VAR11

Visual Arts Research: Introduction to Drawing

ASSESSMENT: Research Assignment
Assessment requirements
1. Project One: Exercise 1
A final drawing of the chairs
Visual diary evidence of line explorations and thumbnail sketches of
your chairs
Artist and other research (at least four examples)
Project 1, Ex 1: A final drawing of the chairs
The drawing is all created with lines; the only smudging might be where my hand has
accidentally rubbed. Its done in Graphite using 2B, 4B and EE. I used several mark making
techniques along the way. They included fast quick random marks, linear hatching, contour
hatching, random hatching, cross hatching, horizontal and vertical lines to create a kitted look
and finally horizontal, vertical and diagonal lines to create patters. My line making was inspired
by six different artists these include: Pierre Daura, Vincent Van Gogh, Joseph Kosuth, Henri
Matisse, Rembrandt Van Rijin and Jan schoonhoven. I really enjoyed this process and found
working at A1 size to be a real challenge. I found the hardest part was creating the carpet not
because the technique was difficult but because it was so time consuming and I found my hand
way aching something terrible. In doing this work I feel I have learned the benefit of really
researching the products youre using to understand their texture. Then taking that extra step to
test different mediums to see what effects work best for what youre working on. I am really
happy with the outcome of the still life and feel that the choices I made regarding the texture
have worked well in conveying my intended purpose. I found with the background I got better at
it as I went along. This is evident in my drawing if you look behind the all-purpose chair you
can see where its not as clear as everywhere else what I was trying to present. This is something
I would change if I was to redo the work.
Gaylene Duncan, Chair Still Life, 17 June 2014
Drawing - Graphite 2B, 4B and EE
Project 1, Ex 1: A final drawing of the chairs
Close ups
The mark marking for the background was greatly inspired by Vincent Van Goghs
work Landscape with Willows and Sun Shining Through the Clouds as I felt his use
of horizontal and vertical lines best represented the high density woven polyethylene.
During testing I found when you combined horizontal and vertical lines they created
the look of a knitted surface, reminiscent of Gogh work, but also very suitable to
describe the tarp used in the background. I used three grades of graphite throughout the
entire background. They were 2B, 4B and EE.
Vincent van Gogh
Landscape with Willows
and Sun Shining Through
the Clouds
1884
WikiArt
(Gogh 1884)
Project 1, Ex 1: A final drawing of the chairs
Close ups
Jan Schoonhoven, Untitled,
1979 tusche on paper 38 3/4 x
25 inches Peter Freeman
Gallery, new York, NY (Space)
The markings of the floor were influenced by Jan
Schoonhoven, Untitled, 1979 tusche on paper and
his pattern making best described the cut twist pile.
My testing also showed that these horizontal, vertical
and diagonal lines when placed together created
patters that resemble carpet. I used two grade of
graphite when doing the carpet and they were 2B and
4B.
Project 1, Ex 1: A final drawing of the chairs
Close ups
BATHER WI TH LEAVES
charcoal on paper
52 x 40 cm.
Private Collection
1942
(Matisse 1942)
Self-portrait in a
Beret
ca. 1660,
pen and black/brown
ink, brush and gray ink
with white body color
on brown toned paper,
3 x 2.
Collection Albertina
Museum, Vienna,
Austria.
(Rembrandt ca.1660)
The mark making on the desk chair was inspired by two different artists. The first was
Matisses the second was Rembrandt. The marking in Matisses Bather with Leaves I felt
random contour hatching replicated the padded seat of the desk chair perfectly. I then combined
Matisses random contours with the vertical (linear) lines used in Rembrandt Self-portrait in a
Beret. I found this helpful in terms of building the form, but staying true to the texture of the
chair. The contour mark was made using fast quick random marks and altering the pressure in
my hand. The liner marks were all so produced fast over the top of the contours. Both were
created with a EE graphite pencil.
BATHER WI TH LEAVES
charcoal on paper
52 x 40 cm.
Private Collection
1942
(Matisse 1942)
Title: Bent Figure of a Woman
Vincent Van Gogh
Drawing, Pencil, pen, brush, sepia,
washed
The Hague: May - early in month, 1882
Krller-Mller Museum
Otterlo, The Netherlands, Europe
F: 937, JH: 144
(Gogh 2013)
The mark making on the base of the desk chair is influenced by both Vincent Van Gogh and
Matisse. The base is silver metal and Goghs use of random horizontal, vertical and diagonal
lines reminded me of the light reflecting of the base. Whilst Matisse contour hatching
around the edging helped to define the lines. I used three different grades of graphite here.
They were 2B, 4B and EE.
Project 1, Ex 1: A final drawing of the chairs Close ups
Self-portrait in a
Beret
ca. 1660,
pen and black/brown
ink, brush and gray ink
with white bodycolor
on brown toned paper,
3 x 2.
Collection Albertina
Museum, Vienna,
Austria.
(Rembrandt ca.1660)
Christ Crucified
between the Two
Thieves: The Three
Crosses
Rembrandt
(Rembrandt van Rijn)
(Dutch, Leiden 1606
1669 Amsterdam)
Date: ca. 1660
Medium: Drypoint,
engraving, scraping
and plate tone; fourth
state of five
Dimensions: sheet: 15
1/16 x 17 1/2 in. (38.2
x 44.4 cm) (Rijn ca.
1660)
The mark making on the leg was
inspired by Rembrandts liner
hatching in his drawing Self-
portrait in a Beret, but even more
so from his drawing Christ
Crucified between the Two
Thieves: The Three Crosses, as I
knew from my testing once these
linear lines where placed together,
with varies grades of graphite they
would make the correct
combination to portray the sliver
mental. Three grades of graphite
where used. They were 2B, 4B
and EE.
Project 1, Ex 1: A final drawing of the chairs
Close ups
BATHER WI TH LEAVES
charcoal on paper
52 x 40 cm.
Private Collection
1942
(Matisse 1942)
Project 1, Ex 1: A final drawing of the chairs
Close ups
The mark making on the desk chairs foot rest was inspired by Matisses Bather with Leaves, large
contour lines. I felt these contour lines once placed randomly around the foot rest would indicate shiny
silver and light on the foot rest. Two grades of graphite where used. They were 2B and 4B.
Self-portrait in a
Beret
ca. 1660,
pen and black/brown
ink, brush and gray ink
with white body color
on brown toned paper,
3 x 2.
Collection Albertina
Museum, Vienna,
Austria.
(Rembrandt ca.1660)
Christ Crucified
between the Two
Thieves: The Three
Crosses
Rembrandt
(Rembrandt van Rijn)
(Dutch, Leiden 1606
1669 Amsterdam)
Date: ca. 1660
Medium: Drypoint,
engraving, scraping
and plate tone; fourth
state of five
Dimensions: sheet: 15
1/16 x 17 1/2 in. (38.2
x 44.4 cm) (Rijn ca.
1660)
Project 1, Ex 1: A final drawing of the chairs
Close ups
The mark making on the arm of
the drum stool was inspired by
Rembrandts liner hatching in his
drawings Self-portrait in a
Beret, and Christ Crucified
between the Two Thieves: The
Three Crosses. From my testing
it was evident that when placed
side by side these linear lines
would create the right
combination to portray the silver
metal of the arm of the drum
stool. Three grades of graphite
where used. They were 2B, 4B
and EE.
Project 1, Ex 1: A final drawing of the chairs
Close ups
Pierre Daura
Asco Spain, ca. 1929
Etching and aquatint (possibly also
softground) on off-white wove
paper
Plate: 7 3/4 x 10 1/2 in. (19.7 x
26.7 cm)
Sheet: 13 x 17 in. (33.0 x
43.2 cm)
Support: 14 x 18 in. (35.6 x
45.7 cm)
(DAURA c.1929)
Title: Bent Figure of a Woman
Vincent Van Gogh
Drawing, Pencil, pen, brush, sepia,
washed
The Hague: May - early in month,
1882
Krller-Mller Museum
Otterlo, The Netherlands, Europe
F: 937, JH: 144
(Gogh 2013)
The mark making on the desk
stool is inspired by both
Vincent Van Gogh and Pierre
Daura. I found that a
combination of Vincent Van
Gogh Cross random hatching
used in this drawing of : Bent
Figure of a Woman along
with Pierre Daura hatching
from Asco Spain, ca. 1929,
would perfectly illustrate the
soft back vinyl. Testing of
these types of hatching further
supported the idea. Three
grades of graphite where used.
They were 2B, 4B and EE.
Project 1, Ex 1: A final drawing of the chairs Close ups
Title: Bent Figure of a Woman
Vincent Van Gogh
Drawing, Pencil, pen, brush,
sepia, washed
The Hague: May - early in
month, 1882
Krller-Mller Museum
Otterlo, The Netherlands, Europe
F: 937, JH: 144
(Gogh 2013)
The mark making on the desk chair is inspired by Vincent Van Gogh cross random hatching used in this drawing of : Bent Figure of a Woman as it was evident these markings would portray
the texture of black vinyl nicely. Testing of this cross random hatching also supported my claims. Three grades of graphite where used. They were 2B, 4B and EE.
Project 1, Ex 1: A final drawing of the chairs
Progress Photos
Before starting my drawing I had decided to use gesture lines with all
intent of it being a gesture drawing. But as the drawing progressed,
this preconceived idea of mine vanished. At first I found myself
fighting with the idea and trying to maintain my idea of a gesture
drawing, but soon realised that my drawing was taking on its own
form and would be what it wanted to be. After some time I decided to
let it be and realised that by doing so my work brought its own
unique style. I felt it become more relaxed, natural and enjoyable.
Whilst I feel its important to have a preconceived idea in mind, I
think it is equally important to be able to accept the natural flow of
the work and allow it to create itself. Its here where I feel the true art
begins. I found myself lost in the work as though I was at one with
my chairs. As a result I feel I was more able to give the chairs
emotion through their texture, to be able to let my viewer see what I
was truly seeing.
Visual and Written Research
Module 1 Line
Considering the Composition
When considering the composition I did a serious of thumbnail
drawings in my visual diary, from three different still life positions.
The idea was to consider the different points of view from different
angles and different compositions, based on these three positions. By
doing this I was then able to consider the relationship with the
background and also consider the scale and space. As I did these
thumbnails I considered Joseph Kosuth idea of approaching the work
using my own rational thinking. Meaning I took into consideration my
chairs materiality and questioned their relationship to each other, their
environment and those listed above.

