Art Exam 2
One of the most famous printmakers, besides andy Warhol. This is an example of a proof. Test run to see how the image looks so far. Tells you if you need to make changes. He carves outlines of figures before he does any shading through hatching or crosshatching. Example of engraving.
Albrecht Dürer. Adam and Eve, First State. 1504. Engravings.
Example of drypoint - very soft, drawn, sketching looking. The least precise. Looks a lot like a drawing, but has reproducibility of a print
Mary Cassatt. The Map (The Lesson). 1890. Drypoint.
Example of pastel. Degas's student. She far exceeded the skill of Degas. Her work is a lot more realistic and voluminous. But she used the same technique. Hatching-like mixing marks.
Mary Cassatt. Young Mother, Daughter, and Son. 1913. Pastel on paper.
Example of encaustic painting. Illuminous quality, especially in eyes. This is one of the oldest known paintings. Preserved in the tomb.
Mummy Portrait of a Man. Faiyum, Egypt, c. 160-170 CE. Encaustic on wood
Example of impasto with oil paint. Shows texture with knife paintings.
Robert Ryman. Long. 2002. Oil on linen.
Example of etching. Feels more atmospheric. Less rigid, less precise. Looks softer from the acid bath. Looks more realistic. Still completely linear based. So still uses hatching and cross-hatching to shade.
Rembrandt van Rijn. The Angel Appearing to the Shepherds. 1634. Etching.
Wet fresco "Beon Fresco" is more archival as the wet pigment applied to wet plaster fuses them together, the painting literally becoming part of the wall. - have to work quickly to finish before the plaster dries Dry fresco is pigment mixed with limewater and binders and applied after the wall is dry - can work as fast as you want, but not bonded like wet fresco and moisture can creep into the work and break off the image over time, not as archival
buon fresco vs dry fresco
small v-shaped metal rod
burin
burning increases the exposure to light of areas of the print that should be darker than in the original image (burning = darker)
burning
♣ Similar process to etching involving an acid bath, however relies for its effect not on line, but rather on tonal areas of light and dark, created through the use of a spraypaint or spray resin used on the plate. (uses fields of tone instead of hatching and cross-hatching) ♣ Process: 1.) Invented in France in the 1760s, the method involves coating the surface of the plate with a porous ground through which acid can penetrate. (Spray paint can be used for this process - spray paint acts as the ground) 2.) The acid bites around each particle into the surface of the plate, creating a sandpaper-like texture. 3.) The denser the resin, the lighter the tone of the resulting surface 4.) Line is often added later, usually by means of etching or drypoint.
aquatint
a substance that hold the pigments together
binder
holds the particles of pigment together
binder
o a subtractive process in which the material being carved is chipped, gouged, or hammered away from an inert, larger, raw block of material. o Wood and stone are 2 most common carving materials. - Disadvantages of carving with wood: carvers must carve in the direction of the woodgrain, since wood will only split in the direction it grew. Another disadvantage is that the piece can only be as big as the tree that is used to make it. - Carvers working with stone must take into account the different characteristics of each type of stone. - Sandstone is gritty and course, Marble is soft and crystalline, Granite is dense and hard.
carving
♣ employs a mold into which some molten or liquid material is poured and allowed to harden. - Casting is an invention of the Bronze Age, molten bronze poured into a hallow mold - Process is similar to using a gelatin mold or bunt cake.
casting
panels of rough sketches outlining the shot sequences for each of the movie's scenes
storyboard
the surface on which the artist paints
support
BOLD: Showed photography as art. Wanted to separate this form of photography from the documentary function of photography. Wanted to encourage the use of artistic photos. This is what he had in mind. Artistic function. "on the lower level of the steerage...the scene fascinated me: a round straw hat; the funnel leaning left, the stairway leaning right; the white drawbridge, its railings made of chain; white suspenders crossed on the back of a man below; circular iron machinery; a mast that cut into the sky, completing a triangle. I stood spellbound for a while. I saw shapes related to one another-a picture of shapes, and underlying it, a new vision that held me..." purely visual with formal qualities. For him, the people are insignificant. He wasn't communicating anything about the subjects, which makes it more artistic. He cared more about the appearance. He compared his photos to abstract paintings. He was an artist, not a photojournalist. He liked the way the image looked, the line, the shape, etc. purely for formal qualities. Not conveying a message.
Alfred Stieglitz. The Steerage. 1907. Photogravure. 13-3/16 × 10-3/8 in.
Example of digital photography. Allows for very large print of the image. Not able to have this large of prints before digital photography. Before, it could be blown up 100% maybe 200% before it got grainy. With digital, it depends on the pixels not the film, so the only size restraint is the size of the printer you have. Can seamlessly edit and manipulate digital photography. He used elevation maps to digitally paint lighter areas in the water. This would have been naturally occurring, but since the satellite was so far away, it didn't catch that.
