Prebles' Artforms
An Introduction to the Visual Arts
ELEVENTH EDITION
CHAPTER
6
Drawing
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Learning Objectives
1. Characterize drawing as an immediate
means of communicating with visual
images.
2. Distinguish the use of drawings to
record ideas, as preliminary studies,
and as independent works of art.
3. Discuss drawing tools and techniques
used with dry and liquid media.
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Learning Objectives
4. Compare effects achieved through
different drawing techniques.
5. Recognize the role of drawing in
comics and graphic novels.
6. Examine contemporary drawing
technologies.
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Introduction
• Drawing
 An immediate and accessible way to
communicate through imagery
 Conveys an artist's imaginings
• Henry Moore's Shelter Drawings
 Londoners sheltering from Nazi bombing
raids
 Valuable record of events where
cameras could not function
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Henry Moore. Study for Tube Shelter Perspective. 1940–1941.
Pencil, wax crayon, colored crayon, watercolor, wash, pen and ink, Conté crayon on
wove paper. 8" × 6-1/2".
Reproduced by permission of The Henry Moore Foundation. © The Henry Moore
Foundation. All Rights Reserved, DACS 2013/www.henry-moore.org. [Fig. 6-1]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Drawing Process
• Children draw often before reading or
writing, but it is a learned process.
• The meaning of drawing
 To pull, push, or drag a marking tool
across a surface to leave a line or mark
• Sketchbooks
 For developing ideas or taking notes
• da Vinci's Facial Proportions of a Man in
Profilei
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Discovering Art: Drawing
Leonardo da Vinci.
Facial Proportions of a Man in Profile. 1490–1495.
Brown ink, charcoal, and red chalk. 11" × 8-3/4".
Academia Venice. © 2013. Photo Scala, Florence—courtesy of
the Ministero Beni e Att. Culturali. [Fig. 6-2]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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The Drawing Process
• Sketchbooks
 Director/producer Guillermo del Toro's
pages detailing Pan's Labyrinth
• Receptive drawing
 Attempts to capture the physical
appearance of something before us
• Projective drawing
 Drawing something that only exists in
our minds
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Closer Look: Guillermo del
Toro, Sketchbook
Guillermo del Toro. Pages from sketchbook. 2006.
Pan's Labyrinth.
© MMVi. New Line Productions Inc. Photo appears courtesy of
New Line Cinema/Time Warner. [Fig. 6-3]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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The Drawing Process
• Projective drawing
 Martín Ramírez, Untitled No. 111
• A train passing through an impossible
tunnel
• Work based on imagination
 Favored today by artists in Europe and
the United States
• Drawing process deeply important to
artists' creativity
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Martín Ramírez. Untitled No. 111 (Train and Tunnel). c. 1960–1963.
Gouache, colored pencil, and graphite on pieced paper. 15" × 31".
© Estate of the artist. [Fig. 6-4]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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The Drawing Process
• Some artists present exceptional ability
as children, but some who had to
develop it include:
 Paul Cézanne
 Vincent van Gogh
• Carpenter compared to Old Man with His
Head in His Hands, made two years later
• Good drawing can appear deceptively
simple.
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Vincent van Gogh. Carpenter. c. 1880.
Black crayon. 22" × 15".
Kröller-Müller Museum, Otterlo, Netherlands. [Fig. 6-5]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Web Resource: Vincent
van Gogh Museum
Vincent van Gogh. Old Man with His Head in His Hands. 1882.
Pencil on paper. 19-11/16" × 12-3/16".
Van Gogh Museum, Amsterdam (Vincent van Gogh
Foundation). [Fig. 6-6]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Forming Art
• Vincent van Gogh: Mastering Drawing
 Believed he had to master drawing
before allowing himself to use color
• Struggled with drawing
 Did not wish to achieve photographic
accuracy
• Drawing from life
 Admired more simple styles of drawing,
preferring Japanese style
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Vincent van Gogh. Self-Portrait with Felt Hat. 1888.
Oil on canvas. 17-1/4" × 14-3/4".
Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6-7]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Vincent van Gogh. Trees with Ivy in the Asylum Garden. 1890.
Reed pen and pen in ink on cream wove paper. 24-1/2" × 18-1/2".
Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation). [Fig. 6-8]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Purposes of Drawing
• Serves three functions
 Notation, sketch, or record of something
seen, remembered, or imagined
 Study or preparation for another,
usually larger and more complex work
 As an end in itself, a complete work of
art
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Purposes of Drawing
• Michelangelo's studies
 Reclining Male Nude for the painting of
the figure on the Sistine Chapel ceiling
 Careful drawing from observation
 Repetition of parts needing further
study
• Picasso's studies for Guernica
 Forty-five studies are preserved
 Gestural lines convey work's essence
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Michelangelo Buonarroti. Study of a Reclining Male Nude. c. 1511.