I did nine thumbnails in total three from each position. I would
consider thumbnail Position 1A,B,C and Position 2A and B to be
figurative because their forms are easily recognizable. Positions 2C
and Positions 3A, B and C to be abstract as they tend to emphasize the
lines and shapes more.

I have decided that I will use position 2A for my final drawing as I feel
Im able to connect with this composition. I believe the line work in
this piece will enable me to communicate to my audience what the
subject is about. I feel it will provide me with the opportunity to
engage in a variety of drawing technique to further expand my skill
ability, but also allow me to employ some of the drawing techniques
discovered during my artist research such as Rembrandt (Linear
Hatching), Matisse (Contour Hatching), Vincent van Gogh (Random
Hatching) and Pierre Daura (Cross Hatching).
Visual and Written Research Module 1 Line
Still Life:
Drawing a variety
of chairs using only
line
Mind Map
Part 1
(kyoung 2009)
(kyoung 2009)
(kyoung 2009) (kyoung 2009)
(kyoung 2009)
Visual and Written Research Module 1 Line
Still Life:
Drawing a variety
of chairs using only
line
Mind Map
Part 2
(Curkovic 2011)
Visual and Written Research
Module 1 Line
Line Drawing Techniques
The Drum Stool has a black padded seat and a single silver
arm coming down to the three silver legs. It also has black
plastic grips on the legs to stabilize it. Looking closely at the
seats materiality, I noted that there were vertical, horizontal
and diagonal lines some appeared continuous and reminded
me of the cross hatching in some of Pierre Daura work,
whilst others appeared random similar to that of Vincent van
Gogh use of Random Hatching. The black plastic grips have
a combination of vertical, horizontal and diagonal lines also
similar to that of the cross hatching in some of Pierre Daura
work, but it has further contour lines happening like that of
Matisses style of contour hatching. The materiality of the
arm and legs used vertical lines much like the vertical lines
used by Rembrandt work known as linear hatching.
Visual and Written Research Module 1 Line
Mark Making
(Boddy-Evans 2014)
(Stanyer 2006)
When testing the materials, I was looking for marks which would be suitable for the background of my
Still life arrangement (Position 2A). In the background I used a blue poly tarp to block out unwanted
surrounding objects. The tarp is made of high density woven polyethylene. When considering its texture I
took the photo of it and digitally copied a piece and then stretched it to look closer at its texture. In doing
so I found that the texture appeared to have fast moving vertical lines that reminded me a little of scribble.
However when I looked at it upstretched it appeared to have both vertical and horizontal lines. I decided
the test 4B Horizontal and Vertical lines producing a knitted texture would be the perfectly pattern for
this texture. Further testing will need to be done though to determine the grade of tone.
(Nuway57)
Visual and Written Research Module 1 Line
Mark Making
(Stanyer 2006)
The All Purpose Chair known to office works as the Inabox Economy Folding Chair has a padded seat and
backrest, silver frame legs, black plastic grips on the bottom of the frame for stability. Closely looking into its
texture I found the marks on the legs were similar to the lateral and vertical marks also known as linear hatching.
These will need to be on roughly a 90 angle and placed ever side, very close together to build their form, with
thinner, lighter ones in the centre, just as Rembrandt did in many of his drawings. The seat at a closer look
reminded me of thick large lines going vertical, horizontal and diagonal. On the back rest they appeared continual
the like cross hatching used in some of Pierre Daura work. But on the seat they were more random like the
random hatching used in Vincent van Gogh works. The black plastic grips where too small to enlarge to examine
the texture, but looking at them from life they appeared similar to the backrest, so Pierre Daura form of cross
hatching will also work well here.
(Officeworks 2008 -2014)
Visual and Written Research Module 1 Line
Mark Making
(Gogh 2013)
(Matisse 1942)
(Rembrandt ca.1660)
(DAURA c.1929)
The Desk Chair has a padded seat which stretches into the backrest, a single silver frame leg,
which ventures out into a circular base for stability. When I first looked at the materiality of the
seat I felt that cross hatching would be best. But I decided to take a photo of the seat and then
take part of the photo and blow it up to get a better look at the texture. By doing so I discovered
that cross hatching wouldnt be the best option for the seat. I found the markings of the seat to be
random and rough similar to contour hatching used in Matisses Bather With Leaves. The leg
used vertical lines like the liner hatching used in Rembrandts work. The base on the other had
had a mixture of horizontal, vertical and diagonal lines. Some were random like Vincent van
Gogh Random Hatching whilst others present like Matisse contour hatching.
Visual and Written Research Module 1 Line
Mark Making
The floor has cut twist pile laid down and is made of
wool. It has a rough looking texture, which looks a
little loopy. It reminds me very much of the Dutch
artist Jan schoonhoven work with line marks and
patterns. Jan Schoonhoven, Untitled, 1979 tusche on
paper 38 3/4 x 25 inches Peter Freeman Gallery, new
York, NY (Space) closely resembles my test markings
labelled carpet/grass. This texture like with
Schoonhoven uses horizontal, vertical and diagonal
lines to create patters that resemble carpet. So I will
be using Jan Schoonhoven use of lines to help inform
my line work with the carpet.
Jan Schoonhoven, Untitled,
1979 tusche on paper 38 3/4 x
25 inches Peter Freeman
Gallery, new York, NY (Space)
Visual and
Written
Research
Module 1 Line
Gesture Drawing
(utdallas.edu)
(South 2014)
I like the way gesture drawings
explore the movement and form of
an object in terms of space
particularly when its realistic. I
find it adds interest to the drawing
through the way it tries to depict
feelings. Their fast and deliberate
lines is what I believe really brings
out the qualities in a gesture
drawing as it contextualises its
social aspects and reflects and
recognises its changes momentarily.
Visual and Written Research
Module 1 Line
Mark Making Mind Map
(Nuway57)
(Officeworks 2008 -2014)
(Space)
Background
Floor
All Purpose Chair
Desk Chair
Drum Stool
The idea of my mind map is to give me
a quick visual reference to work from
when completing the resolved still life.
Visual and Written Research Module 1 Line
Gesture Drawing
Here I wanted to compare my line drawing to the gesture drawing of my still life. I was questioning if I wanted the still life to use more structure perfect line marks or be more free willing
using gesture lines. Ive found this very interest as when I place the two together I started to see the line drawing depicted a more abstract form whilst the gesture drawing was more
figurative. I have found myself tied between the two as both appeal to me. I think I will need to do further testing filling these in with lines to create the desired textures based on my
research to see which would appeal more.
Visual and Written Research Module 1 Line
Mark Making Testing Line Drawing against Gesture Drawing
To test which type of still life Id like to try to do I created a drawing which was half gesture and half line drawing. The idea was to be able to see the two together and how it would affect
the look of the still life. Once I combined to two ideas I took a photo of it before adding texture to it. Then I began to fill in the texture based on my previous research. As this was a tiny
thumb nail it was hard to get the texture perfect but I feel it is enough to show me an idea of what each might appear to look like in the end.

