrast of more distant objects, and also by making the colors more pale. This will reproduce the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.

Artistry The Composition (visual arts) of the image is an important element in producing an interesting work of artistic merit. The artist plans the placement of elements in the art in order to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.

The illumination (drawing) of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.

When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.

A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearance of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art onto itself, and many hours of careful work can go into completing a study.

Instruction In addition to schools and classes, there are online sites offering tutoring in drawing.

History: masters of drawing person have made drawings since prehistoric times. This art form first gained widespread popularity among European ethnic groups artists during the 1400s, when paper became generally available, although underdrawing for paintings already existed. Since that time, each century has produced artists who have created great drawings.

Masters of drawing in the 1400s and 1500s included Leonardo da Vinci, Albrecht Dürer, Michelangelo, and Raphael.
During the 1600s, Claude Lorrain, Nicolas Poussin, Rembrandt Harmenszoon van Rijn, Guercino, and Peter Paul Rubens created important drawings.
In the 1700s, great drawings were produced by Jean-Honoré Fragonard, Francisco Goya, Giovanni Battista Tiepolo, and Antoine Watteau.
The masters of drawing during the 1800s included Paul Cézanne, Jacques Louis David, Pierre-Paul Prud'hon, Edgar Degas, Theodore Gericault, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honore Daumier, and Vincent van Gogh.
Great drawings in the 1900s have been created by Max Beckmann, Jean Dubuffet, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Jules Pascin, and Pablo Picasso.

Digital illustration Drawing may also be done on a computer. Computer illustration or digital illustration is the use of digital tools to produce images under the direct manipulation of the artist, usually through a pointing device such as a graphics tablet or a computer mouse (this may be done on an online drawing utility). It is distinguished from generative art, which is produced by a computer using mathematical models created by the artist. It is also distinct from photo editing, in that it is an original construction "from scratch". (Photographic elements may be incorporated into such works, but they are not the primary basis or source for them.)

Notes

References

J. D. Hillberry, Drawing Realistic Textures in Pencil, North Light Books, 1999, ISBN 0-89134-868-9.
Frank Lohan, Pen & Ink Techniques, Contemporary Books, 1978, ISBN 0-8092-7438-8.
World Book, Inc. The World Book Encyclopedia Volume 5, 1988, ISBN 0-7166-0089-7.
Bodley Gallery, New York, N.Y., Modern master drawings, 1971, OCLC 37498294.
Betty Edwards, The New Drawing on the Right Side of the Brain, HarperCollins Publishers Ltd; 3Rev Ed edition, 2001, ISBN 978-0007116454

External link

Timeline of Drawing Development in Children