Visual Value and LINE

Read other V blogs.

With our pencils, our valuable tool we will use our lines to make volume, the light and shadows we view on objects. We are venturing to add mass to shapes to render 3-D, which will add more space to our drawings than just a background with textured shapes floating on top. Remember, we did an exercise depicting gray variations for colors with our pencil.  Now we are going to shade the shapes.

Always outside and inside there is a source of light, the sun, moon, stars, lights, car lights, street lights and all the various lights inside our house visible on shapes and also causing shadows. Shadows are seen first and tell us where the light source exists. There is flat light produced by many sources light on an object and no direct source. We want a direct, vigorous, bright light source to composed our point of view, we own what happens in our art, or hope we do. Accidents happen and sometimes for more significant value.

Observe light, where is it vibrant bright and where does it slowly vanish? The vastness can be overwhelming. How are the colors affected, the tones, tints, and shades? How to portray all of the contrasts? To show values or just not worry about massing objects. Remember we are the organizer of our picture and can show our version from our viewpoint, which causes variation and magic in art. We are all different, which makes our works unique, vibrate and valued for what we share as visible. The viewer is a visitor to our vivid, rich world.

ASSIGNMENT for V:  On pages 30, we are to draw values with our pencils. Make five shapes of various sizes flat or 3-D. The circle is excellent all round and no angle, I like the triangle which has only three sides, and a bottom, we see two. A cube has six sides; we only see three more of a challenge.  At the left or top or right edge of a piece of paper or in the sketchbook on pages 30 and 31 draw a light, sun, or flashlight the light source shining on our shape making the volume. Make the values of light and darkness on the shapes and the shadow. Remember, practice is the virtue here, the more we do, the more we see, and our brain, hand, and figures work to make visible our view to the observer.

Send this assignment to BobbieTalesART on Facebook. Click the button, “Send Message.” Leave a photo of your work which I will post on the BobbieStoryPortfolio blog post. Include the letter, U. Or, leave me a message on my website and I will give you my email address.


Also, any comments, suggestions, other observations, or ideas are welcome. Art is to share; we are all artists and creative.


The frist Art Show, Joyous Flow, 1990

more to come --> need to find the photos or video of the show.

U - Drawn line has unity.

Read other A2Z blog on U.

We have come far in understanding three elements of art: line, textures, and shapes. There is still more about forms, values, and space. Here is a list of rules describing the unity in a work of art. These are optional; however, keep in mind a viewer uses these unconsciously.

Unity: the successful joining of elements and principles to express the artist’s intention in the most effective ways. When the work is unified, we say that the artist is successful and that the drawing, painting, illustration, or design “works.”

Dot: a pause recorded, a point of interest.
Line: the recorded path of a movement always present and felt.
Textures: one of the elements of art the different surfaces or allusions we see in the work of art.
Shapes: areas enclosed by lines and the spaces between,
Color: the variety of hues divide from a spectrum of the rainbow that includes tints, tones, shades, and values.
Value: the lightness or darkness of a color in a scale from black through grays to white.
Mass: a shape that appears to have substance and weight.
Volume: the appearance of contained space.
Space: the actual place the medium occupies and the illusion of space within: mysterious, shallow, or indefinite.
Axis: the perspective in the art piece horizontal, vertical, and/or diagonal.
Negative or positive space: the interplay and interlocking of forms within and between space. The yang/yin of art.
Contrast: juxtapostion of lines, textures, and shapes of various color and size on the paper or canvas.
Variety: combining different elements to attract interests and to avoid monopoly, remember, too much variety produces confusion.

We have mention the next principle and are important in UNITY.
Movement: the direction of space, color, lines, and values that animates the art piece.
Repetition: the repeated use of line, texture, shape, and space.
Rhythm: the repeating of certain movements throughout the art piece.
Balance: the placement of lines, textures, shapes, colors, and space. Symmetrical - both side of the paper look-alike. Asymmetrical: several smaller forms weighing the same as a dense form.
And, finally we have a piece of art.
Composition: the arrangement of elements and principles to express a distinct style in a relevant medium.

This list from teacher Mrs. Steingart’s; she made copies with an old mimeograph machine, the diddo’s we used in schools 1950 through the 70’s. The device developed from the printing press that used a fluid to made prints from a carbon sheet, which resulted in purple ink and paper looking wet. No electricity used, the papers were pulled through by a rotary handle. Can you imagine how fast our forms of communication have developed from typewriter to the printing press to our “now” computers, iPads, and iPhones for mass communication on the virtual streaming web of encounters? And still, the same elements, rules, principles, values, and styles exist. INTERESTING! FUN! Not UNUSUAL!

ASSIGNMENT:  Look, observe, study your art and the art of masters, which can find found on the web. Pick your favorite, my is Klee and K and Turner, the impressionists and most expressionists. There are so many fine crafts man and women: sculpture, weaving, quilting, clay, illustration, cartoons, painting, and drawing to name a few. Also, observe how your mind organizes what you view in nature, your office, and home.