Once more I have found myself divided as both are very effective. I tried to make the line drawing tighter and more controlled when doing the texture and the gesture much looser.
I found that the gesture
side was much faster
working as oppose to the
line drawing side. This
could be significant in
my decision given my
time constraint. I am
leaning more towards
the gesture drawing not
because of the time
constraint but because it
is a style of drawing I
have never tried before,
so I feel this would be of
a greater challenge to
me, but also help me to
extend my artistic
abilities. Ive never
really tried to put motion
and feeling into a sketch
and I feel this might be a
great opportunity for me
to try to do this at this
point.
Visual and
Written
Research
Module 1
Line
Perspective
(ArtFactory.com 2014)
(Foundatio
n 2014)
(IAC 1995)
(Praxis) (Praxis)
My Still Life marked Position
2A is based on two-point
perspective as it has two
orthogonal lines and two
vanishing points. Both of its
vanishing points are located
outside of the picture frame.
Visual
and
Written
Research
Module 1
Line
Perspective
(Praxis)
(Praxis)
The perspective of my
Still Life marked
Position 2A, is drawn
from the central eye
level. Meaning I am
able to see the position
of the horizon, so it has
become part of my
own personal space
(spatial awareness).
This allows me to see
change and understand
my drawing in terms of
its space and scale in
relation to myself. As a
result an equal balance
lays between the
background and the
floor areas. Placing me
close when seated.
Visual
and
Written
Research
Module 1
Line
Perspective
(Praxis) (Praxis)
One of the things
that become
apparent to me
whilst learning
perspective was the
importance of
understanding
perspective and how
failing to do so can
completely ruin the
final work. This is
also the same in
terms of the different
eye levels and how
this changes the
whole outcome of a drawing in terms of what a viewer will see. As a student of art I feel it is vital I learn perspective well. This is an area I often struggle in so know I will need to allow
myself time to work on this area to better develop my skills and understanding.
Visual and Written Research Module 1 Line - Chair 1 - Desk Chair
(Gogh 2013)
(Matisse 1942)
(Rembrandt ca.1660)
(DAURA c.1929)
The line variations on the Desk
Chair will be informed by four
different artists. These include
Rembrandt (Linear Hatching),
Matisse (Contour Hatching),
Vincent van Gogh (Random
Hatching) and Pierre Daura (Cross
Hatching). I have come to these
variations after much research and
consideration to the materiality of
the desk chair.
Materiality and what's interesting about the chair
A closer look revealed that cross hatching would not be the best
choice as the markings of the seat to be random and rough
similar to contour hatching used in Matisses Bather With
Leaves.
Visual and Written Research Module 1 Line - Chair 2 Drum Stool
Materiality and what's interesting about the chair
The line variations on the
Drum Stool will be informed
by four different artists. These
include Rembrandt (Linear
Hatching), Matisse (Contour
Hatching), Vincent van Gogh
(Random Hatching) and Pierre
Daura (Cross Hatching). I
have come to these variations
after much research and
consideration to the
materiality of the desk chair.
(Gogh 2013)
(Matisse 1942)
(Rembrandt ca.1660)
(DAURA c.1929)
A closer look revealed a combination of vertical, horizontal
and diagonal lines also similar to that of the cross hatching in
some of Pierre Daura work as well as the contour lines.
Visual and Written Research Module 1 Line - Chair 2 All Purpose Chair
Materiality and what's interesting about the chair
The line variations on the
all purpose chair will be
informed by three different
artists. These include
Rembrandt (Linear
Hatching), Vincent van
Gogh (Random Hatching)
and Pierre Daura (Cross
Hatching). I have come to
these variations after much
research and consideration
to the materiality of the
desk chair.
(Gogh 2013)
(Rembrandt ca.1660)
(DAURA c.1929)
Artist and other research
Contemporary Art Production and Practices
Contemporary art concerns all people especially those that like to attend museums and the lay public (Casini 2011, 183). It acts like a map for museums, markets, times and places, so that
artist, dealers, creators and the public can show their work and personalities (Casini 2011, 183). Contemporary art focuses on the present and evokes both the presence of the art work and
the details of site-specific installations (Casini 2011, 183). It is for this reason that contemporary art remains historical without being retrospective (Casini 2011, 183).
Definition Contemporary
adjective
existing, occurring, or living at the same time; belonging to the same time: Newt
on's discovery of the calculus was contemporary with that of Leibniz.
of about the same age or date: a Georgian table with a contemporary wig stand.
of the present time; modern: a lecture on the contemporary novel.
noun, plural
a person belonging to the same time or period with another or others.
a person of the same age as another.
(IAC 1995)

