Drawing

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Drawing is a visual art form in which a person uses a variety of drawing instruments to mark papers or other two-dimensional mediums. Instruments include graphite pencils, pens and inks, ink brushes, waxy pencils, crayons, charcoal, chalk, pastels, various types of erasers, markers, stylus, various metals (such as silver) and electronic images.

The drawing instrument releases a small amount of material to the surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and boards, can be used. Temporary images can be created on a whiteboard or whiteboard or even almost anything. Media has become a popular and fundamental means of public expression throughout human history. This is one of the simplest and most efficient ways to communicate visual ideas. The wide availability of drawing equipment makes drawing one of the most common artistic activities.

In addition to its more artistic shapes, drawing is often used in commercial illustrations, animations, architectures, techniques and engineering drawings. Fast and easy images, usually not meant to be finished works, sometimes called sketches. An artist who practices or works in engineering drawings may be referred to as a drafter, draftsman or draftsman.

Video Drawing

Overview

Drawing is one of the main forms of expression in the visual arts. This is generally related to marking of lines and tone plane on paper/other materials, where an accurate representation of the visual world is expressed on the surface of the plane. Traditional images are monochrome, or at least have little color, while modern color pencil drawings can approach or cross the line between drawing and painting. In Western terminology, images are different from paintings, although similar media are often used in both tasks. Dry media, usually associated with drawings, such as chalk, can be used in pastel painting. Drawing can be done with liquid medium, applied with brush or pen. Similar support can also serve both: painting generally involves the application of liquid paint on canvas or prepared panels, but sometimes underdrawing is drawn first on the same support.

Drawing is often explorative, with emphasis on observation, problem solving and composition. Drawing is also regularly used in preparation for painting, further blurring their differences. Images created for this purpose are called studies

There are several categories of images, including picture figures, cartoons, doodles, and hands free. There are also many drawing methods, such as line drawing, stippling, shading, surreal methods of entomic graffiti (where dots are made on the dirt sites on a blank piece of paper, and lines are then made between the dots), and tracing (drawing on translucent paper light, such as tracing paper , around the pre-existing line of lines shown through the paper).

Fast, unrefined images can be referred to as sketches .

In the field of outside art, technical drawings or building plans, machines, circuits and other things are often called "pictures" even when they have been moved to other media by printing.

Maps Drawing

History

Drawing in communication

Drawing is one of the oldest forms of human expression, with evidence of its existence preceding written communication. It is believed that the image was used as a special form of communication before the invention of written language, which was demonstrated by the production of cave and stone paintings some 30,000 years ago (Young Paleolithic Art). These images, known as pictograms, represent abstract objects and concepts. The sketches and paintings produced by the Neolithic period were finally distilled and simplified into a proto-writing system and eventually became the initial writing system.

Drawing in manuscript

Prior to the wide availability of paper, 12th century monks in European monasteries used intricate images to prepare illustrations, 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.

Drawing in science

In 1616, astronomer Galileo Galilei explained the phase of moon change through his observational telescopic drawing. In 1924, geographer Alfred Wegener used illustrations to show the origin of the continent visually.

Drawing as an artistic expression

Drawing is used to express one's creativity, and therefore has been prominent in the art world. Throughout much history, drawing is considered the basis of artistic practice. Initially, the artists used and used wooden tablets to produce their drawings. Following the widespread availability of paper in the 14th century, the use of images in the arts increased. At this point, drawing is usually used as a tool for thinking and investigation, acting as a medium of learning while artists are preparing for their final work. The Renaissance brings great sophistication in drawing techniques, enabling artists to represent things more realistically than ever before, and expressing interest in geometry and philosophy.

The discovery of the first widely available form of photography led to a shift in artistic hierarchy. Photography offers an alternative to drawing as a method to accurately represent visual phenomena, and traditional drawing exercises are given less emphasis as essential skills for artists, especially so in Western societies.

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Famous artists and designers

Drawing became significant as an art form around the end of the 15th century, with major artists and sculptors like Albrecht DÃÆ'¼rer and Martin Schongauer (about 1448-1491), the first Northern sculptor known by name. Schongauer is from Alsace, and was born in a goldsmith family. Albrecht DÃÆ'¼rer, a master of the next generation, is also the son of a jeweler.

The Old Master Pictures often reflect the history of the country in which they were produced, and the basic characteristics of a nation at that time. In the seventeenth-century Netherlands, a Protestant state, almost no religious artwork, and, without a king or a court, most art was purchased privately. Scenes of scenes or genre scenes are often seen not as sketches but as works of art that are highly finished. Italian painting, however, shows Catholic and Church influences, which play a major role in the patronage of art. The same is true of French drawings, although in the seventeenth century, the discipline of French Classics meant less Baroque images than the more free fellow Italians who conveyed a feeling of greater movement.