Send this assignment to BobbieTalesART on Facebook. Click the button, “Send Message.” Leave a photo of your work which I will post on the BobbieStoryPortfolio blog post. Include the letter, U. Or, leave me a message on my website and I will give you my email address.


Also, any comments, suggestions, other observations, or ideas are welcome. Art is to share; we are all artists and creative.

T - Lines and shapes touch.

Read other blogs for letter T.

Lines touch to travel in space when we make textures when we make shapes. We know the primary forms: the triangle, square, rectangle, and circle. These are used over and over along with free-form lines to build what we see as objects in our everyday space, air. Think of the piece of paper as blank space; lines build shapes and textures in this empty area to record our nonobjective, abstract landscapes, portraits, our expression into a dimensional place.

Your picture contains the images you draw on a defined surface which usually on canvas, paper, wood, glass, plastic, etc. Today these can be photos, videos, movies, and computer images you created. Remember these are lines made of dots and pixels. We know the four basic shapes: the triangle, square, rectangle, and circle. These are used over and over along with free-form lines to build what we see as objects in our everyday space, environments. As artists we want these spaces to be flat or dimensional for visual travel.

Space on a surface will make more sense if you think flat when you draw. The canvas is like the glass in a window, that is flat. Looking through the transparency to the outside our vision travels in a location from this object to that object. Most art calls for a viewer to wander into space for feeling textures as pottery, weaving, quilting or visual surfaces leading us from object to object as realism, abstracted, or as non-objective works.

  
Assignment for T: As you watch out a window, check the objects: the lines, shapes, and textures; how large or small;  how close or far away; the brightness and thickness of each; the saturation of colors when close or far away; and the play of light with shadows in the space. The more we trust our eyes, the more we travel and observe the broader and fuller our trip is.  That means knowing tricks we can tuck in our pictures. 

Send this assignment to BobbieTalesART on Facebook. Click the button, “Send Message.” Leave a photo of your work, which I will post on the BobbieStoryPortfolio blog post. Include the letter, T.

 

Also, any comments, suggestions, other observations, or ideas are welcome. Art is to share; we are all artists and creative.

The Sketch Book Project

Sketchbook Project

Finished is the Sketchbook Project, a 32-page art book I titled,  I in Line. "Life is a line in time." --> mine myth!

Drawing lines are comforting and

Other blogs posts on letter S

soothing for me, relaxing. And, I did teach lessons about line to school groups. Now through the A2Z-2018 blog challenge, each day on Drawn Lines, I write my views of line in art and why we are all artists or can be by practice and knowing the elements and principles for using lines. Remember, lines are important to any artist, well, maybe not the impressionists.

Enjoy what I accomplished in my line sketching! 

Assignment: 1) Check out the SketchBook Project; pre-order your book.

2) Send any line assignment to BobbieTalesART on Facebook. Click the button, “Send Message.” Leave the work for the assignment which I will put on the BobbieStoryPortfolio blog post. Include the blog letter S for sketching.

Also, any comments, suggestions, other observations, or ideas are welcome. Art is to share; we are all artists and creative.

R - Line radiates relationships.

Read other R blogs on A2Z challenge.

Repeating rhythm is like a line in a texture drawn over and over, only repeating a set of textures over and over. When looking at painted landscapes, we see repeating rhythm in the mountains, water, trees, and leaves. All recurring a bit differently as not to bore the viewer, who recognizes or remembers a reality.
 
While learning about lines, we are drawing non-objective relations. Refining what line represents in our art. So we can use the line to mirror or reflect our reality as interpreted from eyes to the brain to be rendered by our hand to the paper. Always remembering, we are not drawing reality but only what we reflect through our lines.

To review, we can draw about 20 different line, thin or thick, and create multi-textures that repeat and overlap on different shapes. We build our recipes for using line as we experiments and relish what we do, remarkably creating our style - our repeating rules in our works. We will recognize we have a technique while looking the random drawings we have done thus far.

So now we are ready to expand into a new range of relationship with shapes into our style. Before shapes drawn were random. The contour shapes from yesterday assignment were also random, free-formed delineations of edges as we see.
Shapes have rhythms and repeat in our realities. Notice which ones dominate our inside spaces and which ones dominate outside.

ASSIGNMENT for R: Use your pencil or colored pencils. Draw the shapes referred to as pure: triangle, circle, square, and rectangle. Vary the sizes from small to large. Place side by side, or inside each other. Overlapping and repeating to create rhythm and dominance. For practice do several as scribbles. Then choose the one that resembles a work of art. On a clean good piece of paper, if you want to use a light colored paper refine the rending. If you want add colors on top of the textures to layer as one does in oil painting.


Send your works of art to BobbieTalesART on Facebook. Press the button, “Send Message.” Leave a picture from your iPhone, etc., and I will put on the blog post. Include a title and your name with the blog letter R.