Definition Art
noun
the quality, production, expression, or realm, according to aesthetic principles, of
what is beautiful,appealing, or of more than ordinary significance.
the class of objects subject to aesthetic criteria; works of art collectively, as painti
ngs, sculptures,or drawings: a museum of art; an art collection. See fine
art, commercial art.
a field, genre, or category of art: Dance is an art.
the fine arts collectively, often excluding architecture: art and architecture.
any field using the skills or techniques of art: advertising art; industrial art.
(IAC 1995)
Definition Production
Noun
the act of producing; creation; manufacture.
something that is produced; a product.
Economics . the creation of value; the producing of articles having exchange
value.
the total amount produced: Production is up this month.
a work of literature or art.
(IAC 1995)

Definition Practices
noun
habitual or customary performance; operation: office practice.
habit; custom: It is not the practice here for men to wear long hair.
repeated performance or systematic exercise for the purpose of acquiring skil
l or proficiency: Practicemakes perfect.
condition arrived at by experience or exercise: She refused to play the piano,
because she was out ofpractice.
the action or process of performing or doing something: to put a scheme into
practice; the shamefulpractices of a blackmailer.
(IAC 1995)
Pierre Daura was extremely influential in the French, Spanish and American art history
during 1896 - 1976. Daura works were representative of objects obtained and owned by
the Terra Foundation for the arts. Much of his work served as a symbol of the 20
th
-century
covering an assortment of styles (Abstracts and representation) and mediums. Modernist
Paul Czanne and Alfred Maurer influenced Daura dominant form and expressive colour.
He was also largely influenced by El Greco a Spanish Renaissance painter. He often
created still lives, landscapes, portraits and figure studies. His work is well represented in
the American museums, particularly the Georgia Museum of art (Art 2014). His work
Asco (Spain) is a view of a village located in the hill. It displays the pilgrim shrines in the
lower center of the picture and the right forground against a beautiful sky area, which was
completed with cross-hatching.

My response
Daura was very successful in regard to building his tones and values, bringing form to his
composition and creating a contrast between light and darks. His brilliant skills in cross
hatching gave a delightful three dimensional effect making it easy for the viewer to
distinguish the village, the pilgrim shrines and the sky from each other so that the viewer
could make sense of his work and what he had hoped to portray. His work reminds me of
a painting done by El Greco during 1596 1600 called the View of Toledo, in terms of its
composition. His work gabs hold of my attention I think firstly because of the contrast
from light to dark as its very striking, but also his very skilled workmanship in developing
his tones. I believe its interesting for a couple of reasons. First his chosen a village with
the pilgrim shrines which I feel could be of public interest, but also how his established his
contrast. If I was to do a similar work I would try to include more variation in the tones. I
will use Dauras cross hatching to inform my work.
Artist and other research
Pierre Daura
Pierre Daura
Asco Spain, ca. 1929
Etching and aquatint (possibly also softground) on off-white wove paper
Plate: 7 3/4 x 10 1/2 in. (19.7 x 26.7 cm)
Sheet: 13 x 17 in. (33.0 x 43.2 cm)
Support: 14 x 18 in. (35.6 x 45.7 cm)
(DAURA c.1929)
Artist and other research
Vincent van Gogh
Vincent van Gogh accomplished over 1,000 drawing between 1877 and 1890. He saw drawing as a
foundation to understanding movement and form. But for Gogh drawing was also used as an outlet
for his depression. He is most famous for his use of vibrant colours. His drawings focussed on
figures, light and landscapes (Templeton Reid 2013). Many of his works were drawn in pencil,
black chalk, red chalk, blue chalk, reed pen and charcoal (Templeton Reid 2013). Van Gogh was
diverse in his use of paper types. This often included Ingres paper, laid paper, wove paper as some
of the more commons types (Templeton Reid 2013). He basically used what he had available at the
time. This also included envelops.
Vincent van Gogh was deeply inspired by social realism of the masters Rembrandt, Millet and,
Daumier but also admired the dark graphic reports of magazine illustrators. (2014)

My Response
Vincent van Gogh is very successful in bringing his ideas across as his works translate feelings and
personality extremely well. He applies pressure well to create value, form and depths in his work,
giving them a nice contrast in their tones. His work reminds me a great deal of Rembrandts work.
His work brings about feelings through focussing on known subjects that I can relate to in my own
life. They speak to me through the mood they each capture. The works are interesting due to the
way they capture light, the different angles of the drawings and also his choice of combined
mediums. If I were do simular work I think the only thing I might change would be the angle at
which I did the drawing, as I feel the combination of mediums and techniques work to well to alter.
I will use Goghs random hatching technique to inform my work.
Title: Bent Figure of a Woman
Vincent van Gogh
Drawing, Pencil, pen, brush, sepia, washed
The Hague: May - early in month, 1882
Krller-Mller Museum
Otterlo, The Netherlands, Europe
F: 937, JH: 144
(Gogh 2013)
Title Chair near the Stove
Vincent van Gogh
Drawing, Pencil, black chalk
Saint-Rmy: March - April, 1890
Van Gogh Museum
Amsterdam, The Netherlands, Europe
F: 1510, JH: 1964
(Gogh 1890)
Title: Mantelpiece with Chair
Artist: Vincent van Gogh
Completion Date: 1890
Place of Creation: Saint-rmy-de-provence,
France
Style: Post-Impressionism
Genre: sketch and study
Technique: chalk
Material: paper
Gallery: Van Gogh Museum, Amsterdam,
Netherlands
(Gogh 1890)
Artist and other research
Joseph Kosuth
One and Three Chairs
Joseph Kosuth
(American, born 1945)
1965. Wood folding chair, mounted photograph of a chair, and mounted
photographic enlargement of the dictionary definition of "chair", Chair 32 3/8
x 14 7/8 x 20 7/8" (82 x 37.8 x 53 cm), photographic panel 36 x 24 1/8" (91.5
x 61.1 cm), text panel 24 x 24 1/8" (61 x 61.3 cm)
(Kosuth 1965)
Joseph Kosuth was associated with the movement of Conceptual Art in the 1960s
(Foundation 2014). His work was advanced by his radical perspective bringing his central focus
to the ideas behind his works. His written documentation was crucial to his ideologies regarding
conceptual art. He often rejected the traditional ways of evaluating art. Kosuth work, One and
Three Chairs poses as are piece of art; however it is in fact an argument. It was never intended
to appear beautiful or to show his artistic ability. Kosuth style requires him to approach his
subject by his own rational thinking. He felt an artist role was to consider the nature of the work
through studying and questioning the subject. He was interested in the relationship between the
object, picture and words (Foundation 2014). His work begs his audience to consider these
relationships and if they are significant or not and also how this piece of work interacts with the
audience.