Red chalk over stylus underdrawing. 7-5/8" × 10-1/4".
The British Museum © The Trustees. [Fig. 6-9]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Pablo Picasso. First Composition Study for Guernica. May 1, 1937.
Pencil on blue paper. 8-1/4" × 10-5/8".
Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo
Picasso/Artists Rights Society (ARS), New York. [Fig. 6-10]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Pablo Picasso. Composition study for Guernica. May 9, 1937.
Pencil on white paper. 9-1/2" × 17-7/8".
Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. © 2013 Estate of Pablo
Picasso/Artists Rights Society (ARS), New York. [Fig. 6-11]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Closer Look: Pablo Picasso,
Guernica
Pablo Picasso. Guernica. 1937.
Oil on canvas. 11' 6" × 25' 8".
Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. ©
2013 Estate of Pablo Picasso/Artists Rights Society (ARS),
New York. [Fig. 6-12]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Purposes of Drawing
• Preliminary sketches not generally
considered finished pieces
 Treasured for intrinsic beauty of process
• Cartoon
 Full-size drawing made as a guide for a
large work in another medium
 Often used for fresco painting, mosaic,
or tapestry.
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Tools and Techniques
• Lines
 Hatching
• Parallel lines suggesting shadows or
volumes
• Cross-hatching, seen in Preacher
• Contour hatching
• Paper
 Smooth surface or surface with tooth
• Rough grain that gives texture
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Drawing Tools and Their Characteristic Lines.
[Fig. 6-13]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Types of Hatching.
[Fig. 6-14]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Charles White. Preacher. 1952.
Pen and black ink, and graphite pencil on board. 22-13/16" × 29-15/16" × 3/16".
Collection of Whitney Museum of American Art, New York. Purchase. 52.25. Photo by
Geoffrey Clements, New York ©1952 The Charles White Archives. [Fig. 6-15]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Tools and Techniques
• Dry media
 Include pencil, charcoal, Conté
crayon, and pastel
 Varying degrees of hardness
• Controls darkness and line quality
• The softer, the darker
 States of the Mind: The Farewells
• Boccioni's variety of tools and techniques
exhibited
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Umberto Boccioni. States of Mind: The Farewells. 1911.
Charcoal and Conté crayon on paper. 23" × 34".
Museum of Modern Art (MoMA) Gift of Vico Baer. Acc. n.: 522.1941 © 2013. Digital
image The MoMA, New York/Scala, Florence. [Fig. 6-16]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Tools and Techniques
• Dry media
 Charcoal
• Dark passages drawn quickly
• Not all particles bind to the surface
• May be set with a thin fixative varnish to
prevent smudging
• Wide range of values
• Vija Celmins, Web #5
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Vija Celmins. Web #5. 1999.
Charcoal on paper. 22" × 25-1/2".
Private Collection, NY. Courtesy McKee Gallery. [Fig. 6-17]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Tools and Techniques
• Dry media
 Conté crayon
• Graphite mixed with clay
• Resists smudging with similar variation of
charcoal
• Wax crayons avoided by serious artists
• Georges Seurat, L'Echo
 Pastels
• Similar characteristics to natural chalk
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Georges Seurat. L'Echo, study for Une Baignade, Asnières. 1883–1884.
Black Conté crayon on Michallet paper. 12-5/16" × 9-7/16".
Bequest of Edith Malvina K. Wetmore. Yale University Art Gallery, New Haven,
Connecticut, USA. [Fig. 6-18]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Tools and Techniques
• Dry media
 Pastels
• Mostly pigment with little binding
material
• Do not allow much detail
• Rosalba Carriera's sensitivity of medium
• Edgar Degas's constructed compositions
showing casual, fleeting glimpses of
everyday life
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Rosalba Carriera. Portrait of a Girl with a Bussola. 1725–1730.
Pastel on paper. 13-3/8" × 10-1/2".
Gallerie dell'Accademia. © Cameraphoto Arte, Venice. [Fig. 6-19]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Edgar Degas. Le Petit déjeuner après le bain (jeune femme s'essuyant). c. 1894.
Pastel on paper. 39-1/4" × 23-1/2".
Private Collection/Photo © Christie's Image/The Bridgeman Art Library. [Fig. 6-20]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Tools and Techniques
• Liquid media
 Include black/brown inks, washes of
ink (thinned with water), felt- and fibertipped marker pens
 Hokusai, Tuning the Samisen
• Elegance of line created by control over a
responsive brush
• Same brush used for writing and drawing
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Hokusai. Tuning the Samisen. c. 1820–1825.