Also, any comments, suggestions, other observations, or ideas you have to offer are welcome. Art is to share; we are all artist and creative.

Lines are quaint.

Letter Q for A2Z blog Challenge

Lines are quick, quaint sometimes holding quality sometimes just quirky. FUN! A QUEST!

Being familiar with the types and the quality of lines and textures, we move to creating works of art, pieces of penciled drawn art that qualify as professional. A work of art must cause and answer questions on a piece of paper as a short story or in a series of painting like a novel with chapters. 

FORM is the total work; the elements working together to show a organized composition controlled by Principles:

Dominance is center of interest, one line, shape, texture or color that attracts attention and sometimes repeats.

Emphasis is how the center of interest attracts the eye either by lines, shape, textures or colors leading the viewer to the dominant center.
Balance is how lines, textures, shapes, and colors are arranged either symmetrical with the same number, size, and shape as a design or with asymmetrical, unequal numbers, sizes, and shapes. 

Balance is a quirk of fate. One large shape in the middle of your art is not balancing your work, using three varied shapes in different positions of the drawing move a viewer’s eye over the whole area.

Rhythm uses lines in repetition to move eyes around the paper and cause MOVEMENT, motion, action. The viewer’s eyes follow the asymmetrical balance quenching the viewer’s thirst for involvement, excitement, quirky fun, and surprise. We have the viewer in motion, not at rest. The eyes might follow a line around and through shapes, or bounce from shape to shape. 

Opposition and variety are thrusts that keep the eyes moving. You can also create harmony or contrast, the mood for your piece.


ASSIGNMENT:  On a large piece of paper create an optical quest for your viewer. Move us around your composition with the type of lines you know and shapes and textures. If you want, use color and value.
Observe your piece. What composition is in your art? What do you give us to observe, view, to dance around in your piece? What quest do you set up for the viewer?

Q-Quest at the beach hiking with cliffs and rocks.

Please share your drawing through my Facebook art page, BobbieTalesART. You will see the button, 'send message'. Post your art there. I will put into the blog - title with letter Q -QUEST!

Also, we will enjoy any comments, suggestions, other observations, or ideas you have to offer.

Pencils provide lines.

A2Z Blog Challenge

I love my pencil! Since preschool or for some of us kindergarten, 'the pencil is the tool of trade' for writing and drawing. What we learn present by pencil extends to all possibles of mediums: paints, pastels, pens marker or with inks on paper, cloth, wood, and metals.

Pencil and drawing are partners, as we say 'hand in hand', or brain, to an image to hand to fingers holding the magical tool: the PENCIL! By drawing lines the pencil presents, permits, persuades, pictures, proclaims, plunges, and puts our viewers into a playful, pleasant, pleasurable, forms we draw in landscapes, portraits, in designing, or accidental, figurative, expressive, impression, abstract, non-objective, or realistic art.

As children with our pencils carving and rendering the alphabet letters over and over with the right pressure, width, and length; so the line was even and flat, PURPOSEFUL. Then for most of us on to scribe writing were we connected the letters with one long line for each word. One profound process over our school years through the grades. Our skill of PRIDE! We  d with our peers and public.

As an artist, and remember we all are artists, we have practiced, professional, prevailing pencil skills necessary in our progress to understand the principles and elements of art. We know two elements: line and texture, and hints of the other four: shapes, value, color, and space. The principles are simple, and I have mentioned a few: feeling, dominance, balance, and movement that make-up composition. These Principles we will talk about later.

ASSIGNMENT: on a piece of paper or in the sketchbook on pages 28 and 29, at the bottom from left to right make a tightly controlled line of squished swishes from the darkest line the pencil can make to the lightest. Do again from the opposite directions right to left from darkest to lightest. Use the side of your pencil if you want.  Think of the soft light lines as white, yellows, and pinks. The ordinary lines are orange, red, light blue, light brown, light green, and light purple. The darkest lines are blacks, browns, dark blues, and dark greens.

Now draw nine squares above the two squishes squiggles lines. Putting a color from your pencil in each: white, yellow, orange, red, purple, blue, green, brown, and black. Of course, all the lines and boxes are shades of gray. 

Please leave a comment, suggestion, and idea to share with others.

For other P blogs in the A2Z challenge, here is the LIST!

Line offer outlines.

Lines do outline; well, we see lines as separating shapes, objects, colors, textures from one another. I think this is the way our brain organizes for us. We observe drawn lines. Our visual mind does this with textures and colors. We think we see a line, only we see color stopping and another color starting, as leaves on a tree, the flowers, and the stems and trunk.

Each texture that our eyes see our brain organizes into images. As children, we learn to read symbols, letters that order words in sentences that tell a story. Our hands draw the symbols for images that the brain learns. No scent or sound exist, we image this from what we remember: OBSERVE.