My Response
I feel presenting the chair through three different perspectives provides the audience with the
opportunity to see the chair in different ways. Because of this I feel it forces the audience to
have to acknowledge the differences in these subjects and as a result their left with no choice
but to compare them, therefore questioning their relationship to one another. So Kosuth has been
very successful in handing over his idea to his audience. His work reminds me of George
Brechts works as both wrestle the ideology of concepts and try to present them to an art
audience. The work is interesting as it acts as a reference to helps us to understand the
relationship between the subjects both visually and verbally. It captivates me through its use of
semantic fields which are both congruent and incongruent. If I did a similar work I would try it
without the semantic fields to see if the work would have the same meaning attached to it. I will
use Kosuth idea of approaching his work by his rational thinking and consider my chairs
materiality by studying them and questioning their relationship to each other and their
environment.
(Kosuth 1965)
Artist and other research
Henri Matisse
Henri Matisse looked at drawings as a mean of expression. The way he would portray his artistic talent,
depended largely on the individual positions of his subject. This is turn would determine the type of medium
he would use. Often using charcoal, pencil, crayon, etcher's burin, lithographic tusche or paper (Matisse
2011). His work was often suggestive or sensual as he enjoyed studying the female form. Sometimes it was
focused on the reality or even the imaginary world. Classical mythology often inspired his works. Matisse
used his drawings to inform his other works. He intended them to be quick gestures which were non-verbal,
but capable of communicating what he felt inside when observing a subject. He would use his drawings to
develop his ideas in terms of style and composition. Matisse drawings were sophisticated yet simplified still
lives and female forms. As his line work developed, his work become bolder and he began to create thicker
contour lines with less detail. Much of his work is contemporary focussing on form and space.

My Response
Matisse uses implied lines to suggest motion, moods and feelings in his gesture drawing. He also uses
shapes we have prior knowledge of such as leaves to help communicate his meaning in a way we can
understand. Matisse varies his lines in weight, which adds form and value to his work. Through combining
these techniques Matisse has been very successful in conveying his ideas to his audience. His line work
reminds me of the type of lines used in some of Jean-Baptiste-Simon Chardin drawings. Matisse triggers
our emotions through his choice of style of lines and the way he chooses to combine them. His work is
interesting because he uses known objects to help shape our understanding of his ideas. There is not much I
would change if I were to try a similar piece of work. I could try to add a little more value from the weight
of my lines just to compare the differences. I will use Matisses contour hatching to inform my work.
BATHER WI TH LEAVES
charcoal on paper
52 x 40 cm.
Private Collection
1942
(Matisse 1942)
Artist and other research
Rembrandt van Rijin
Historians often referred to Rembrandt drawings as shorthand. This was because it defined Rembrandt
approach to drawing well and it recorded his visual impressions. This style of drawing however was only
admirable if it was concise and exact. According to the curator Andrew Robison of the National Gallery of Art,
the outstanding characteristics of Rembrandts lines is called oscillation, its instantaneous, delightful shift
from the descriptive stroke that renders form to the abstract stroke that freely expresses its creators aesthetic
sensibility (these strokes are often one and the same) (Artist 2007). Rembrandts love of line was a type of
creative decoration that required rhythmic linear patterns, devoted to the fundamental nature of the study which
became almost religious in their functions. He continuously pushed the boundaries with his lines, striving to
capture all that he could and in doing so often rejected unbroken contour lines, which caused trouble for his
drawings in some later eras, particularly the 18th century, when Neo-Classicist-influenced dealers and collectors
were moved to complete Rembrandts pen-and-inks with the addition of lines and washes that spoiled their
intimations of immortality, (Artist 2007). Rembrandt created over 2,000 drawings during his working life
mostly done in ink with pen and brush. However he also liked to draw in black and red chalk, which he would
occasionally combine.

My Response
Rembrandts used opaque body colour in his washes for his self-portrait in a Beret, which gave the drawing a
foggy atmosphere, which he stared through producing a quality of greatness both spiritual and artistically.
Rembrandt was successful in the delivery of his personality and looks for his audience. His work reminds me of
some of Michelangelo Merisi Caravaggio drawings. His characteristic of line and his rhythmic linear patterns I
find engaging and helps to evoke emotions in me when I observe his portrait. It is because of his love of lines and
his perfectionist way of delivering them that I find his work interesting and captivating. There isnt a thing I
would change if I were to create a similar work. I will use Rembrandts linear hatching to inform my work.
Rembrandts work of Abraham Francen uses strong parallel shading and regular horizontal shading, which I will
use to inform my own work in the background areas.
Self-portrait in a
Beret
ca. 1660,
pen and black/brown
ink, brush and gray ink
with white bodycolor on
brown toned paper,
3 x 2.
Collection Albertina
Museum, Vienna,
Austria.
(Rembrandt ca.1660)
Rembrandt van Rijn, (Dutch, 16061669), Abraham Francen,
Apothecary, c.1657. Etching, drypoint, burin; State VII, plate:
6-1/4 x 8-3/16 in. (15.9 x 20.8 cm); sheet: 6-5/8 x 8-5/16 in.
(16.8 x 21.1 cm) Norton Simon Art Foundation
(Rijn c.1657)
Artist and other research
Jan Schoonhoven
Jan Schoonhoven, Untitled, 1979 tusche on
paper 38 3/4 x 25 inches Peter Freeman
Gallery, new York, NY (Space)
The Dutch artist Jan Schoonhoven (1914 1994) used drawings as a focal point concerning his relief work in
cardboard, as a means of investigation. Many of his works consisted of mediums such as gouache, pen, various
inks and pencil. In the 1940s and early 1950s his works were reminiscent of Paul Klees, depicting the abstract
form and along with his bizarre, strange figures which existed only in fantasy. Schoonhoven later joined the
Dutch informal group in the late 1950s whose objective was to move away from impulsiveness and bias opinions
that previous generation envisioned. Many of his drawings are made through repetitive gouache or ink hatch
marks sometimes brought to life by gestural applications. Around the period 1976 his work become less repetitive
in gesture but remained rigidly structured. Schoonhoven later works move away from line and marks.