Andreas Gursky. Ocean II. 2010. Chromogenic print.
BOLD: Example of silkscreen print. From Pittsburgh. He was drawn to silkscreen because he first worked in advertising - Glamour magazine. Used that commercial printing process in creation of his pieces, so he used that for his art. Related to his subject matter - products (pop cans, Campbell's soup cans) commercially very popular. Very recognizable. Also celebrities. Human commercial products. Everyone could recognize them. Human brands for something. Marilyn's brand for sex appeal and beauty. He liked creating images of celebrities and making their faces like logos, very simplistic depiction of their faces. But printing and color is off on purpose. Despite strange colors and offset printing, we could still recognize her. Warhol was interested in that. Similar to a brand of something. If you take campbells off the soup can, you still know it's a campbells soup can. Make Marilyn's face into its most simplistic image, made many prints. Celebrities were showing America's commercialism. Like going to a movie or reading a tabloid magazine. Celebrities become a form of product. By choosing recognizable images, Warhol brought democracy back into art. Brought back abstract art. Before, people thought that it was pointless because they didn't understand it. His images were so accessible to everyday people.
Andy Warhol. Marilyn Monroe. 1967. Silkscreen print.
Example of color photography - became popular in 1960s and 1970s. people liked black and white images because it separated art photography from advertising. Thought it looked more artistic. Color film was very difficult and expensive. Kodak film changed that. Discovered easy ways to get colored images that were stable and archival. It became easier and less expensive, thus more popular. She worked for Rolling Stone for a long time. Known for innate ability to capture celebrities' personality in their photos. In this image we see Karen Finley, famous radical feminist. Known for being very aggressive. Household name not really for good reasons. She was trying to make us look at Finley in a more vulnerable, delicate pose. We see her more as a victim in this image. She had issues with women's bodies being objectified. Red and green in this image-complementary colors = tension.
Annie Leibovitz. Karen Finley at her home in Nyack, New York. 1992. Chromogenic print.
Example of both burning and dodging. Burning in sky to make it darker, dodging at the bottom to make it lighter. Increased contrast and made it more dramatic.
Ansel Adams. Moonrise, Hernandez, New Mexico. 1941. Gelatin silver print.
BOLD: Vanitas in title. Linked to work above. Very contemporary. Harkening back to themes of vanity in de Heem's work. See similar imagery, lush and lavish objects. Rich objects, ornate mirror, jewelry, porcelain trinkets and food going to waste. Fruit cut and wasted. Flowers common in Vanitas paintings. We cut them and they die. We let them go to waste. Warning of impending doom. Wasting food. Different things in contemporary because inclusion of photographs. Images of Marilyn Monroe. But showing brunette Marilyn before she got famous. They made her bleach her hair. Here we see a more pure, authentic Marilyn. Before she was icon of Hollywood life. We see makeup and jewelry that turned her into iconic actress. The transformation into icon took away her humanness, caused her to have trouble with men. Men didn't want her to have flaws and issues. She had string of horrible relationships. That's what led her to accidentally overdosing on sleeping pills. That transformation ended her life. Warnings against unauthenticity. Warning to not let yourself become something you're not. Here we also have tipped over objects. Illusions to time in Vanitas because shows that as time goes on, we get closer to the end. Candles are illusions to death because candles burn out. When light goes out (soul) = death. As flowers decay, they wilt and die. Silliness of making yourself beautiful. Roses are beautiful, but they wilt and die when you cut them. Beauty fades.
Audrey Flack, Marilyn, Vanitas
♣ Example of pastel. Degas known for painting, but using pastel gives him the ability to use color in preparatory work. This gave him the ability to work on site. Most common subjects were ballet studios and women bathing. Painting on site means you have to take a lot of stuff with you. With pastel all you need are pastels and sketch pad. Can record color, light, and shadow. But with chalk pastel you can't blend it well, you have to layer on top. No smooth mixed colors.
Edgar Degas. After the Bath, Woman Drying Herself. c. 1889-90. Pastel on paper.
Ex of woodcut. Wood has grain and natural texture. Wood can splinter and split sometimes. Image looks rough and jagged. Nolde used wood for this reason. Prophets were supposed to know what happens to Christ beforehand. That weight and burden is weighing heavy on him, his face appears to be dragged down. Looks haggard and not well.
Emil Nolde. Prophet. 1912. Woodcut.
Example of dry fresco. Notable for use of linear perspective. Painted extension of church itself, made church feel taller. Can see the heavens.
Fra Andrea Pozzo. The Glorification of Saint Ignatius. 1691-94. Ceiling fresco.
Example of monotype. This is the only copy.
Fritz Scholder. Dream Horse G. 1986. Monotype.
Example of stippling using graphite
Georges Seurat. Café Concert. c. 1887-88. Conté crayon (Graphite) with white heightening on Ingres paper.
Example of charcoal and black chalk. Can shade and model realistically. Looks 3D because of smooth gradations.