When looking at a landscape, person, a movie - we organize points to connect called a lines or pixels grouped together to obtain images for our eye to offer to our brains. How open we are to our optic allusions is how much opportunity we take to observe our outer worlds. Our eyes, our hands, and fingers are opportunist giving us what we think are true visuals in our physical ordinary life: ORDER.

We draw on paper learn symbols with opinions to share with observers, our viewers. They are obliged and willing to open to what we have offered or omitted, no matter how obvious or outlandish our drawings.

The overwhelming obstacle is how to order, obscure, or omit in our drawings what we want our obsevers to enjoy.

 ASSIGNMENT: look around outside in nature or inside your office or home to see how outlines surround or are on objects. Note how textures and colors dictate what we see and omit. The more we observe the more we open and can organize the colors and textures. Now on scrap papers do what artists call contour drawings of objects you see. Just draw the outlines. BE OUTLANDISH! OR, BE ORDERLY! HAVE FUN!

 Would love for any imput or suggests or your ideas on what I have said.

The letter O - posts on A2Z blog challenge for your enjoyment. 

N - Lines note textures.

All through life, we learn about textures by touching and looking. Some textures are man-made, and some are natural. Some we feel. Some we see. Some we create.

Texture happens when our fingers feel surfaces. As we feel with our fingers, our vision and brain notice the details as velvet, sand, bark, sponge, netting, burlap, silk, flower petals, slick, rough, soft, hard, fur, or scales. Textures are noticed on everything, water and even clouds in the sky. I like to say the details of visual on everything to tease and entice us filling our visual mind  with the vast network of scenes we view and want to draw.

We can see textures due to light. Textures appear different depending on the way the surface reflects. When light reflects, shadows will cast on ridges. On shining surfaces, there are no ridges so no shadows and light shiny. Less reflected light notes a smooth texture. Soft dull light denotes a matte texture. A surface reflects unevenly because any small broken ridges cast shadows to render as a rough texture.

All mediums define a different type of line in the size and shape. The arrangement of small lines note the textures we see on paper. Length, width, curves, and direction of lines build textures, which in our drawing can be weak, bold, powerful, slight, thick or spontaneous and the arrangement of small or large, thick or thin repeating lines of the same size makes a texture. The action of the mediums was brushing, stroking, dabbing, dripping, scraping, smearing blending, etc. create textures.

As artists, we navigate textures on surfaces of objects imitating reality. Textures narrate a story on the paper from freeform noise to neat designs, landscapes, or just fun non-objective lines to draw and see.

ASSIGNMENT for N: On pages 26 and 27 of our sketchbook or a fine piece of paper not too big or will take alone time, draw a rectangle on both sides of the pages to the edges. Two large forms divide the space. On the first-page draw shapes, do not touch; leave space around them. Make this exciting, add tension, use opposition. You can do this by putting down three large shapes or one to be dominant and others to balance the dominance, a trick to get viewers into the rectangle. Now add other forms, remember not to touch each other. Fill the area between the shapes with the same texture. 

The shapes should float in front of the texture, as seen a background much as in our everyday reality. 

On the other half of the paper, choose one shape, I love the triangle, but maybe a circle, square, or rectangle. Have this form overlapping and no space between them. Fill in the empty rectangle with your shape, make this unusual using opposition by overlapping, a trick you play on us, an optical illusion as we look at the drawing there is non-objective space, unreal.  FUN! It's a tease; it's a trick for the viewer which is exciting.

Please share your drawing through my Facebook art page, BobbieTalesART. You will see the button, 'send message'. Leave a message and post your art there. I will put into the blog - title with letter N -Noting textures!


Also, we will enjoy any comments, suggestions, other observations, or ideas you have to offer.
 

Lines maintain mediation.

Drawn lines are either a random meandering of paths, roads, rivers, and thought or measured careful for meaningful designs. There is much merit in mediation and we can use designs to cause this. Using straight lines: the horizontal, verticals, and diagonals lines with circles and half circles, we will use these lines to draw a mediation. Our mission is to have a symmetrical drawing. 

ASSIGNMENT:  On a square piece of paper or make the square across two pages in the sketchbook. Use a ruler for the straight lines and a pattern for the circles. Vary the line’s width and color, if you want. Make the lines smooth and clean. If you want, full in the shapes with color using paints or crayons, markers keeping balance. Sit your mediating square up so you can view move around in the design. I always marveled how pleasing this is to my mind, almost as much pleasure as when drawing. Make several mediation squares, mix and modify the lines and shapes. The more you mix the lines and colors in the square the better you motive a viewer to mediate. Your are maintaining a viewer in a moment. I got caught in these mind, motivating, marvels and made many enjoying the relaxing repetition: MAGIC! I'll put a few designs up later right now need to find and photograph them.

L - Links art together.