In the 20th century Modernism encouraged "imaginative originality" and some artist approaches to drawing into less literal, more abstract. World-renowned artists such as Pablo Picasso, Andy Warhol and Jean-Michel Basquiat help challenge the status quo, by drawing the center of their practice, and often reinterpreting traditional techniques.

Basquiat pictures are produced in various media, usually ink, pencil, felt-tip or marker, and oil wand, and he draws on any surface that comes into the hand, such as doors, clothes, fridges, walls and baseball helmets.

Modern artists such as Tracey Emin observe the heritage and the importance of drawing, sculpting and printing techniques in their vast array, bequeathed for thousands of years.

Centuries have produced famous canons of artists and drawers, each with their own distinct drawing language, including:

• 14, 15 and 16: Leonardo da Vinci Albrecht DÃÆ'¼rer Hans Holbein the Younger Michelangelo the Pisanello Raphael
• 17: Claude Jacques de Gheyn II Guercino Nicolas Poussin Rembrandt Peter Paul Rubens the Saenredam Pieter
• 18: FranÃÆ'§ois Boucher Jean-HonorÃÆ' © Fragonard, Giovanni Battista Tiepolo, Antoine Watteau
• 19: Aubrey Beardsley Paul CÃÆ' © Zanne Jacques-Louis David Honora  © Daumier Edgar Degas THA  © odore GÃÆ'  © ricault Francisco Goya Jean-Auguste-Dominique Ingres Pierre-Paul Prud'hon Odilon Redon the John Ruskin the Georges Seurat Henri de Toulouse-Lautrec Vincent van Gogh
• 20: Max Beckmann Jean Dubuffet MC Escher the Arshile Gorky George Grosz Paul Klee Oscar Kokoschka the KÃÆ'¤the Kollwitz Alfred the Kubin the AndrÃÆ' Â © Masson Alphonse Mucha Jules Pascin Pablo Picasso Egon Schiele the Jean-Michel Basquiat or Andy Warhol or Frank Auerbach
• 21: Tracey Emin Banksy Hayao Miyazaki

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Materials

Medium is the means by which ink, pigment or color is sent to the surface of the image. Most dry image media (eg graphite, charcoal, pastel, Contà ©, silverpoint), or using liquid or carrier solvents (markers, pens and inks). Watercolor pencils can be used dry as an ordinary pencil, then moistened with a wet brush to get the effects of painting. Very rarely, artists draw with invisible ink (usually translated). Metalpoint images usually use one of two metals: silver or lead. Less commonly used are gold, platinum, copper, brass, bronze, and tinpoint.

Paper comes in different sizes and qualities, ranging from newspaper to high quality and relatively expensive paper sold as separate sheets. The paper varies in texture, color, acidity, and strength when wet. Fine paper is great for fine detailing, but more "toothed" paper holds better image material. So the rougher material is useful to produce deeper contrast.

Newspapers and typewriters may be useful for rough exercises and sketches. Tracing paper is used to experiment over semi-finished drawings, and to transfer designs from one sheet to another. Cardboard is the basic type of drawing paper sold in bearings. Bristol boards and more acid-free boards, often with a delicate finish, are used to draw fine detail and do not distort when wet media (ink, wash) is used. Vellum is very smooth and suitable for very fine detail. Cold watercolor paper may be preferred for ink drawing because of its texture.

The free-file quality papers make their colors and textures much longer than wood-based paper pulp, such as newsprint, which turns yellow and becomes brittle faster.

The basic tools are drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and square set. Fixative is used to prevent pencil marks and crayons from smudging. Drafting tape is used to secure the paper to the surface of the image, and also to cover an area in order to remain free of unintentional markers, such as sprayed or sprayed and washed materials. A table of horses or slopes is used to keep the surface of the image in an appropriate position, which is generally more horizontal than the position used in the painting.

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Technique

Almost all the draftsmen use their hands and fingers to apply the media, with the exception of some individuals with disabilities drawing with their mouths or feet.

Before working on a drawing, the artist usually explores how various mediums work. They can try different drawing tools on a practice sheet to determine values ​​and textures, and how to apply tools to produce various effects.

The choice of drawing a stroke on the artist affects the appearance of the image. Images of pens and inks often use hatching - parallel line groups. Cross hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent pauses, form lighter tones - and controlling the pause density reaches the gradient of the tone. Stippling uses dots to produce tones, textures and shadows. Different textures can be achieved depending on the method used to build the tone.