Georgia O'Keeffe. Banana Flower. 1933. Charcoal and black chalk on paper.
Example of wet fresco. Giotto figured out how to get around race with time in wet fresco. He would only do one section of the wall at a time. He would do maybe one corner a day. When you look up close, you can tell the sections he did at a time. There are visual seams.
Giotto. Lamentation. c. 1305. Fresco.
♣ Example of ink wash - preparatory sketch for a painting light areas - little ink and lots of water ♣ darker areas - lots of ink and little water • Beautiful pattern of light and dark Have line and shape as well as form and depth
Giovanni Battista Tiepolo. The Adoration of the Magi. c. 1740s. Pen and brown wash.
Example of pen and ink; Same category as Pollock-abstract expressionist- expressive quality of thickness of line. Earned him the label of a misogynist. Created unflattering images of women. Very slashing and aggressive markings. Comes off as aggressive towards females.
Jean Dubuffet. Corps de Dame. June-December 1950. Pen, reed pen, and ink.
BOLD: Example of lithography. Printmaker whose prints showed up in newspapers. Used his art to illustrate and support social causes-human rights and other important issues. Kind of a rebel, challenged French govt and used prints as a way to do so. Lithography was great for him because he needed a wide audience and he could distribute multiple copies. Took on causes of everyday working class people. This image was brought upon by French govt. working quarters area where factory workers got together to protest. Govt police and military where there. Sniper fire opened and one of the officers was shot and killed, protesters dispersed. Officials said they thought the shot came from this one building, so they went into that building and killed every single person in there. Many many families. He wanted to document this horrible abuse of power. He went on site and created this sketch and documented everything he saw in front of him. Main figure and wife - all wearing nightgowns. Not out carrying sniper guns, they were probably sleeping innocent people. Husband is splayed out overtop of young child. Maybe he shielded the child. They were all killed, but shows sacrifice that father showed. Wife in hallway, elderly person off the the right. He picked a very interesting vantage point. He is right in line with them, right up close, makes us feel like we are there two. Our perspective makes us feel like witnesses, which lends the image more power. Made sketch there, went to studio and made plate, made copies, distributed to newspapers and propaganda fliers. Lithography allowed him to get the image out while the event was still fresh.
Honoré Daumier. Rue Transnonain, April 15, 1834. 1834. Lithograph.
Like above, creates her own version. More European women, but same style of print from Utamaro.
Mary Cassatt. The Bath. 1890-91. Drypoint and aquatint on laid paper.
Example of gouache. Abstract work. Looks like flat images. Has bright tones and colors, but not used in super realistic ways, more simplistic. Can't blend colors.
Jacob Lawrence. You can buy bootleg whiskey for twenty-five cents a quart, from the Harlem Series. 1942-43. Gouache on paper.
BOLD: Example of oil paint and Vanitas (Italian for vanity). Shows that it's self-interested, self-absorbed. Works such as this reflect themes of vanity. de Heem was from Netherlands, protestants, distrustful of religious imagery. They didn't want direct, literal references to religion. It belittled religion and the religious figures. They wanted religious themes in art but in a metaphorical way. Displayed moral lessons of church's beliefs. Shows material, wealth, excess. A lot of expensive stuff mounded on table. Food is common in Vanitas painting. Specifically, food going to waste. No one is eating it, it's left there to rot. It will go to waste. Not living a moral life based on charity and only buying what they can actually eat. It's like they bought all of this stuff to show their wealth just because they could, but didn't eat it. Some of the stuff is peeled and cut, but then left to rot. Meant to reflect vanity, but also to provide a warning of vanity. This wasn't what was taught by the church. Hope you live a good charitable life, or not going to heaven. You can't take your stuff with you when you die. Stuff tipped over represents doom, showing this as bad. Lobster is very expensive and hasn't even been eaten. The fruits would have had to been imported and that was very expensive.
Jan de Heem. Still Life with Lobster. late 1640s. Oil on canvas.
Example of aquatint - white area is spray paint, dark areas where created by acid bath. No use of lines. Stippling look.
Jane Dickson. Stairwell. 1984. Aquatint on Rives BFK paper.
Example of collage. Cubist work, they liked taking things from the real world and incorporating it into their work. Page from book, wallpaper, colored paper. We find ourselves asking what's real and what's drawn?
Juan Gris. The Table. 1914. Colored papers, printed matter, charcoal on paper mounted on canvas.
Example of acrylic in outdoor mural. We know its acrylic because of its location.
Judith F. Baca. The Great Wall of Los Angeles, detail, Division of the Barrios and Chavez Ravine. 1976-continuing. Mural.