My Response
Jan Schoonhoven work, although untitled I feel explored texture and tried to describe texture to us, through the
use of lines and marks. I believe him to be successful in doing this as one can clearly see the build-up in form
and tone as well as the roughness of the surface he is trying to describe in the texture. His work, reminiscent of
Paul Klees, depicting the abstract form here reminds me of carpet. His works captivate me by his use of
horizontal, vertical and diagonal lines as they tend to form interesting patterns attracting my eyes attention. In
doing simular works Id try to build on his ideas of patterns, and push the boundaries to see how combining
patterns could affect the oral effect of the minds eye. His use of lines will help to inform my depiction of carpet
in my still life.
Artist and other research
Reader: James: This Wonderful Exile of Artist
Drawing is often pushed to the side and considered to have little importance to some artist. Yet drawing can be the following of an outline, and takes something from its natural
environment and brings it back home. The outline of a drawing communicates with us and allows us to see shapes known as conceptualised contours through the movement, and how
it feels, or the type of stroke they make, and also the way they examined what they have seen. Drawing allows the artist to own the work as their own, so they can review it later. It
becomes the foundation and an honest piece of art. It allows the artist to connect with the subject and to art history. A drawing must keep its moral truth, be free for use and projection. It
has a sense of gratification as it has immediate results. (Merlin 1999)
My Response
For me I think its important that an artist be able to connect with their subject.
To be able to use lines to communicate to their viewers, what their subject was
about and what they wanted their viewers to get from them doing the drawing.
But if the artist doesnt see drawing as worthy of time, then they lose their
opportunity to see or understand its value. I once held the assumption that all
artist could draw or further had to be able to draw, but I have realised over the
past year that many artist have never learned or showed an interest in learning.
So I was not surprised to learn through this reading that many artist see little
importance in drawing.
(Merlin 1999)
Artist and other research
Gatto, J. A. (1987) Chapter 1 Setting up Shop
The reading looks to invite the artist to experiment with the different drawing mediums as there are many different ways to use them. Each medium is suited to certain techniques and
media. Through the chapter we look at dry, moist and wet media (Gatto 1987) , which represents the beginning, intermediate and advanced materials (Gatto 1987). Most people find
themselves more familiar with the dry media and its believed to be easier to use. Whilst the wet media demands experimentation as it is much harder to control. Regardless of a persons
skill ability, drawing materials provide the opportunity for individuals to develop their drawings in a creative and expressive manner through developing their technique and imagination.
By learning to draw, we are in fact developing our thinking and continuously changing our individual style.
Materials are now much easier to access thanks to advanced manufacturing, and often at a reasonable
price. Theres many to choose from however the basic drawing kit need only have pencils and paper.
Mediums such as watercolours, crayons, drawing ink, charcoal, markers, conte, implements and brushes
can be added at a later time. Its a good idea to have a drawing board which could be made from
masonite, and cardboard or paper of any type.. When on the move, a sketchbook is the best choice. Its
best to experiment on smooth, rough, coloured and white paper. This should also include both absorbent
and non-absorbent surfaces which may or may not be recycled. By having a variety of mediums to work
with and experiment with, you are able to extend your knowledge and skill ability in drawing. Recycled
paper can be primed with gesso, store and used later.

The drawing environment should be clean, well lit and visually rich, with good ventilation, so youre able
to sit and concentrate. Indoor drawing requires an easel or drawing table and room to be able to move
back away from the work to look at it from a distance, which enables you to see the connections between
form, values and proportions (Gatto 1987). Its best to keep mediums stored in containers and work in
portfolios. Drawings you choice to keep should be sprayed with protective fixative.

Response
I think its important to have a variety of mediums to experiment with, so that I am able to expand my
knowledge and understanding of each medium. To experiment and see what each mediums is capable of
and which can be combined and what surface they work best on. I also need to be mindful of my
environment to allow my creative flow to flow, but also for safety reasons when using products, to be
sure its well ventilated.
(Gatto 1987)
Artist and other research
Reading: Chapter 3 Charcoal
Charcoal Sticks (Samul 2014)
Compressed
Charcoal
(Schneider 2014)
Charcoal
Is the most dated and used medium and comes in two forms sticks and compressed.
Sticks
are made of burnt wood or vines, which are not reduced to carbon. They are intended to be used
on charcoal paper as they are soft and brittle (Gatto 1987, 18).
Compressed Charcoal
on the other hand is made by burning selected woods in chambers or kilns (Gatto 1987, 18).
When burned the flames are deprived of oxygen (Gatto 1987, 18). This is done to prevent the
wood from burning completely. This is then grounded to a powder, ready to be compressed into
chalk-like sticks (Gatto 1987, 18) which take on different forms of shapes and hardness
(Gatto 1987, 18). When using compressed charcoal water, turpentine and paint thinners, can
be used as a solvent (Gatto 1987, 18).
You can combine charcoal with mediums like paint and gesso. You can also use charcoal when
making collages. The amount of pressure used when working with charcoal, will determine the
degree of value from light to dark. The softer you press the lighter the value and visa-versa. This
is important as values communicate depth and form due to the contrast in their tones. It is for
this reason that it is vital for an artist to understand the medium of choice through
experimentation. This means playing with the charcoal to see what values, lines, texture and
shapes charcoal or any other medium of choice can make. This allows us to see the different
ways the medium can be used and how it might react when combined with other mediums.
Charcoal dust
When applied with your index finger is
very fine producing a light shade of grey. It
gives the appearance of many dots placed
closely together tightly, leaving very fine
specks of paper protruding through. It
would be good for toning the paper before a
sketch or drawing.

Charcoal dust
When applied with your thumb is very dark
and thick with very little of the paper
protruding through. The thumb also seems
to have a lot more natural pressure than that
of the index figure. But it also felt more
awkward and less natural to use than the
index finger. It would be great for blocking
in dark shades.

Charcoal dust Applied with
the palm although hard to see what youre
doing, sits between the index finger and the
thumb in turns of shade and pressure. It has
a dark grey appearance with a semi-hard
appearance in terms of texture. This is a
good way to block in large surface areas
that require dark tones.
Artist and other research
Reading: Chapter 3 Charcoal Continued
Compressed charcoal
When scrapped along the paper produces a grainy appearance, with both
vertical and horizontal lines through it. The harder you press the more
the horizontal and vertical lines widen and become darker creating more
values and presenting its form. This would be good for trees, stumps or
nature objects.
Artist and other research
Reading: Chapter 3 Charcoal Continued
When we combine these techniques together to produce a spherical form
with an imaginary light source, we can see how each works together to
create form on the surface. The charcoal stick shows where drawing takes
place rather than colouring. It is through the charcoal stick that we are able
to create lines and darken our values to describe the form.

By exploring with these mediums it has allowed me to understand through
interaction how each reacts to pressure, surface and the means of applying
them. As a result I will be better able to determine, which technique and
mediums is best used for a particular subject matter.
Artist and other research
Reading: Chapter 3 Charcoal Continued
Preliminary drawing started with dust applied by my palm to cover the ground and trunk of the
trees. Then using my thumb and index finger I concerned myself with the values in order to
make the form. It was from here on where I started to draw exploring with the charcoal stick to
create darker values to create the light source coming from top right. Once happy with the
texture created by these techniques I then used the charcoal stick to add the lines for the
branches applying different pressures to create different thicknesses tapering off to thin lines. It
was interesting to see how the charcoal dust and charcoal stick interacted with the acid free
drawing paper.
Preliminary drawing (Old Tree)
Gaylene Duncan
June 6, 2014
Charcoal dust & Charcoal stick
Acid free drawing paper 110gsm A3.
Artist and other research
Reading: Chapter 3 Charcoal Continued
Using the flat edge of the charcoal
Held between my thumb, index finger and middle finger, I found it extremely easy to make
values, shapes and textures. When holding the charcoal sideways sliding straight down I
found that the outer edges were much darker in value. Doing circles the centre had more
value, but I found the further I twisted the lighter the pressure become in my hand until I
changed my grip as I was able to physically press as hard. This also altered the texture
allowing the light to come through the charcoal. Moving the charcoal straight up and down
gave the impression of distant trees. The value was much lighter and the pressure was also
lighter. Creating just straight lines moving the charcoal down created darker tones the harder
I applied the pressure.