Brush drawing. 9-3/4" × 8-1/4".
Freer Gallery of Art, Smithsonian Institution, Washington. D.C.: Gift of Charles Lang
Freer, F1904.241. [Fig. 6-21]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Tools and Techniques
• Liquid media
 van Rijn, Eliezer and Rebecca at the
Well
• Compositional arrangement for a possible
painting
• Lightened shade using white gouache, an
opaque watercolor
 Nancy Spero, Peace
• Smudged ink creates an aura of
exuberant, impulsive force
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Rembrandt van Rijn. Eliezer and Rebecca at the Well. 1640s.
Reed pen and brown ink with brown wash and white gouache. 8-1/4" × 13-1/16".
National Gallery of Art, Washington D.C. Widener Collection 1942.9.665 [Fig. 6-22]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Nancy Spero. Peace. 1968.
Gouache and ink on paper. 19" × 23-3/4".
© Estate of Nancy Spero/Licensed by VAGA, New York, NY. [Fig. 6-23]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Comics and Graphic Novels
• Comics
 Sequential artforms based on drawing
 Culmination of development through
ancient Egyptian murals, medieval
tapestries, and print series in the 1730s
 Featured in newspapers
• Little Nemo in Slumberland
 More serious in recent years
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Windsor McCay. Little Nemo in Slumberland (detail). April 4, 1906.
Published in New York Herald. [Fig. 6-24]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Gilbert Hernandez. Cover of Fear of Comics. 2000.
Courtesy Fantagraphics Books, Inc. © Gilbert Hernandez, 2007. [Fig. 6-25]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Comics and Graphic Novels
• Graphic novels
 Marjane Satrapi's Persepolis
• Could have been written as a narrative
without pictures, but Satrapi combines
word and drawn image to add power to
both.
 Untitled abstract comic of Janusz
Jaworski
• Leaves context to imagination of viewer
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Marjane Satrapi. Page from Persepolis. 2001.
L'association, Paris. [Fig. 6-26]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Janusz Jaworski. Untitled abstract comic. 2001.
Ink and watercolor on paper.
Courtesy of the artist. [Fig. 6-27]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Contemporary Approaches
• Drawing in combination with other
media
• Julie Mehretu, Back to Gondwanaland
 Swatches of cut paper along with drawn
ink lines
 Shapes suggest the impersonal public
spaces of today's mass-produced world
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Video: Art21: Julie
Mehretu: Painting
Conservator Luca Bonetti
Video: Art21: Julie
Mehretu: Mural
Video: Art21: Julie
Mehretu: Studio Assistants
Julie Mehretu. Back to Gondwanaland. 2000.
Ink and acrylic on canvas. 8' × 10'.
Collection A & J Gordts-Vanthournout, Belgium. Courtesy of
the artist and Marian Goodman Gallery. [Fig. 6-28]
Prebles' Artforms, Eleventh Edition
Patrick Frank
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Contemporary Approaches
• Christine Hiebert, Reconnaissance
 Lines made directly on the walls with
blue tape normally used by painters to
mask negative spaces
• Resemble drawn lines
• Ingrid Calame, #334
 Colored pencil drawing from rubbings
taken in an abandoned steel plant in NY
and the Los Angeles river
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Podcast: Christine Hiebert,
Brooklyn, NY
Christine Hiebert. Reconnaissance (view #2). 2009–2010.
Blue tape and glue on wall. Wall coverage c. 110'
running wall length × c.35' high.
Installation view from the Davis Museum and Cultural Center
at Wellesley College. Photo © the artist. [Fig. 6-29]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Ingrid Calame.
#334 Drawing (Tracings from the L.A. River and ArcelorMittal Steel). 2011.
Colored pencil on tracing Mylar. 115-1/4" × 75" × 3-1/4".
Courtesy of Susanne Vielmetter Los Angeles Projects and James Cohan Gallery, New
York/Shanghai. [Fig. 6-30]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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Contemporary Approaches
• Electronic media
 David Hockney's iPad drawings
• A drawing every day for several months
in 2011
• Marks made with finger on screen
 Technology makes new movements of
art possible.
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
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David Hockney. The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twentyeleven)—4 January. 2011.
iPad drawing. 56-3/4" × 42-1/2".
© the artist. [Fig. 6-31]
Prebles' Artforms, Eleventh Edition
Patrick Frank
Copyright © 2014, 2011, 2009 by Pearson Education, Inc.
All Rights Reserved