BOLD: Silhouettes are paper cutouts, so kind of like collage. But she actually painted these silhouettes for most of the series. Primarily 2D imagery, but you, the viewer, are in the center of the work. She uses all of the walls. Makes you feel like you are a part of the work. She is an African American artist born and raised in California, but when she was 11 or 12, her father got a job as a professor in Georgia. So they moved there in early 1970s. Stone Mountain, Georgia, like the Mount Rushmore of the confederacy. Difficult situation. At that time, strong KKK presence in Stone Mountain, Georgia. We see references to old south in her work. Illusions to antebellum costumes. Silhouettes depict images of slaves and slave ownership. Based in fantasy like images, but aren't really addressing actual events, meant to depict race relations. Slave in slave collar, punishment, torture device. Around their neck, constricted, made hard to breath. Takes actual things from history and uses it in her work. She shows revolt sometimes. Often a lot of violence. But the silhouette hides gruesome details since we only see the shape and nothing else. So, we have to rely on our own stereotypes to unpack what's in front of us. All figures, slaves and owners, all in silhouettes, so we have to figure out for ourselves who's who. Two features of the silhouette: 1.) Creates abstract image, draws out act of having to guess who is who 2.) Physical colors of white and black show race relations. Landscape and interior space shown by projected light in grays, blues, etc. Our own silhouette is projected on the wall right with the scenes. Our silhouette becomes part of the work. Like we are witnesses. Like we are being implicated. But to link to cultural residue left behind in our country. Slavery has still left a residue. Links us to that. History is never fully dead and never fully forgotten. Remind us that slavery is gone, but residue is still present and relevant.
Kara Walker. Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On), (installation view 1 of 2). 2000. Cut paper silhouettes and light projections, site-specific dimensions. Dimensions vary with installation.
Example of woodcut. Images of domestic scene
Kitagawa Utamaro. Shaving a Boy's Head. 1795. Color woodblock print.
Example of charcoal. More expressive, gestural than banana flower above. Charcoal is a flexible material.
Käthe Kollwitz. Self-Portrait, Drawing. 1933. Charcoal on brown laid Ingres paper.
Example of metalpoint. A lot of hatching and cross-hatching. Specifically, silverpoint
Leonardo da Vinci. Study of a woman's head or of the angel of the Vergine delle Rocce. 1473. Silverpoint with white highlights on prepared paper.
Example of aboriginal art. Form of illustration. Convey information about history of aboriginal people. Spiritual realm, but meant to tell a story.
Mimis and kangaroo, Oenpelli, Arnhem Land, Australia. Red and yellow ocher and white pipe clay.
BOLD: Made in 1980s. Example of video art coming back. Paik seen as first and important artist to use video as art. Displayed video on 70s screens. Originally produced as each screen being computer monitor. Manipulated color by inserting magnets into computer monitors which played with the color seen. Imagery depicted is Americana images. American celebrities. American presidents flashed on and off. Presidents of the information age, invention of tv on. After the tv, accessibility to information exploded. Presidents represents presidents of tv and internet as well. We also see symbols that reflect technology. 1s and 0s, binary code to program computers. Symbols also evocations of stars, overall image, that of American flag. Dark blue in corner and red and white stripes. Every once in a while, stars come on that further connect to the image of the flag. We see static image here, but it wasn't really a still image. It flashes and pulsates, constantly changing. Some images of news footage. Flag image is always there even when changing and altering. Flashing makes it that we cannot actually comprehend what's in front of us. Idea that we are getting so much info from so many sources that we cannot comprehend each piece of info that we are getting. Like right now with the election. So much information that it is overwhelming. Visual chaos represents information chaos. It is mentally overwhelming. This was the effect of the work. Problem that comes up is that video and film can be complicated to work with. Technology evolves. Disadvantage is evolution of technology. He used 70 computer monitors originally, but they had to change to video monitors. They didn't make parts to fix them anymore. They converted it to more archival form. Some works don't translate well to other forms of technology. They had to manually produce the color. No longer random by magnets. Video art could become extinct. If tv sets go away, what will be new version of this work?
Nam June Paik. Video Flag. 1985-96. 70 video monitors, 4 laser disc players, computer, timers, electrical devices, wood and metal housing on rubber wheels.
Earliest cameras as early as 1400s as camera obscuras, like we see here. Room sized cameras that were entirely cut off to light besides pin hole in wall itself. Pinhole is the lens. Could capture what was directly outside of the lens. Tinkers, inventers, some artists used camera obscuras. Very infrequently used. Very primitive and complicated.
Published by Dutch physician and mathematician Reinerius Gemma-Frisius. Camera Obscura. published 1544. Engraving.
Example of collage. Used imagery from magazines and photographs. He specifically captured vibrancy and close knit elements of Harlem. He can physically take people's faces and not have to paint or draw them.
Romare Bearden. The Dove. 1964. Cut-and-pasted paper, gouache, pencil, and colored pencil on cardboard.
Example of tempera on gesso. Uses hatching to create illusion of transparency. This took a lot of time and mastery. It's a hard material to use, so oil painting replaced it when it came around.