Creating lines using the edge and tip of the
charcoal
Allowed a lot of freedom in the movement of the medium. The outcomes altered depending
on how I applied my grip and pressure behind my grip. The lighter I pressed, the lighter and
thinner the lines. The heavier I pressed the darker and thicker my lines.
Artist and other research
Depending on the pressure and the type of
surface, different mediums will react differently.
When we compare willow charcoal, hard
charcoal, chalk, gray lead 2B, 4B and 6B on
smooth brown paper and white acid free drawing
paper, we find all of the mediums seem to just sit
on top of the brown paper, whereas with the white
the tooth of the paper seems to help the mediums
to stick better. I also found given the same
pressure for each medium that the values were
much deeper on the brown paper and the texture
appeared much smoother. When the mediums
were used over a wider drawing surface they
produced a more visible texture with the grain of
the paper becoming more obvious.
Reading: Chapter 3
Charcoal Continued
Different Mediums
produce different tones or
values as you use different
drawing surfaces and
pressures.
When looking at the pressure and type of
surface for graphite and crayons I found once
more that the mediums gripped better to the
white acid free drawing paper. The graphite
particularly liked the white acid free drawing
paper. The light crayons become almost
transparent on the brown paper.
Artist and other
research
Reading: Chapter 3
Charcoal Continued
Different Mediums
produce different
tones or values as you
use different drawing
surfaces and
pressures.
Artist and other research
Reading: Chapter 3 Charcoal Continued
Symmetrical vs. asymmetrical
When comparing symmetrical to asymmetrical drawings I found that asymmetrical was much easier to
produce. Symmetric required a lot of focus and concentration, in order to line the lines up correct. I
found this very difficult to do. It seemed to confuse my brain when asked to draw symmetrical.
Asymmetrical allowed a lot more freedom, but still required the same degree of focus and
concentration. I find symmetric drawings fascinating to view even when they have little to no detail. I
guess this is the nature of symmetrical drawings.
Page 23 my response
How did the light values appear to
advance?
Advance To cause to move forward
or to put forward. Propose or
suggest.
Response The white of the paper
stood out at first, but then the darks
started to develop, until eventually I
was able to see the reality of the
shape of the rams head.
William Abbot Cheever, Rams Head, 1937
Charcoal
14 x 20
Addison Gallery of American Art
Andover, Massachusetts
(Cheever 1937)
Page 24 my response

This drawing challenge my imagination as I find myself asking what the importance is of the ghostly images (the people within the mans body).
What did Honore Daumier want me to see or make of the ghost? Are they significant to the drawing? Did he himself see these ghostly structures?
Or did he put them there to capture our attention? Or did he simply start with them and the drawing took on its own ideas as it developed. Was he
trying to tell us that this person talks or interacts with ghost in a spiritual manner? Honore Daumier uses a few techniques that I can see. He uses,
contour hatching, linear hatching as well as scumbling.
Artist and other
research
Reading: Chapter 3
Charcoal Continued
Does the drawing
challenge your
imagination?

What techniques can be
identified?
Honore Daumier
Un Avocat Plaidant, ca.
1843 46
Charcoal and pen and Indian ink
6 x 8
Armand Hammer Foundation
The Armand Hammer Daumier
Collection
Los Angeles, California.
(Daumier 1843 46)
Artist and other research
Reading: Chapter 3 Charcoal Continued
Drawing with charcoal stick into wet washes gives some interesting effects. When I used the
charcoal on a wet area with water on it, it was as though the charcoal didnt wish to work. I
found myself really having to work the medium leaving behind a combination of dark and light
scratches of charcoal. When I did the same thing into turpentine I found the charcoal went very
dark in tone and smooth looking. But once it dried it become a lot lighter and very textured.
Using a charcoal wash was a lot like using watercolours. I found that the tones needed to be
built up. Starting with light and moving toward darks. Charcoal brushed over with turpentine
was very effective. I really liked the look of this. It gave the drawing ghostly lines following the
chair and floor. I felt this made the drawing more interesting.
When we use charcoal and add water, turpentine, watercolours and ink washes over the
charcoal, they each get their own unique appearance. Water leaves a bevelled look as do
the others but it also gives the graphite a fine dotted look. Where turpentine lightens this
dotted look and makes them appear less rough. Watercolours and ink I felt were very
similar only the watercolour itself seemed to eat into the charcoal so that you couldnt
see the colour where the ink appeared to sit across the top.
Definitions of Line
What is line?
line
1
[lahyn] Show IPA
noun
1.a mark or stroke long in proportion to its breadth,
made with a pen, pencil, tool, etc., on a surface: ali
ne down the middle of the page.
2.Mathematics . a continuous extent of length, strai
ght or curved, without breadth or thickness; thetrac
e of a moving point.
3.something arranged along a line, especially a strai
ght line; a row or series: a line of trees.
4.a number of persons standing one behind the othe
r and waiting their turns at or for something;queue.
5.something resembling a traced line, as a band of c
olor, a seam, or a furrow: lines of stratification inro
ck.
(IAC 1995)

line
1

/lan/ (say luyn)
noun 1. a mark or stroke long in proportion to its
breadth, made with a pen, pencil, tool, etc., on a
surface.
2. something resembling a traced line, as a band of
colour, a seam, a furrow, etc.: lines of stratification
in rock.
3. a furrow or wrinkle on the face, etc.
4. something arranged along a line, especially a
straight line; a row or series: a line of trees.
(Dictionary 2014)
Artist and other research Reading: Line
Lines have length and width. They are made up of countless
points otherwise known as moving dots. Movement is what
creates lines. We use lines to express our subjects through
constantly changing our line technique in drawings. Lines
can be powerful and make statements, describe moods or
feelings. They help us to depict objects. They can be sad,
happy, graceful, nervous, free and even excited. The line is
of most importance to an artist as it provides the artist with
a means of describing shapes and therefore making objects
recognizable. Lines are considered artist shorthand as they
can show edges and values which allow the artist to
describe shapes which lead to understanding an image.
Lines become a form of tools for artist as they very in
character and weight. There are many different types of
lines such as the implied line, dotted line, psychic line and
actual line. It is important when creating lines that the artist
considers the eye of the viewer and how they use their eyes
as they move over the composition, as their eyes help to
create this movement. Lines can be horizontal, vertical or
diagonal. Within a design both horizontal and vertical lines
are known as stabilizers. Drawings derive from lines when
the lines become their main component. There are contour
and gesture drawings. Contour drawings describe the
outline of the image, whilst a gesture drawing describes the
emotions and movement. The quality of a line is also
important as well as the technique used as it shows the
effects in a drawing. We can also lay lines close together to
provide dark and light areas which become known as
values. Values brings about the three dimensional view. This
can also be done with the technique hatching when lines are
criss-crossed (Lauer 1979).
My Response
I believe lines to be a vital part of drawing. I feel its important to
understand the many different types of lines so that in our work we
can use them in the correct manner. By understanding line we
allow ourselves the opportunity to add character, understanding,
emotion and so much more to our works. We use them to express
what we want our viewer to see and to help inform our viewers so
that theyre able to understand the image. The technique of using
lines I feel takes time to develop, but well worth the time and
effort.
(Lauer 1979).
Artist and other research
Reading: Pen and Ink, Brush and Ink
Materials and equipment
The mark of the pen is a defect, unequivocal
statement in line which, once set down, is fixed
and permanent (Smith 1987). As a result pen
reflects the artist personal techniques. There are
many types of pens available for drawing.
Depending on the type of pen the mark made
will vary due to the difference in the nib or ink
supply. Pens are a drawing tool for the artist.
They are first and foremost intended for
methodological drawings.

