# LINE Line a continuous moving point The path

• Slides: 79

LINE

Line- a continuous moving point. The path of a moving point at the edge of a flat shape, or outline of a solid object. It is longer than it is wider. Lines do have some width as well as length, this is called measure. Types of line refers to straight, curvy, horizontal, vertical, diagonal, zigzag, implied, and angular. Direction pertains to the movement that a line may have or seem to indicate. Location refers to the placement of a line.

Drawing styles using lines Hatching Cross-Hatching Stippling Blending

ART WITH LINE AS A DOMINANT ART ELEMENT:

Student example of contour drawing- a contour line defines the edges of a shape and sometimes indicates form.

Student art showing project focusing on expressive line with charcoal as the media and the use of pathways ( rhythm and movement) or focal point/emphasis.

THIS IS AN EXAMPLE OF:

STIPPLING

THIS IS AN EXAMPLE OF:

BLENDING

THIS IS AN EXAMPLE OF:

CROSS HATCHING

ALL THREE METHODS USE LIGHTS AND DARKS ( VALUE) TO CREATE THE ILLUSION OF FORM AND TEXTURE. ALL OF THE METHODS CAN BE DONE IN ANY COLOR AND FOR ANY SUBJECT.

STIPPLING

Forms. Blending Shading- using value Use of color Spaceoverlapping

SIMPLICITY TO COMPLEXITY in terms of line. . .

THE OBVIOUS TYPES OF LINES STRAIGHT HORIZONTAL VERTICAL DIAGONAL

DRAWING ACTIVITY Draw a Picture using : straight, diagonal, curved, thick, thin, Shade by using: hatching, cross hatching, stippling, blending.

BARNETT NEWMAN, DIONYSIUS, 1944, 67 X 49 IN.

BARNETT NEWMAN, YELLOW PAINTING, 1949

BARNETT NEWMAN, UNTITLED (THE CRY), 36 X 24 IN. , INK ON PAPER

GIOTTO, PIETA (LAMENTATIO N) FRESCO O G A I D D L A N L O B Late Gothic/ Early Renaissance from 1305

CARAVAGGI O THE CALLING OF ST. MATTHEW, 1599 -1600

GENTILESCHI, JUDITH SLAYING HOLOFERNES, 1620

LINES CAN BE IMPLIED. . .

IMPLIED LINES Not really there but guide the eye or organize the image

Note lines implied by directional gazes DIEGO RIVERA, THE FLOWER CARRIER, 1935, 48 X 48 IN.

PIERRE-AUGUSTE RENOIR LE DÉJEUNER DES CANOTIERS, 1880– 1881 OIL ON CANVAS, 129. 5 × 172. 7 CM

MORANDI, GIORGIO STILL LIFE (THE BLUE VASE) 1920 OIL ON CANVAS The blue lines point out. . . IMPLIED LINES

MORANDI, GIORGIO STILL LIFE (THE BLUE VASE) 1920 OIL ON CANVAS implied

CARAVAGGIO, SUPPER AT EMMAUS, C. 1601

KENNETH NOLAND, THRUST, 1963 45 X 45 IN.

A VENETIAN WOMAN JOHN SINGER SARGENT (AMERICAN, B. 1856, D. 1925) 1882 OIL ON CANVAS 93 3/4 X 52 1/2 IN. (238. 1 X 133. 4 CM)

Lines used to create emphasis A VENETIAN WOMAN JOHN SINGER SARGENT (AMERICAN, B. 1856, D. 1925) 1882 OIL ON CANVAS 93 3/4 X 52 1/2 IN. (238. 1 X 133. 4 CM)

LINES CAN CURVE. . .

HOKUSAI, KATSUSHIKA THE GREAT WAVE OFF KANAGAWA FROM "THIRTY-SIX VIEWS OF MOUNT FUJI" 1823 -29 COLOR WOODCUT 10 X 15 IN.

CY TWOMBLY, UNTITLED, 1970

THIS “ARTLESS” SCRIBBLE � Defines an area � Creates an illusion of depth (volume)

LOOK AGAIN …

BRICE MARDEN AMERICAN, BORN BRONXVILLE, NEW YORK, 1938 COLD MOUNTAIN 2, 1989 -1991 OIL ON LINEN, 108 1/8 X 144 1/4 IN.