Sandro Botticelli. Primavera. c. 1482. Tempera on a gesso ground on poplar panel.
BOLD: Created visual evidence of people and places. Like early versions of photojournalism. Meant to show or convey something true and real. Showed the horrors of war to masses of people. Many people didn't see the war play out firsthand, so these photos showed them what it actually looked like. Allowed the distribution of photos of the horror of war. O'Sullivan actually shot the image, Gardner was partner and developed the photos and created a photo essay that was distributed throughout the country especially in areas not on the front lines of the war. Image probably fits documentary function. "Such a picture conveys a useful moral: It shows the blank horror and reality of war, in opposition to the pageantry. Here are the dreadful details! Let them aid in preventing such another calamity falling upon the nation." - Alexander Gardner The purpose was to serve as antiwar propaganda. He wanted them to see what it looks like to see the true cost of war. People who weren't on the front lines were only exposed to nationalistic side of war. This war is for freedom, shows heroicism. But the govt didn't show dead disfigured images. People got caught up in pro war fervor. The artists goal was to show them. The perspective is important. O'Sullivan knelt down to take the image, raised the horizon line, deeper landscape, we see more and more bodies this way. He expanded the space to show a more immense loss. At this time, most people never saw images of dead people. This was like the first image of dead people you saw. More subtly, artists showed in inhumanness war brings out. Most of the bodies are missing coats and shoes. Their pockets are pulled out. People took their belongings. Towards the end of the war, supplies were limited. After a battle, the winning side would take stuff from the dead corpses. Food, money, guns, amo, coats, shoes, anything. War brought out the inhumane side of us. You had to do what you had to do to survive. With war, we get the death of morality as well. This image was very effective in undercutting pageantry of war. Showed what it really looked like. It's a documentary photo.
Timothy O'Sullivan (negative) and Alexander Gardner (print). A Harvest of Death, Gettysburg, Pennsylvania, July 1863, from Alexander Gardner's Photographic Sketchbook of the War. 1866.
Example of performance art. Can determine if its performance or video based on location. Dancers suspended by cables dance along wall. People were invited to come view it in the gallery. But we now view it through video. But video was just to archive. It is performance.
Trisha Brown. Walking on the Wall. 3/30/1971.
Example of graphite as photorealism. Also an example of how drawing can show self-expression and be a final piece on its own.
Vija Celmins. Untitled (Ocean). 1970. Graphite on acrylic ground on paper.
BOLD: ♣ Use of charcoal mixed with art of installation. Drawing + installation. Product itself is room or environment around drawing. Drawings of figures onto the wood plank walls in charcoal. Use of charcoal on rough surface of wall creates a ghost like appearance. Like they're coming from the walls. Meant to mimic home from 1920s Texas. Home of African American (AA) sharecroppers in particular. He wanted to show an aspect of AA history not often shown. Inspired by visit to former slave plantation. He didn't see a lot of dignity in what we see of AA families. They lived on very little and it was simple, but it was also very dignified, which wasn't often showed. He wanted to show this. A clean, tidy house. They worked very hard. This history continues to haunt us, ghost like people emerging from the walls. There is also sound. Old time music and people whispering. History is alive and never truly dead. History still plays into contemporary life. These people would be grandparents who may still be alive today.
Whitfield Lovell. Whispers from the Walls. 1999. Mixed-media installation, varying dimensions.
♣ Example of storyboard for a movie. Actual sketches. The director and people involved with visuals and story got together with artist. Made the process more efficient.
William Cameron Menzies. storyboard for the burning-of-Atlanta scene from Gone with the Wind. 1939.
BOLD: Charcoal + pastel. Product is an animated video through use of charcoal drawings. Thousands and thousands of marks and erasures. WATCH HIS VIDEO ON MY ARTS LAB AND KNOW PROCESS. Process based on traditional stop animations. Like early animated movies. Drawings shift and change with every alteration. The product is a video. He likes charcoal because it's easy to erase and manipulate and make small changes. When he does erase, there are still traces left behind, which has important symbolism in his works. A lot of his works have to do with South African history and apartheid- "separate but equal" but really not equal. Segregation that didn't end until the 1990s. apartheid often addressed in his works, he doesn't want it to be forgotten. His works based on sources of apartheid - Soho based on white South African business man who owned a mine. He economically benefitted from apartheid. He looks at apartheid through character of Soho. Symbolism in weighing and wanting: lot of references to mining, minerals to the earth; soho owned these mines. Soho entering mri machine, looking into his brain. Beginning is seeing beginning of him deciding to open mine, memories of relationships, then see that greed took over his relationship. We see the role that his obsession with a material life has taken on his personal life. When he moves, you see the traces of where he was before - ghost like images - idea that history cannot really be erased. Even though apartheid is gone, there is still a trace of it left behind. You can never really get rid of tragic histories. Still haunts the present. Similar to Lovell's work above. Theme is greed and how it personally affected soho.
