LINE

The Moving Dot..... The basest form in drawing is the line. Line quality- the variety of weight and thickness of the mark-

-Pressure

-Speed

-Motion/ Direction

-Accumulations/ Interconnections

Line can be used to symbolize:

-Outer Edges

-Plane meets Plane

-Color meets Color

-Tone meets Tone

-Explain Shape

-Contour

-Guidelines

In the Still- Life example of Alberto Giacometti, a searching

line is evident. Giacometti creates guidelines to locate his subject in space, each time refining or re-drawing lines (accumulation). There is also an apparent speed to his mark making, similar to the quick movements of an eye tracing a subject, as he create relationships.

In the next example, a Self -Portrait by Leonardo DaVinci, line is used very deliberately to create shape and movement in the beard. Notice how these darker lines curve back and forth up to the area of interest- the feartures (eyes). Also note where he allows to line to disappear indicating space and planes receding.

In the leaf example of Ellsworth Kelly, line is used in its bearest form to show the outer edges of an object. Kelly, using a delicate minimal approach, uses a slightly darker line to indicate the front edge of the leaf and a lighter one for the further. Also notice the specificity of the line as it describes the contour shape of the leaf.

In the Van Gogh landscape example, the artists large vocabulary of mark is apparent. Van Gogh used a variety of mark for the all different aspects of his composition, some short, some long, some dark etc. Take note of the foreground field, here he employs cross- contour, undulating marks indicating the surface topography of the field.

The example of Cross- Contour is clearly conveyed in the Shell drawing. The lines seek to describe to surface bumps and depressions of the shell, through directional adjustments and thickness of line.

In the torso example of Antonio Lopez Garcia, we can see how the artist used line to organize the portions, symetry, and contour. Notice how the line is heavier along the trunk yet dissapates as it moves to the legs and shoulders. It is this variation of line that allows a form to be made on a 2-D surface.