WHAT LINES LURK IN THIS TEXTURE?

JACKSON POLLOCK, LAVENDAR MIST NO. 1, 1950

CONSIDER THE EXPRESSIVE QUALITY OF THE JAGGED LINES IN THIS WORK. . .

CLYFFORD STILL, 1957, NO. 1

GEORGIA O’KEEFFE, RED, WHITE AND BLUE, 1931

THE OBVIOUS AGAIN STRAIGHT CURVED – SMOOTH, JAGGED

Curved, smooth Jagged, zig-zag straight JOHANN KOERBECKE GERMAN, C. 1420 - 1491 THE ASCENSION, 1456/1457 TEMPERA ON PANEL, 92. 7 X 64. 8 CM (36 1/2 X 25 1/2 IN. )

CLYFFORD STILL AMERICAN, 1904 - 1980 1948 -C, (1948) OIL ON CANVAS 80 7/8 X 68 3/4 IN. complex contour lines formed by these complex shapes

LINES CREATE OR IMPLY SHAPES Shapes can be open or closed Lines around a shape are CONTOUR lines

SHAPE open/closed geometric/ or organic

FRANK STELLA, WOLFEBORO II, 1966 closed, geometric

Lines create planes; planes suggest volume THE UPSTAIRS CHARLES SHEELER (AMERICAN, B. 1883, D. 1965) 1938 OIL ON CANVAS 19 1/2 X 12 3/4 IN. (49. 5 X 32. 4 CM)

VOLUME LINE SHAPE VOLUME Implied in painting; actual in sculpture

KENNETH SNELSON RADOR, 1975 BRASS & STAINLESS STEEL 21 X 17 X 6 INCHES

KENNETH SNELSON AMERICAN, BORN PENDLETON, OREGON, 1927 NEEDLE TOWER, 1968 ALUMINUM AND STAINLESS STEEL 720 X 243 -1/2 X 213 -3/8 IN.

RODIN BALZAC

FRANK LLOYD WRIGHT, FALLINGWATER, 1936 -7

VOLUMES C A N CREATE LINES

FRANK LLOYD WRIGHT, FALLINGWATER, 1936 -37

FRANK GEHRY, DISNEY CONCERT HALL

FRANK GEHRY, DISNEY CONCERT HALL

FRANK GEHRY, DISNEY CONCERT HALL

GIUSTI GARDEN, VERONA, ITALY

HENRY MOORE KNIFE EDGE MIRROR TWO PIECE 1976 -1978, BRONZE 534. 5 X 721. 1 X 363. 1 CM (210 1/2 X 284 X 143 IN. )

Bird in Space, 1923 Constantin Brancusi (French, born Romania, 1876– 1957) Marble; (with base) H. 56 -3/4, Diam. 6 -1/2 in. Bird, 1940

BRANCUSI ADAM AND EVE 1921

BOTTOM LINE The concept of line plays a role in compositions of music and art, ranging from the simple to the complex.

LINE ON HANDOUT What is a line in Art? Line – a series of points; an area whose length is considerably greater than its width; an indication of direction, an apparent movement. A line is a point moved or moving through space. This applies to drawing, painting, printmaking, sculpture, clay/pottery, and architecture. Characteristics of lines: lines can be actual or implied; a line which denotes or describes an outside edge of an object is a contour line. A contour line divides the plane or delineates an edge of a volume. A directional line points or moves the eye in a particular direction. Horizontal – often read as across, quiet, stable. Vertical: reaching up, spiritual, uplifting, rising. Diagonal: dynamic, moving. Lines can be interpreted as having expressive qualities; particular qualities – thick or thin, weighty or straight, hard-edged or soft – can indicate moods or feelings.

LINE IS THE PATH OF A MOVING POINT. LINES DEFINE THE EDGES OF SHAPES AND FORMS. (CONTOUR) EXAMPLES OF LINES MADE IN ART : ZIG ZAG, STRAIGHT, CURVY, SPIRAL, LOOPY.