Working for the drawing. In order to maintain

Working title: A comparison of the use of lines between
artists

How have they made that look like that? How can I tell that
that thing is moving and feeling? The way in which artists use mark making to
portray their subject is fundamental to establishing a sense of motion or
emotion within the piece. Simple outlines of every object in frame would come
across as simple and juvenile, and leave you with a feeling of not
understanding the form that the piece fits. Diving too far in the other
direction could lead to a mess of lines everywhere deeming the subject obsolete
as a topic for the drawing. In order to maintain a careful balance, the
strategy used to place the marks should be mastered, as without that, you are
left with what potentially is the work of a toddler. I want to create a
connection between the way that I work, and the way in which some of the
artists I have studied work, in order to better my ability and perception of
mark making.

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Expressive lines. That’s how I would
explain Jason Gathorne-Hardy’s work. Each line is meticulously placed to
describe the movement of the character within. Through drawing animals in the
way that he does, he cannot control their movements, resulting in the creatures
not staying still while he draws. He captures their form beautifully in a way
that displays the way in which they move. Waves of marks varying in weight and
size causes the effect of feeling the brushing motion of the forms and the
knowledge of the act and cause of the movements. His ability to work so freely
may be drawn from his surroundings, and one has to ask whether a drawing done
by a city dwelling version of himself would look the same.

Henry Moore takes a literal approach to
defining where the boundaries of shapes are, while retaining a comparable
essence of waves through his lines to Gathorne-Hardy. I found a connection with
the way that he illustrates the movement of the sheep, as it creates an illusion
of substance and authenticity. “Drawing itself is a part of learning: learning
to use one’s eyes to see more intensely” what he has said here is that if the
art of drawing isn’t immediately apparent to you, you can learn to unlock the
ability to see deeper forms within the objects. Being an abstract artist by
trade, the change to a more representational form of working resulted in very
accurate and defined shapes, as he has an impeccable degree of observational
skills developed over years of professional work. He said referring to the
sheep in his notes in the ‘Henry Moore’s Sheep Sketchbook; “At first I saw them
as rather shapeless balls of wool with a head and four legs. Then I began to
realise that underneath all that wool was a body, which moved in its own way,
and that each sheep had its own individual character”.

Of course, I didn’t
want to limit myself to exclusively studying the form of drawings from Moore
and Gathorne-Hardy. Following a visit to the Royal Academy of Arts in London, I
felt much influenced by the work of Jasper Johns. I was drawn to his methods of
resembling abstract, inanimate objects, shapes and numbers with a hint of
feeling, through paint, inks, and three dimensional models cut in-half and
mounted onto his canvases. In keeping with my tradition of attempting to work
in the style of any artists that I find intriguing, I had a go. Johns embeds
the lines in his work using paints, resulting in conventional lines rarely
showing, rather hidden as an invisible form of separation in the pieces. Often
throughout my creative processes, I find myself drawing a line, and sticking
within that barrier without fail, but while working in the style of Johns, I
found that I was able to free up and explore a side of my art that has
previously been locked. This may have been simply due to my lack of
experimentation with the field of conceptual art, as the vast majority of work
I’ve created in the past has been representational. Through studying Johns, it
was recommended to me that I had a look at Gerhard Richter’s works.

Many of Richter’s lines are obscured, much
like Johns’ resulting in abstract pieces that display many colours. Often
paint, his art is created by smearing the material around, or throwing it at
the canvas leading to a mess of shapes and colours. He will occasionally use
defined lines in order to create an effect or impact on the picture. An example
of this is to the right, where perfect straight lines form boundaries on which
coloured rectangles converge, ultimately resulting in an interesting sense of
depth when conveyed on a large scale.

Use of lines conclusion

The majority of art uses the line as a way
to separate two shapes, or define a boundary, as artists demonstrate the
subject matter in the most representational from possible, although it is
possible to use a line in a notional element to make the viewer have to look
deeper into the piece before being able to create a perception on what it
means, and how the artist felt while producing it. As anyone would expect, the
use of lines between abstract art and non-abstract art is different, although
in many cases, they hold the same responsibilities in the way that they allude
layers and objects in the work. The articulate way in which artists manipulate
them is key to creating the depth of field in a piece, which could be what
unlocks the motion and emotion of artwork in a whole.

Conclude About My Outcome