The type of support is also important when
doing pen and ink drawings. This is because the
end result will be different depending on how
absorbent the paper is. For this reason its best
to use sized paper. Damp or dry paper will also
provide different outcome for each type of nib
or ink supply. This is the same when the ink
itself has been diluted.
My Response

I feel its good to experiment
with as many pens and ink as
possible so that you can
understand the nature of the
pen or ink supply and how
they performs on different
paper, be it dry or wet. I feel
this allows the individual to
make for describing a given
topic.
informative decisions as to
which medium is most
suitable
(Smith 1987)
(Smith 1987)
(Smith 1987)
Pen and ink is great to use when drawing
from life as it has immediate outcomes.
Different line techniques also allow you to
show emotions like tentativeness,
nervousness, delicateness, tenuousness or be
bolder when approaching your drawings by
Artist and other research
Reading: Pen and Ink, Brush and Ink
Pen and ink techniques
My Response
Whilst I think its important to be aware of the history of Chinese and Japanese
brushstroke, I dont feel it its essential to know. Having said that though this is an area that
Oriental and Western Techniques
An artist handwriting and brush stroke reflects the artist character and
decision. This is due to the way the artist applies pressure and movement.
Many of the oriental brush strokes have been incorporated over the years
into the western ways. Artists have many choices of different brushes to
choose from. These range from fine-pointed sable to course, hemp-like
bamboo brushes, (Smith 1987). The artist grip influences the language
made by the brush stroke through the pressure and holds. Westerners tend
to hold a brush just as they do a pen, which brings about a one-directional
stroke. Easterners hold the brush vertically. There strokes are influenced
by their finger positions and tightness of grip, along with the speed,
pressure and position of their arm and writs.

My Response
Something I find really interesting that has become really apparent to me
here is how a persons culture and geographical location can influences
the way they choose to hold their brush. I dont believe this is a conscious
choice. I think its something thats installed in us at a young age from
school.
varying the lines quality so its singular, thicker, and scratchier. Fine line pens on a damp support (wash of dilute
ink) makes delicate line appear feathery around their edges integrating the lines into the background producing a
medieval appearance. The wetter the surface the less control the artist has, but the more there is freedom in the
ink. When creating theatrical effects with light and shade it is best to use a pen and brush with ink which is
undiluted. To bring a subject into the foreground it is best to juxtapose the lines near a dark area as this pushes the
subject forward. Different size lines (fine or thicker) can be combined to help overcome the issue of expression
and separate the subject from the background (Smith 1987) but it can also help to build up tones and show
perspective. Its important to note though that the speed of the ink as it moves across the paper will result in
dashes and dots. This technique is good for building up tones. The size of these dashes and dots will change
depending on the size of the nib and the type of paper. Strong tonal affects can also be achieved through a
technique called cross hatching. But you can alter the level of tonal effects by how random or lose you make the
lines. Both black and white ink has much to offer in drawing. The white is great for highlights but is also good
when combined with black to make different medium tones from dark to light when using the technique cross-
hatching.

My Response
Establishing the different possible line techniques for drawing I think is a must. The only way to do this I feel is
to take each medium and experiment with each technique. This way I can establish which techniques I feel I am
capable of and which I need to extend my hand in to learn further. I feel it is also essential to understand how
each work on different supports and what benefits each support has for the different mediums. Acquiring these
skills I think would extend my artistic abilities and allow me to accomplish much more meaning and
understanding in my works. They would also allow me to engage with my audience on a much greater level.
Brush and ink
Chinese and Japanese oriental brush drawings have been a large part of the practice both in
terms of calligraphy and representational. They have discovered and covered nearly all
strokes and brush positions and have their own preoccupation with lines. This was not the
case in the west, as the west was more laid back and had no preconception of proper brush
handling, stroke speed or pressure.
has always interested me personally, so would one day like to investigate
the technique further and try to extend my personal skills in this area.
(Smith 1987)
Artist and other research
Reading: Pen and Ink, Brush and Ink
Inks, Supports and brushes
Traditionally oriental sticks and Indian ink is used when doing brush drawings, but
other mediums such as acrylic, watercolours and oils can also be used. In the East,
Chinese or Indian ink is most used in stick form when doing brush paintings.
Traditionally paper or silk supports are used with brush drawings, although it is also
possible to use canvas supports. Both Japanese and Chinese papers are more
absorbent and thinner and therefore become an essential part of the fabric rather that
lying on top of the support showing close association between brush, ink and paper.

My Response
Whilst I feel there is a great benefit to working with the traditional materials, I also
see great value in trying other western materials so that its possible to establish first-
hand the different levels of absorption, and texture with different supports, but also
how the connections between the brush, ink and paper all react.
Brushes For Linework
A variety if of expressive effects are possible depending on how the
brush is loaded, the type of Bristols and supports. We can see from
this image some of the different effects possible.

My Response
In response I intend at the end of the chapter to find out different
brushes and a couple of different support and test for myself to see
the changes that occur. Whilst this image is helpful I feel it be of
greater value to test for myself so that I can watch and observe the
changes as they are happening rather than relying on someone elses
observations.
(Smith 1987)
Brush drawing techniques
The grain of the paper can alter the outcomes greatly. We can see
this in image comparing the direct line on smooth and grainy
paper. Unlike the pen a brush can be moved much faster
producing lines that vary in there width all in the one stroke.
Tones are created better using thicker brushes whilst thinner brush
creates more detailed details. Brush techniques can also create
drawings without any lines at all by simply building up the tonal
range with diluted ink.

My Response
Its important to comprehend the materiality of the different
brushes, inks and supports. Its also important to understand the
range of tines and how these are built up. Knowing the responses
to these question will better inform my subjects as Ill be able to
demonstrate the meaning of the subject in much greater detail so
that the viewer can read the image in the context it was intended.
(Smith 1987)
Artist and other research
Reading: Pen and Ink, Brush and Ink
Testing Supplies
Collecting all the supplies I had for working with pen and ink was a lot of fun. I never
realised how many I had acuminated over the time. But the plus side to this was it gave
me many mediums to test and see what happens when used on a dry support as opposed
to a damp support. What I discovered was that most will bleed and run. That it was hard
to control the ink, but also that the ink seemed to move much faster over the page.
Artist and other research
Reading: Pen and Ink, Brush and Ink
Testing Techniques
Through these quick little drawings I realised that applying different techniques together brings about very interesting outcomes. For example the fountain pen with the different tones,
provided so much emotion through the different tones being built up tones through the lines which gave the picture value. The fine line on damp support made the edges of the fine line very
feathery, whilst juxtaposed the lines with the dark areas created light and shade. So although these techniques are simple I feel they have very powerful effects and bring energy to the
drawings.
Artist and other research
Reading: Pen and Ink, Brush and Ink
Testing Techniques Continued
I discovered there are many different
ways to use cross hatching for tonal
effects. I learned that the tighter the
stronger the tonal effects become, but
the looser naturally the tones are not
as dark. As a result this gives the
object a very different feel. I also
learned that tone can create images
without lines. But here I learned that
its important to consider how you
load your brush as it will alter how
deeply you want your tones to be and
this will make a difference when
trying to create distance, something I
made error in here. Attempting to do
Oriental and western techniques
proved to be very challenging. I think
this is a skill that would require many
years of training. I learned that the
pressure on the brush is a vital
component in being able to
successfully accomplish this style of
brush stroke.
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