Images on dry media often use similar techniques, although pencil and image sticks can achieve continuous tone variations. Usually a picture is filled by hand which the artist likes. A left-handed artist pulls from left to right to avoid defacing the image. The eraser can remove unwanted lines, lighten the tone, and clear the signs of getting lost. In sketches or outlines, drawn lines often follow the contours of the subject, creating depth by looking like shadows thrown from the light in the artist's position.

Sometimes the artist leaves the image untouched while filling the rest. The shape of the conserved area can be painted with masking fluid or cut from the frisket and applied to the surface of the image, protecting the surface from the distorted mark until the mask is removed.

Another method for preserving part of the image is to apply spray-on fixative to the surface. It holds looser material stronger to the sheet and prevents it from greasing. However, fixative sprays usually use chemicals that can damage the respiratory system, so they should be used in well-ventilated areas such as outdoors.

Another technique is a subtractive image where the surface of an image is covered with graphite or charcoal and then removed to create an image.

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Tone

Shading is a technique of varying the tonal values ​​on a paper to represent the shadow of the material as well as the placement of the shadow. Careful attention to reflected light, shadows and highlights can result in a very realistic appearance of the image.

Blending uses tools to soften or spread original scratch images. Blending is easiest to do with a medium that does not fix itself immediately, such as graphite, lime, or charcoal, even if the newly applied ink can be dyed, wet or dry, for some effects. For shading and blending, the artist can use blending stubble, tissue, kneading eraser, fingertips, or a combination of both. A piece of chamois is useful for creating subtle textures, and to remove material to lighten the tone. Continuous tones can be achieved with graphite on a smooth surface without mixing, but the technique is tiring, involving small or oval circular motions with rather dull points.

Shading techniques that also introduce textures in the image include hatching and forming. A number of other methods produce textures. In addition to paper options, drawing materials and techniques influence the texture. Textures can be made to look more realistic when drawn next to a contrasting texture; Rough texture is more pronounced when placed next to a seamlessly mixed area. A similar effect can be achieved by drawing different tones close together. The edge of the light beside a dark background protrudes into the eye, and almost appears to float above the surface.

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Forms and proportions

Measuring the subject dimension while blocking images is an important step in producing a realistic appearance of the subject. Tools such as compass can be used to measure different side angles. These angles can be reproduced on the surface of the image and then re-examined to ensure they are accurate. Another form of measurement is to compare the relative size of different parts of the subject to each other. A finger placed at a point along the length of the image can be used to compare that dimension with other parts of the image. Rulers can be used as rulers and tools to calculate proportions.

While trying to draw complex shapes like human figures, it was initially very helpful to represent a form with a series of primitive volumes. Almost all forms can be represented by several combinations of cubes, balls, cylinders, and cones. Once these base volumes are strung together, the images can be refined into more accurate and finer shapes. Primitive volume lines are removed and replaced by the final appearance. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. The right application solves most of the uncertainty about the smaller details, and makes the final image look consistent.

The art of drawing more subtle figures depends on artists who have a deep understanding of human anatomy and proportion. A trained artist is familiar with the skeletal structure, joint location, muscle placement, tendon movement, and how different parts work together during the movement. This allows artists to make more natural poses that do not seem rigid artificially. Artists are also familiar with how proportions vary depending on the age of the subject, especially when drawing portraits.

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Perspective

Linear perspective is a method of describing objects on a flat surface so that dimensions shrink with distance. Each parallel set, the straight edge of any object, whether the building or the table, follows the line that eventually meets at the missing point. Usually this convergence point is somewhere along the horizon, because the building is built parallel to the flat surface. When some structures are parallel to each other, such as buildings along the way, the horizontal peaks and the bottom of the structure usually meet at the missing point.

When both the front and the sides of the building are drawn, the parallel lines form the fused side at the second point along the horizon (which may be from the drawing paper.) This is a two-point perspective. Unifying the vertical line to the third point above or below the horizon then produces a three-point perspective.

Depth can also be illustrated by some techniques in addition to the perspective approach above. Objects with similar size will appear smaller and farther from the viewer. Thus the rear wheel of the wagon looks slightly smaller than the front wheel. Depth can be illustrated through the use of texture . When the texture of an object farther away, it becomes more dense and busy, taking on a completely different character than if it were close. Depth can also be described by reducing the contrast on more distant objects, and by making their colors less saturated. It reproduces the atmospheric fog effect, and causes the eye to focus primarily on objects drawn in the foreground.

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Arts

Image composition is an important element in producing interesting artwork. Artists plan placement of elements in the art to communicate ideas and feelings with the audience. The composition can determine the focus of art, and produce a harmonious whole that is attractive and stimulating aesthetically.