Line are drawn with pencils, ball point pens, felt markers, ink and pen or brush, in chalk, charcoal, crayons, conte crayons, with oil paints, acrylic, and watercolor. A thick large brush full of paint is used a drawn line and build a shape to fill in a shape on a canvas. The brush goes back and forth  or up and down in lines.

Each medium has its own rules, laws, languages, for lines being used, the laboratory of the artist, who is either learning or drawing for leisure. LIBERTY! The artist uses line in a lavish or learn style to lurk a looker and lock into their art. Luring a spectator is and encouraged connection. Line is the element that starts deliberate literal lust as a character in a novel. Line is a character in art, or visual story on paper: LINKING.

Lines are different.
Lines build.
Lines lay side to side.
Lines can be blocked together.
Lines can overlapped.
Space lies between lines.
Lines lie between other lines.
Lines can lie over other lines.
Textures are massed lines.
Lines have color.
Lines show value.
Lines define shapes.
Lines define perspective. 

Bobbie Kinkead

ASSIGNMENT: Look again and again at lines in you environment and noticed how our vision uses these in our drawings. Compare our inside environments with outside in nature. Does nature have straight lines? Or, do we make straight lines?

Know-how is the keys.

The know-how of drawing lines is looking, observing, sensing; then using our various skill, expertness, proficiencies, understanding to capture viewers into our impressions. EASY DONE! Doodles with principles! FUN! Drawing becomes deliberate, intentional, calculated, willful, done with purpose, planned. 

We know as Modern Art. We do not have three years to spend on one work of art, which is a moment in an old master's work. In the expanded world we live, we have become more interested in the details of the masters’ paintings. Non-objective art!  Abstract art!
 
Once becoming adept at the first element of art drawings lines. We become more aware, conscious and experience the lines in our environment. Line not only outlines, line also identies textures, that can be perceive, organized, and rendered. Texture is the second element of art.

Textures are fun!  And with types of lines we know, that many textures are drawn and can be combinations and depicted large and small, thick or thin, light or dark.

 ASSIGNMENT:  on a piece of paper or in the sketchbook on pages 18 and 19 draw as many textures are you can, not large. Might be better if you divide each page into sections by drawing 3 lines horizontally, down, and 3 lines vertically, across. Giving you 18 opportunities —> remember, the alphabet letters and numbers can be used as textures.

Please leave a comment or suggest or email me what you drew! Take a picture on your iphone and use the email box on the right of this. I will post.

Just Draw LINES.

No justification for doing, just do.

During my life as a child, I could build and play, creating. In the upper grades, Fountain Creek was the fantastic world of creation. In sixth grade, I was in Miss Owen’s room, and my life came together. She had art, and mediums of art to explore not only words. No given reasons or explanation or accounting for me being in the room full of possibilities. I did not have to defend, answer to, vindicate or justify why. I was there good reason; just so I could do art. And my reading and grades soared. I’m one of these ‘dyslexic,’ I could read the letters upside down, inside out, backward or forward, in other words, I had no focus and worst, I had no idea the letters made sounds to help me read. I liken myself to a person who has no clues for viewing art or knowledge of the rules, elements, principles, and values in a work of art. I had no background in reading, unfortunately, was the way children of my generation were taught to look that the picture to read the words. I made up the words.

And as people did, my mother could not justify why her daughter wanted to be an artist. Not allowed. No merit. No good. A waste of time. My mother's time and money and mine, if I went to college. I saw her as a different mind that saw that which was important to her. Work and making money was important; artists made no money.

So in college, I took all the art classes I could plus those required for teaching in elementary school. The art teachers there said just do, you learn by doing. WHAT! So art students struggled to deal with paints and watercolors. No information and how to use line, what was color, depth, values, and composition only competition for professer's attention, and no classes on marketing, no way to judge what we created. I saw my mother’s point of view, WHY BOTHER?

My last courses were in art education, (teaching art was still possible in public schools). To teaching are to juveniles one was organized with lesson plans, a lot of planning. These plans had plots and angles for how to use mediums: cutpaper, watercolors, chalk, punch a clay bowl. Can you imagine going into a classroom with paints or clay saying just create what you wanted? Using art mediums need directions, discipline and rules, which is used to free the mind, to see. At the same time to relax, to play, to have fun, to enjoy, and open up to CREATE! 

Still missing for me were answers to my questions: How are lines used? Do colors work? How to make textures? What is the value? How to show depth? That took me many years of art class, and more years teaching to juveniles, who thought because they were in an art school there were no rules. There are principles for making a readied work of art, as with a writing a novel!

ASSIGNMENT: With the lines, you use, draw what you want: a design, flowers, trees, your cat or dog, or monsters from my mind, not from a photo. Use colors you like, vary the width of the lines, and try textures. What you create is called representative art.

Lines are illusionistic.

Impressions from lines are illusionistic.

Lines drawn are appearance, impression, semblance; perception, a mirage, maybe hallucination, actually figments of our imagination, tricks of the lines drawn for the mind to see. An artist uses these magical tricks of line to conjure images in the mind with hand and fingers to drawing: power.

