powerpoint 3a

two-dimensional media

SAYRE CHAPTERS 9, 10 & 11

the fine arts media• sketch to work of

art – drawing is perhaps the most basic of

media and has been practiced for over 35,000 years

– drawing is fundamental to the human experience

– from basic drawing techniques many different medias have been developed

– each media has a unique set of methods yet, all are based on the principles of drawing

• pigments and binders– media consists of a coloring agent

(pigment) which is ground and mixed with a binder (solid or liquid)

• drawing medias• metalpoint • chalk and charcoal • graphite • pastel• oilstick • pen and ink• wash and brush

• printmaking • woodcut and wood engraving • linocut • intaglio • engraving • etching • drypoint• mezzotint and aquatint • lithography • silkscreen printing • monotype

• painting • encaustic • fresco • tempera • oil painting • watercolor • gouache • acrylic

chapter 9

drawing materials• metalpoint

– a stylus (point) made of a metal is applied to a sheet of paper

– best for delineation (outlines and contour lines)

• chalk and charcoal – soft media which is very expressive – creates modulation of lights and

darks– found as vine, stick or pencil

• graphite– a soft form of carbon – produced in different levels of

hardness to create different values chapter 9

drawing materials• pastel

– chalk medium with color pigment and a nongreasy binder

– the harder the binder the less intense the color

– similar to charcoal in that it is very expressive and blends easily

• oilstick– oil paint manufactured with enough wax

for the paint to be molded – very vibrant colors

• other colored media – conte crayon– wax crayon– colored pencil

chapter 9

drawing materials• pen & ink – originally made with iron-gall

ink and applied with a goose-feather or other quill

– today india ink is applied by a holder and pen-nib

– because india ink is a wet media it can also be applied with a brush

– when mixed with water it is lighter, creating tinted-grays; this is called applying a wash

chapter 9

methods & techniques

blending chiaroscuro stippling hatching

crosshatching wash smudging feathering

methods & techniques

edge to create line side to create area scumbling (texture) dusting

pointillism hatch/crosshatch short strokes dynamic line

printmaking • relief processes

– matrix: the surface on which a design is cut

– wood cut: a design is drawn on a block of wood and then parts are gouged or cut away with a knife

– wood engraving: fine narrow grooves are cut into the block and do not hold ink

– linocut: similar to woodcut; linoleum blocks are used instead

– editioning: printing multiple copies of the same image

chapter 10

japanese woodcuts

printmaking • intaglio processes

– the surface of a metal plate is cut into, rolled with ink, and then a piece of paper is pressed onto the plate with a heavy roller forcing the ink from the plate into the paper

– engraving: pushing a burin across the surface removing slivers of the metal

– etching: the metal plate is coated with a ground and then this ground is drawn upon; this is then set in an acid bath which eats into the unprotected areas

– drypoint: similar to engraving, a point carves into the surface of the plate

– mezzotint: a rocker leaves a burr all over the plate and then carved away

chapter 10

printmaking • other manners– lithography: based on the

principle that grease and water do not mix; acid cuts into the surface of a stone and then used to print

– silkscreen printing: a screen is cut and is used essentially as a stencil

– monotypes: paint or ink is applied a plate and then pressed onto a paper under a roller; only can be made once

chapter 10

the critical process• thinking about printmaking – printmaking allows for the reproduction of an

image so that it can be editioned or repeated • Andy Warhol, Marilyn Monroe,

1967– What does it mean to be an image?– How does color affect the meaning of works?– Why do you think Warhol resorts to such garish,

bright coloration? – How does this challenge mainstream America?

chapter 10

painting• early painting practices – encaustic: combining pigment

with hot wax– fresco: pigment mixed with

limewater and then applied to wet plaster; popular for wall murals

– tempera: combining pigment with a gummy material, usually egg yolk

– gesso: made from glue and plaster; used to create vibrant, white surfaces

chapter 11

painting• painting media

– oil: more versatile than tempera, allowing the artist to create continuous blends of hues; render subtle changes

– watercolor: is the most expressive; used originally as a sketching media it has subsequently become a final media

– gouache: essentially watercolor mixed with white chalk; unlike watercolor it is opaque

– acrylic: because of the preparation needed for oil, acrylic offers a suitable substitute and wider range of vibrant colors

chapter 11

the critical process• thinking about painting– throughout history, artists have favored painting medias

because these medias offer the widest range of colors, of blending, of rendering realism and for expression

– painting medias represent the world most faithfully• Fred Tomaselli, Airborne Event, 2003– Why are some painting medias more suited for

expressiveness? – How are mixed-media works and collage works similar

to painting? – How does Tomaselli’s work depict an artificial world?

chapter 10