Subject lighting is also a key element in creating artistic work, and the interaction of light and shadow is a valuable method in the artist's toolbox. The placement of the light source can make a big difference in the type of message being presented. Some light sources can wash wrinkles on a person's face, for example, and give a younger appearance. Conversely, a single light source, such as a loud daylight, can serve to accentuate any interesting texture or feature.

When drawing objects or drawings, skilled artists pay close attention to both the areas in the silhouette and what's on the outside. The exterior is called a negative space, and can be just as important in representation as a figure. The objects placed in the background image must appear correctly placed wherever they can be viewed.

Studies are drawings of concepts made in preparation for the final planned image. Studies can be used to determine the appearance of certain parts of a completed image, or to experiment with the best approach to achieve the final goal. A well-crafted study can be a work of art, and careful hours of work can be done to complete a study.

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Process

Individuals display the difference in their ability to produce accurate visual images. Accurate images are visually represented as being "recognized as a particular object at a given time and in a certain space, given a little extra visual detail that can not be seen on the represented object or with little visual deletion".

The investigative research aims to explain the reasons why some people draw better than others. One study presents four main abilities in the drawing process: the perception of the object drawn, the ability to make good representational decisions, the motor skills required to make their own marks and perceptions of the image. Following this hypothesis, several studies have attempted to infer which processes are most significant in affecting image accuracy.

Motor control

Motor control is an important physical component in the 'Production Stage' of the drawing process. It has been suggested that motor control plays a role in drawing ability, although the effect is not significant.

Perception

It has been suggested that the individual's ability to see the objects they are drawing is the most important stage in the drawing process. This suggestion is supported by the discovery of a strong relationship between perception and drawing ability.

This evidence acts as the basis of the How-to Betty Edwards drawing book, Drawing on the Right Side of the Brain. Edwards aims to teach his readers how to draw, based on the development of the reader's perception ability.

Furthermore, influential artist and art critic John Ruskin emphasized the importance of perception in the drawing process in his book The Elements of Drawing. He stated that "Because I am almost sure, that as soon as we see enough sharpness, it is very little difficult to draw what we see".

Visual memory

It also proves to affect a person's ability to create accurate visual images. Short-term memory plays an important part in drawing when one's view shifts between the object they are drawing and the image itself.

Decision making

Some studies that compare artists with non-artists have found that artists spend more time thinking strategically when drawing. In particular, artists spend more time on 'metacognitive' activities such as considering different hypothetical plans for how they can develop with images.

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See also

References

Note

Further reading

• Edwards, Betty. New Image on Right Brain , HarperCollins Publishers Ltd; Edition 3Rev Ed, 2001, ISBN 978-0-00-711645-4
• Brommer, Gerald F. Exploring Drawing . Worcester, Massachusetts: Davis Publications. 1988.
• Gallery Bodley, New York, N.Y., Modern master image , 1971, OCLC 37498294.
• Holcomb, M. (2009). Pen and Parchment: Drawing in the Middle Ages. New York: Metropolitan Museum of Art.
• Hillberry, J. D. Drawing Realistic Textures in Pencils , Northern Lights Book, 1999, ISBN 0-89134-868-9.
• Landa, Robin. Take a line to walk: Journal of Creativity. Boston: Wadsworth, 2011. ISBNÃ, 978-1-111-83922-2
• Lohan, Frank. Pen & amp; Ink Techniques, Contemporary Books, 1978, ISBNÃ, 0-8092-7438-8.
• Ruskin, J. (1857). Drawing Elements. Mineola, NY: Dover Publications Inc. ISBNÃ, 978-1-453-84264-5
• Spears, Heather. The Creative Eye. London: Arcturus. 2007. ISBN 978-0-572-03315-6.
• World Book, Inc. World Book Encyclopedia Volume 5 , 1988, ISBNÃ, 0-7166-0089-7.
• Drawing/Thinking: Facing the Electronic Age , edited by Marc Treib, 2008, ISBNÃ, 0-415-77560-4

External links

• Development Timeline for Drawing on Kids
• In Pictures, an essay on the craft of the drawing, by artist Norman Nason. Archived from the original on April 25, 2012.
• Path and Form (1900) by Walter Crane in Project Gutenberg
• Leonardo da Vinci: an anatomical image of the Royal Library, Windsor Castle , a catalog of exhibits entirely online as a PDF of the Metropolitan Art Museum (source of good images).
• Leonardo da Vinci, Master Draftsman , catalogs the exhibits entirely online as PDFs from The Metropolitan Museum of Art (a good source of pictures).
• Drawing in the Middle Ages A summary of how the images were used as part of the artistic process of the Middle Ages.

Source of the article : Wikipedia