William Kentridge. Drawings from video WEIGHING ...and WANTING. 1997-98. Charcoal, pastel on paper.
Example of watercolor. This was like a sketch for an oil painting. Loose, gestural. Very washy colors. Just added more water to create different tones.
Winslow Homer. A Wall, Nassau. 1898. Watercolor and pencil on paper.
Example of oil paint. Lots of textures in this painting. All made with one material, oil paint. Seems to glow, very illuminous.
Workshop of the Master of Flémalle (probably Robert Campin). The Annunciation (The Mérode Altarpiece). c. 1425-30. Oil on wood, triptych.
consists of pigments suspended in water and acrylic resins (used to create plastics) - Once dried, the acrylic surface was relatively immune to weather. - Put into an aerosol spray can and mixed with air, acrylic spray paint
acrylic
made of sticks of burnt wood (carbonized wood) o Advantages: ♣ Easier to give a sense of the volumetric, that is of three-dimensional form through modeling of light and dark ♣ With these chalks, becomes possible to achieve gradual transitions from light to dark ♣ Individual strokes can be merged by rubbing with finger or cloth, pressure can be lightened or hardened ♣ Material can be hard or soft, sharpened to a precise point to draw like a pencil or in large sticks used on their sides to create wide, bold marks o Disadvantages: ♣ Charcoal and chalk requires a paper with tooth - a rough surface to which the media can adhere ♣ Charcoal and chalk are only made to be semi-permanent through spraying resin fixatives over the finished work.
charcoal
the process of pasting or gluing fragments of printed matter, fabric, natural materials (or anything that is relatively flat) together onto the 2-dimensional surface of a canvas or panel
collage
One of the earliest forms of photography, invented by Daguerre, made on a copper plate polished with silver. Positive image appears on polished metal plate.
daguerreotype
decreases the exposure to light of selected areas of the print that the photographer wishes to be lighter than in the original image
dodging
♣ Line is scratched into the copper plate with a metal point that is pulled across the surface, not pushed as in engraving, creating ink-retaining burrs in the plate. (like keying a car. Scratching through) THE BURR IS WHAT HOLDS THE INK, NOT THE GROVE - looks the most organic. They look rough like pencil drawings. ♣ Process: 1.) Like engraving, the image is scratched into the surface of the metal plate itself, though using a metal stylus or needle (instead of burin). 2.) A ridge of metal, called a burr, is pushed up along each side of the line and that ridge is what retains ink during the printing process. 3.) Large areas of tone can be made by scratching large densities of lines into the surface using a rocker. ♣ The effect of the drypoint process gives the print a rich, velvety, soft texture to the print when inked, as is evident in Cassatt's work.
drypoint
a sculptural space/environment that can be entered into outdoors, usually large. Uses the earth and natural materials as medium. All materials are natural.
earthwork
Multiple impressions, made on paper from the same matrix
edition
• made by combining pigment with a binder of hot wax - One of the oldest painting media - Has bright, luminous color as wax is semi-transparent and allows light into the paint mixture Disadvantages: -Artist needs to work fast, as wax in the paint cools, it becomes solid.
encaustic
♣ accomplished by pushing small v-shaped metal rod called a burin, across a metal plate, usually of copper or zinc, forcing the metal up and off the plate in slivers. • Depending on the size of the burin and the force applied to the tool, can achieve a range of line sizes (thin and thick) ♣ Line engravings were commonly used to illustrate books and reproduce works of art in the era before photography.
engraving
♣ more fluid and free process than engraving where the printed image is created through exposing parts of the metal plate to an acid bath. ACID CREATES THE LINES - more soft lines than carving in engravings. More organic and softer appearance. Less rigid, less precise ♣ Etching process: ♣ 1.) A metal plate is first coated with an acid-resistant substance called a ground and this ground is drawn upon using a metal stylus, creating an image in the protectant (you expose the metal beneath the ground, you don't actually scratch the metal plate. The acid erodes the areas where you removed the ground) ♣ 2. ) Metal plate is put in an acid bath and those areas that are drawn on and exposed are eaten away by the acid, and areas that are still covered by the ground are unaffected. ♣ 3.)The longer the exposed plate is left in the bath and the longer it is left in the solution, the greater the width/depth of the etched lines ♣ 4.) When the plate is ready for printing, the ground is removed with solvent and the print is made in the intaglio method.
etching
pigment is mixed with limewater and then applied to a lime plaster wall that is either still wet or hardened/dry - wet= "beon fresco" or "good/true fresco" - dry= "fresco secco" or "dry fresco"
fresco
made from a white plaster mixture, is the most common ground and creates a durable, softly glowing surface unmatched by any other medium (type of ground)
gesso
to thin out a paint by adding more binder, creates more space between particles of paint and allows light to infiltrate into the painting, creating a transparent look.
