Working title: A comparison of the use of lines betweenartistsHow have they made that look like that? How can I tell thatthat thing is moving and feeling? The way in which artists use mark making toportray their subject is fundamental to establishing a sense of motion oremotion within the piece. Simple outlines of every object in frame would comeacross as simple and juvenile, and leave you with a feeling of notunderstanding the form that the piece fits. Diving too far in the otherdirection could lead to a mess of lines everywhere deeming the subject obsoleteas a topic for the drawing.
In order to maintain a careful balance, thestrategy used to place the marks should be mastered, as without that, you areleft with what potentially is the work of a toddler. I want to create aconnection between the way that I work, and the way in which some of theartists I have studied work, in order to better my ability and perception ofmark making.Expressive lines. That’s how I wouldexplain Jason Gathorne-Hardy’s work. Each line is meticulously placed todescribe the movement of the character within. Through drawing animals in theway that he does, he cannot control their movements, resulting in the creaturesnot staying still while he draws.
He captures their form beautifully in a waythat displays the way in which they move. Waves of marks varying in weight andsize causes the effect of feeling the brushing motion of the forms and theknowledge of the act and cause of the movements. His ability to work so freelymay be drawn from his surroundings, and one has to ask whether a drawing doneby a city dwelling version of himself would look the same.Henry Moore takes a literal approach todefining where the boundaries of shapes are, while retaining a comparableessence of waves through his lines to Gathorne-Hardy. I found a connection withthe way that he illustrates the movement of the sheep, as it creates an illusionof substance and authenticity. “Drawing itself is a part of learning: learningto use one’s eyes to see more intensely” what he has said here is that if theart of drawing isn’t immediately apparent to you, you can learn to unlock theability to see deeper forms within the objects.
Being an abstract artist bytrade, the change to a more representational form of working resulted in veryaccurate and defined shapes, as he has an impeccable degree of observationalskills developed over years of professional work. He said referring to thesheep in his notes in the ‘Henry Moore’s Sheep Sketchbook; “At first I saw themas rather shapeless balls of wool with a head and four legs. Then I began torealise 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’twant to limit myself to exclusively studying the form of drawings from Mooreand Gathorne-Hardy. Following a visit to the Royal Academy of Arts in London, Ifelt much influenced by the work of Jasper Johns. I was drawn to his methods ofresembling abstract, inanimate objects, shapes and numbers with a hint offeeling, through paint, inks, and three dimensional models cut in-half andmounted onto his canvases.
In keeping with my tradition of attempting to workin the style of any artists that I find intriguing, I had a go. Johns embedsthe lines in his work using paints, resulting in conventional lines rarelyshowing, rather hidden as an invisible form of separation in the pieces. Oftenthroughout my creative processes, I find myself drawing a line, and stickingwithin that barrier without fail, but while working in the style of Johns, Ifound that I was able to free up and explore a side of my art that haspreviously been locked.
This may have been simply due to my lack ofexperimentation with the field of conceptual art, as the vast majority of workI’ve created in the past has been representational. Through studying Johns, itwas recommended to me that I had a look at Gerhard Richter’s works. Many of Richter’s lines are obscured, muchlike Johns’ resulting in abstract pieces that display many colours.
Oftenpaint, his art is created by smearing the material around, or throwing it atthe canvas leading to a mess of shapes and colours. He will occasionally usedefined lines in order to create an effect or impact on the picture. An exampleof this is to the right, where perfect straight lines form boundaries on whichcoloured rectangles converge, ultimately resulting in an interesting sense ofdepth when conveyed on a large scale.Use of lines conclusionThe majority of art uses the line as a wayto separate two shapes, or define a boundary, as artists demonstrate thesubject matter in the most representational from possible, although it ispossible to use a line in a notional element to make the viewer have to lookdeeper into the piece before being able to create a perception on what itmeans, and how the artist felt while producing it. As anyone would expect, theuse of lines between abstract art and non-abstract art is different, althoughin many cases, they hold the same responsibilities in the way that they alludelayers and objects in the work. The articulate way in which artists manipulatethem is key to creating the depth of field in a piece, which could be whatunlocks the motion and emotion of artwork in a whole.Conclude About My Outcome