Impressions of illusions are what lines are. Like letters in a word to be read, a spell from a magical trick of sound and symbol to spark a vision from a word in our minds. Iines spark magic of resemblance. A delusion, fantasy, fancy from our consciousness; simple symbols to reflect what we see and want to give to others. We draw lines to entrap our viewer into our spells of illusion: illustrations, paintings, printing, designs, gardens and now with program the computer can generate art: impressions.

As an artist, we draw lines to entice images. With practice and observing information, we assembled our impressions into pictures or designs. We can never copy exactly what is seen, and why should we. Drawing is impressions from nature, our mind’s imagination, from people, and life around us for the viewer to enjoy.

Drawing line is the first art element, the most important; line introduces us to details, textures, color, and spatial relations. Knowing the various kinds of lines helps in all art. After practicing a while, our intuition accords a style and directs us, and our hand and fingers delineate what we see in our mind: impressions.

Assignment: On a piece of paper or in the sketchbook on page 16 draw a tree, your impression of a tree, use the lines you like. On page 17, observe the lines on a tree, now repeat the lines, the best you can with the cooperation of mind and fingers. Grow a forest on the two pages using your recall and imagination; drawing magic produces the impressions of trees for the viewer: illusionistic.

Drawn Lines are handicraft.

Our hand holds the pencils, markers, the yarns, the paints to create our handicraft, our craftsmanship, artisanship, art, our handy work; drawings completed or not, our achievement shows.

By practicing drawing, we learned skill, as with handwriting and calligraphy. We practice, and of course, at first, we create scrawls and scribbles, recommended in art. Remember, all your mistakes are creative and lead to your next creation. Mistakes are gifts to use.

The pencil is handy, useful, convenient, practical, easy-to-use, well-designed, user-friendly, user-oriented, helpful, functional, and ready for one's fingers. Our skilled fingers are eager to learn. I love my hands and my fingers which become exceptional at what I intend to do draw, and this takes practice.

Hold the pencil, touch the paper, feel your control, power, charge, authority, command, responsibility, management, care, if clutching and grasping, relax, you become proficient and capable as you guide your fingers to symbolize your vision with the pencil; nifty.

With fingers holding the pencil, press hard or softly with the point to make details. For thick lines use the side of the point, which makes values. The fingers push and pull moving the pencil into zip-zags, curves, and pressing dots, which create textures that the fingers once felt, eyes saw, and now drawn. From your vision to mind to hand and fingers is control cooperation.

Assignment: On paper or in your sketchbook on pages 16 and 17 with pencil or markers draw four vertical line close to each other from the top of the page to the bottom. The lines parallel to each other. Draw a meandering line very tiny now growing huge across the page. Add several large dots about seven anywhere. Draw a broken line across the bottom. From left to right draw a zig-zag line now a small one for the right to left. Add a large equal scallop and a small, unequal scallop. Now, add one strong thick straight line anywhere, and lastly, add one diagonal line.

Look at your designed with lines. A MESS, NO! You have expressed freedom and motion with a bit of direction, called non-intentional abstract expressionism. Remember, the fingers were the performers. You mind translated the types of line, the fingers on your hand controlled the pencil and directed the translation onto the paper. Art is another language.

Take these abstracted lines and add textures, value, and colors to build into a piece of art. If we could see other drawings, each would be as varied as we are.

Line generates!

The line moves and captures us inside a drawing.

When we look at a painting, black or white or with colors and textures, landscapes and portraits, the artist who had fun is now providing fun for us the viewer.

Remember, that walk we took with line, the curves the bumps, the slips, and splashing. Now, use your mind to drive your car. The road is marked showing the lanes, biking lanes, turning lanes, parking spots, we wait at stop signs, and stop light behind lines. Beside lines and more lines, as we drive we move along with textures: bumps, ripples, twisting, usually paralleling other cars. Not to mention all the sounds: clicking of signals, music playing, passengers talking, the windshield wipers scrapping, the rain or snow hitting the car, water or slush from the wheels, and of course, the motor running. Possibly, we remember horror sounds and bumps of a collision/wreck.

The mind decides what is essential for us to hear and see while walking or driving. So let's use these conceptual memories, using your pencil to record as abstract lines; and if you like, a bit of color from colored markers. Remember, drawing is for fun! From your energy in your mind to the hand into the pencil, draw your lines. And remember, your interpretation will not, and you do not want to record you really see. Lines are symbols as are words - draw, paint, sketch, a vision appears!