glazing (with paint)
derived from Italian word for "puddle". Essentially watercolor mixed with white chalk. (less transparent, more opaque) - Because of the chalk, gouache medium is opaque while still having watercolor's light-reflecting brilliance. - Like watercolor, dries quickly - Lends itself to the creation of large, flat, colored forms. (more abstract images-can't get smooth gradations.) Disadvantages: - It is difficult to blend brushstrokes of gouache together.
gouache
o a soft form of carbon similar to coal ♣ Good black coal became hard to obtain and was replaced by the lead pencil, graphite enclosed in a cylinder of soft wood ♣ As technology of graphite changed, clay was mixed in with the graphite, allowing for a range in hardness of the pencil. • the harder the pencil = larger amounts of clay, the lighter the markings • the softer/more brittle the pencil = less clay content and the darker the markings ♣ Disadvantages: • Graphite is gray in color, so the artist is unable to achieve the rich black tones of charcoal o Otherwise, has a lot of similarities to charcoal.
graphite
when thick oil paint, which has a consistency of toothpaste, is used directly out of the tube, is molded and shaped with a painting knife to create a 3D surfaces
impasto
meaning it can be seen from all sides (360 degrees) and the viewer must move around it.
in-the-round sculpture
♣ When ink is diluted with water and applied by brush in broad, flat areas ♣ Ink wash serves two purposes: • it helps define volume and form by adding shadow • creates a visual pattern of alternating light and dark that helps make the drawing more dynamic o used in more realistic drawings
ink wash
♣ printing process where areas to be printed are below the surface of the plate. Intaglio refers to any process in which cut or incised lines on the plate are filled with ink. (like inverse of relief process) uses metal plates ♣ Intaglio is the Italian word for "engraving", derived from engraving techniques of goldsmiths and armorers in the Middle Ages ♣ Process of Intaglio printing: 1.) ink is rolled onto the plate 2.) surface of plate is wiped clean with a cloth, pushes ink into groves 3.) dampened paper is pressed into the plate with a roller/press so that the paper picks up the ink in the depressed grooves. ♣ Modeling and shading are achieved in Intaglio processes through: -hatching -cross-hatching -aquatint/stippling (where dots are employed in greater density to show deeper, darker shadow) No smooth gradation • There are 4 different Intaglio processes: o Engraving o Etching o Drypoint o Aquatint • The printing processes of three of these processes are all the same, which means that some artists will use more than one of these together. What distinguishes each process from each other is how the image on the plate is produced and the look of the finished product.
intaglio process - general characteristics
relief process with plate of linoleum (invented in 1900s) • Much softer, wouldn't splinter and didn't have graininess could get cleaner lines and shapes
linocut
♣ "stone writing". Relies on a smooth surface, no depressed or raised surface on the plate to hold the ink. Method depends on the fact that grease and water don't mix. (smooth stone plate) ♣ Artists prefer the medium because it is a very direct medium, actually drawing on stone with a crayon. Finished product has the look of a charcoal or crayon drawing. ♣ Process: (based on idea that oil and water don't mix). The quickest process in preparing the plate, then you can make your prints right after. Can get the plate ready in maybe 30 minutes. Other processes took a few days. 1.) Draw directly onto the slab of ground and polished stone with a greasy crayon and then treat the stone with nitric acid, water, and gum Arabic (acid is cleaning areas where there was no drawing) 2.) Roll on the ink, The ink will stick to the grease drawing, but not to the treated and dampened stone. ♣ (The same stone can be used again and again).
lithography
a material or a technology which serves as a means of making art- the way art is made. (technology is like cameras for photography or video art)
medium
o A stylus, a sharp metal tool with fine point, made of gold, silver, or some other metal is applied to a sheet of paper prepared with a mixture of powdered bones/lead white and gumwater ♣ When the stylus was made of silver, it is called silverpoint ♣ When the metalpoint is applied to the ground, a chemical reaction results and a line is produced ♣ Metalpoint is a mode of drawing that is chiefly concerned with delineation - descriptive representation through outline or contour drawing and the effects of light and shadow are essentially added through hatching and cross-hatching. ♣ Challenges: • Metalpoint lines are pale gray and very delicate and can only be widened by switching to a thicker pointed stylus • Stylus lines cannot be erased, so requires great care and patience from the artist
metalpoint
a combination of different media/materials in one work of art
mixed media
o an additive sculpture process, meaning that the finished sculpture is created from a smaller, pliant raw substance combined together and molded. o Material of clay instinctually wants to be modeled - It can be pulled, bent, pinched between the ceramicists figures, rolled, sliced with a knife, and shaped. - Can add pieces to each other o Clay has been used by artists to make anything from pots to sculptures since the earliest times - The durability of the material can be ensured by firing it, that is baking it, in a kiln. - This causes it to become hard and waterproof -We call all works made of clay ceramics.