Assignment: On a piece of paper or in the sample sketchbook on pages 11 and 12 with your pencil or marker pens. Make three dots or circles anywhere, big or small. These are focal points that lead your viewers around in your drawing. Like the intersection of a signal with 4 or 16 lanes with cars waiting to turn or proceed forward. Or at a train hub with railroad tracks for going and leaving a central station; I think of Chicago or New York. Or, any complicated an airplane port with the plane hubs and lanes for landing and departing; I think of San Francisco or Huston Texas A mega picture of points with radiation lines for cars, trains, airplanes, and people coming and going. From focal points. Use all the various lines that come into your mind with added emotion/feeling to the edge. You will find this be interesting and will see your focal points lead a viewer around and around to the focal points. Focal points are used in all art, from the famous masters, landscapes, advertisements, newspaper layouts, garden and park designs, planned architecture, and functional city planning. You created another abstract, non-objective drawing.

Line shows feeling.

Lines drawn with feelings are varied and more exciting to view.

Here are a few feelings you can depict by lines: sad, repose, conflict, bold, turmoil, fighting, powerful, sweet, trouble, stocky, slender, happy, light, quiet, angry, narrow, smooth, timid. Many more feelings we see in abstract, non-objection drawings as the simple lines you put in the sample, sketchbook. As in my emotions piece on the right by chance is shown a cartoon face in a hat labeled 'growing'  and the face on the right blowing a wiggling line labeled 'confusing'. I did the face by accident, funny what appears.

Assignment for F:  In the sample book on pages 12 and 13 or a piece of paper draw a horizontal across the middle and a vertical line down the center, which gives you four parts.  Draw four of your emotions.

Line has emotion.

Line is an abstract symbol for an emotion.

Straight lines emphasis strength, endurance, and power; broken lines violence, chaos, destruction; horizontal lines calmness, serenity gravity, peace; vertical strength, dignity, grandeur, nobleness, support; diagonal lines vigor, action, progress; and a curve line graceful, rhythm, unity, and softness.

Textures added with the line to show tiny - huge, thick - thin, light - dark, smooth - rough, wide - narrow and will help show emotions.

With these emotions in mind, imagine a creature: an animal, person, or monster. Visualize the eyes, mouth, nose, ears, neck, legs, skin or fur. What emotion is on the face of the creature? What do the eyes show, the mouth expressing; and what is the creature doing? Should the viewer be ready to run or hug and pet this creature?

Because your hand is not your mind, there will be differences in the way the hand draws and the way the mind see the lines. This process is like thinking up a story, then writing it on paper and does always change. We see a picture, think how to draw it, and our hand does it best. Remember, the drawing on the paper never really matches the vision in our mind. PRACTICE! And PRACTICE! The mind, hand, and pencil will find their peace. Be fair and patient with your pencil drawing, which is like learning to write letters and words. Finally, each letter in each word constructs a sentence we understand. Writing was learned by doing, and doing, and doing. So drawing is learned by doing, and doing and finally the 'aha' moment! Mind, hand, and pencil work together for your style of seeing.

Assignment for E: Keeping this creature in your mind what lines drawn will show the hair, eyes, mouth, body action and movements. Now, on a piece of paper or on pages 10 and 11 of your sample sketchbook with your pencils capture the creature.

Line is delineation.

Line defines what we see.

Line delineates, describes, presents, outlines, sketches, depicts, represents; specify, identify what an artist sees.
Trees branch out with lines.
Telephone wires stretch long and thin.
People are composted with many lines.
Water flows with lines rippling on the surface.

The lines an artist draws suggest a story the artist wants us to see.

The lines from our walking awoke us to the fact that traveling is line, sometimes straight, or curves, or spirals or a circle, as "running around in circles." We walk upstairs in a zig-zag. Our body stands vertically to the horizontal or diagonal path, which can be smooth, rough, thick, or thin. We step on textures.

When we walk, the air is all around as the space on the page. We swim on top of the water, which is a line dividing water from the air. Water runs in a line as all liquids; gravity pulls us down in a line. We on the top of the earth, which is a line that divides the ground from the sky, which is the space on a flat piece of paper. The ground is a textured shape on the paper.

We drive our scooters, bikes, and cars in a line; trains and planes travel in lines. Our time is measured as a line through time. Looking carefully, we connect with others in through lines, our walking, driving, sitting. I wonder if thinking is a line like a sentence.

Assignment: Choose one type of line, on pages 8 and 9 draw everything you see, the shapes and textures, in that space.

Line is CRAFTING.

Drawing line is a creative craft.

Line is an art element that makes possible the crafting of art. We see lines everywhere; carefully observe to what we are seeing. Lines are the shapes and textures, and also depth and volume in our vision.

Look closer, see the lines that make-up the textures on shapes; lines craft squares, diagonals, horizontals, scribbles, circles, etc. like weaving, and quilts; all that we see. Take a depth look at the environment, your environment:  your desk, what is around your computer? When you walk notice the path and surroundings. As you look out a window notice how line creates leaves and flowers so we can see them.

Get ready, we're going to take a walk with your pencil on your piece of paper in your sketchbook. If you did not make a sample sketch book, a piece of paper will do. Remember, the bigger the paper the more you can draw while the smaller the paper will be the more concise.

Think about the pencil in your hand that holds the line; your power comes through your eyes to your brain into your imagination onto the paper. When you hold a pencil, the energy from the seeing and feeling the scene goes into the pencil and onto paper. All of us have this visual acuity.

With the pencil we are to take a walk with your feet, notice what is touched, the motion, how these feel. Or, take the walk with the pencil through your feelings/emotions as you drawn the lines. Or, as you walk, draw what you see in the environment. Will the pencil to your adventure. Keep the pencil on the paper and move it as you read.

You park your car. Open the door and walk to a bench and sit, observing. Opps! You drop your keys, bending over you to pick them up. You must Kneel. Then crawl under the bench to reach them. Stand. Reach into the  sky. Stretch. Look at the trail. Walk. Jump. Dance. You hop over a creek and only slip into water. Standing, you wipe your self off. Then splash in the water with you feet. Then you bend, pick up rock, and throw into the creek. Splash. Opps! Snag! You see the narled roots sticking up. Tugging. Tumble. You fall again into the water. You crawl to the edge. Climb up the bank and sit, looking at the creek, sky and trees. Silence. When dried, you walk to your car, laugh, sit inside and start the engine. Back out from the parking space and turn onto the road.

Assignment:  Make this line walk into a drawing on pages 6 and 8, using various lines to fill in the shape, you are telling a story.

Line is Building.

LINE is basic for BUILDING drawings.

 Remember mistakes are gifts to the artist, a way to stretch the mind to generate and motivate inspiration.

To make the sketchbook, take two sheets of 7 by 11, letter size any color paper, I like white. Fold the two paper in half and cut on the fold line, slide the 4 sheets together, fold, and cut on the fold. You have 8 small sheets, slide together, fold these in half, cut, slide together, you have 16 smaller sheets with 32 sides. Notice, scissors cut a line. 

Now, to keep the book together. 1) You can staple along the center fold.  Or, 2) You can sew in an easy, simple way. Don't panic,; this is a simple book. If you have a needle, or any sharp pointed edge, the scissors, make four large holes in the center fold. Then finding any string, thread, shoelaces, or twine, or thin wire you have handly, push through the holes. Leave a long end to tie. Pull the string through the holes and tie the ends together on the outside the book. I like to leave the strings dangle.

We used a 3D thread line to hold the rectangles pages together.

You can make a cover for this small book. Open book and place on a colorful piece of paper or any paper you have. Cut around the edges of the open book a bit bigger so the cover will fit when folded and covering the pages.

Now the last,  on the cover of the small sketchbook write your title and sign your name; this is a commitment for fun.  Lately, put numbers on your book's pages in the bottom corners. On page one, again put your title and sign like on the cover! This study of lines is yours to own! Writing and words are lines.

We are ready to draw!

On pages 2 and 3 draw the types of scribbles you see. The most common kinds of lines drawn are vertical, horizontal, diagonal, parallel, zig zag, cheese, curves, half circles, circles, scalloped, spirals, curves of force, smooth, rough, thick, thin, straight, meandering, broken, dots.

Assignment: take the lines drawn on your page; and with your pencil or pen and a piece of paper on pages 4 and 5, PLAY. Make a free-form, non-controlled, abstract, non-objective drawing. Your first work of art.
~ ~ ~ ~ ~ ~ ~ ~ ~

ART is for everyone!

Art is fun and easy, we all have the ABILITY.

Each day a different style of line will be drawn in a simple sketch book as I did for an Art Drawing Project. This how-to-study will helps us see drawn lines that are around us.

Come on the journey with line. Get you pen, pencil, crayons, pastels, chalks, and your a sketch book. If you do not have a sketch book, we will make one. The paper can be large or small.

Tomorrow we make a skekchbook. Or, if you rather just a piece of paper, or a post-it pad, any pad for making simple sketches. Remember the larger the size of paper, the more time spent on making simple sketches.When done with our study, you will have many works of ART!

Assignment: Draw 20 lines we use and see daily. WORDS are lines.

ART SHOW at DareDevils&Queens

DareDevils and Queens Salon

 

 

ART SHOW

MY ART SHOW DISPLAYING MY YEARS FROM SIXTH GRADE UNTIL THE PRESENT WITH MY FRIEND 'ART', WHO IS RELAXING, CREATIVE, AND INSPIRATIONAL. ART IS A LIGHTHEARTED FRIEND WHO ALLOWS ME TO PLAY AND THINK IN COLORS, SHAPES, TEXTURES, AND VALUES, WHICH ARE PLEASURE AND DIVERSION FOR A VISUAL MIND.

Phases of Art, visual memoir is displayed at my daughter's salon at 122 4th Street, DareDevils&Queens, in Olde Towne Santa Rosa, CA  by the Train Station.

A great salon for getting one's hair colored or just cut and styled!