modeling
• process of printmaking that is the most similar to painting and drawing. Traditionally considered printmaking because they use the plate and the press • However, is very different from other processes: • -Unique image, once it is printed it can never be printed again. (DIFFERENT THAN THE REST) Once printed, that plate can never be printed again. Mono=one • Process: -In monotypes, the artist forms an image on a plate with printer's ink or paints and the image is transferred to paper -The most difficult part of the process is that the top painted layer will appear as the bottom layer of the print itself. -Thus, foreground images must be painted first and the background elements over them
monotypes
the sequencing of widely disparate images to create a fast-paced complex image
montage
made of pigment mixed with a binder of linseed oil, which causes the paint to dry very slowly, allowing the artist a very large window to work into wet paint. (invented around 1400s) -enables artist to have a slower working pace to achieve more realistic 3-D quality Oil paint is much more versatile medium than tempera paint. -can be blended to create subtle gradations -can be mixed to make a large range of colors, tints, and shades -thinned with turpentine, can become transparent -used pure, directly from the tube, thick oil paint has the consistency of toothpaste and can be molded and shaped with a painting knife to create a 3D surfaces, a technique known as impasto
oil paint
o oil paint manufactured with enough wax in it for the paint to be molded into stick form. Much stickier or smudgier. Allows for blending. Can be applied to a canvas. o Advantages: ♣ Allow a painter to draw directly onto a surface without brushes, palettes, paint tubes, or solvents. ♣ Oilsticks allow for gestural freedom and a sense of direct engagement with the act of drawing itself, but with the texture, opacity and color mixing capabilities of paint
oil stick/oil pastel
In a film, a shot in which the camera moves across the scene from one side to the other.
pan
o A soft crayon made of chalk AND pigment. Essentially a chalk medium with the addition of colored pigment and a non-greasy binder added to it ♣ Also come in stick form and varying hardness ♣ The white binder dilutes the color, resulting in less saturated colors, which is why we associate "pastel" colors with pale, lighter colors o Disadvantages: ♣ Pastels can be incredibly fragile and if they are not sprayed with fixative, the material can literally fall right off the paper ♣ Like chalk and charcoal, need a paper with a tooth • ribbed and textured papers were designed for use with pastels, some with almost an identical surface to sandpaper.
pastel
coloring agents
pigments
example of an image that has been transferred through pressure onto paper (print is single impression)
print/impression
trial impressions made before the final edition is run
proof
frontal, sculpted image meant to be seen only from the front. Relief sculptures partially protrude from a background material, therefore back of work would look blank.
relief
♣ any printmaking process in which an image to be printed is raised off the background in reverse. ♣ Common rubber stamps use the relief process • If you have a stamp with a word or your name on it, you'll remember that the name appears backwards ♣ Carve out areas and Ink only sticks on raised surfaces
relief process - general characteristics
♣ Process of printing through a silk screen that has been filled in in certain areas to control where the ink goes. Silkscreen is the newest form of printmaking, originally a commercial practice used by the advertising industry (1960s) ♣ Similar process to using a stencil: 1.) The fabric is stretched tightly on a frame, and a stencil is made by painting a substance such as glue across the fabric in the areas where the artist does not want ink to pass through. 2.) The areas left uncovered are those that will print 3. ) Ink is swept across and pushed through the screen with the blade of a tool called a squeegee ♣ Unlike other printmaking mediums, no heavy, expensive equipment is needed - Process well known in creating t-shirts. Very easy democratic process. Originated in advertising.
silkscreen
a thinner that enables the paint to flow more readily and also cleans brushes
solvent/vehicle
method of modeling/shading that involves layering of concentration of dark dots/spots of material
stippling
medium made by combining water, pigment and some gummy material, usually egg yolk - Needs to be meticulously applied - Not able to achieve subtle gradations - Gradations had to be hinted at through layering small hatching lines of paint. - Tempera requires a smooth, stable support and ground
tempera
A still-life painting of a 17th-century Dutch genre containing symbols of death or change as a reminder of their inevitability. Warning to not be vain or you won't make it to heaven. Don't be wasteful.
vanitas
Using video as a medium to create works of art
video art
• is most expressive of mediums, pigment suspended in water and gum arabic. Traditionally applied on a support of paper. - Used for expressing the generalities of an image, it's poetic or literally in some cases used to paint text (calligraphy) - not usually used for the goal of showing realistic depth and reality - Makes bright colors if used purely, can make lighter, washier versions by thinning out with extra water. - very similar to ink we discussed in drawing chapter - like ink, historically used as a sketching tool, dries quickly and has the ability to achieve gestural effects similar to brush and ink - Depending on the absorbency of the paper and the amount of watercolor on the brush, watercolor spreads along the fibers of the paper when it is applied. - Oil and tempera paints we've discussed to this point sit on top of the paper, where watercolor seeps into paper and fuses with it, though not as permanently as fresco. Watercolor is like a stain on the paper.
watercolor
relief process with plate made out of wood.
woodcut