You searched for:

Drawing — Technique
20 entries
Refine search

Search Results:

Remove Star
Location & Availability
Call #

Beverly Buchanan [electronic resource]

As she constructs a pastel oilstick work from beginning to end, Beverly discusses the themes of her photography, painting, drawing and wood and metal sculpture of the rural Southern shack. Through her work she examines the psyche of the people who were once slaves but now live a life of conditional freedom. Transformed by her art, the shack is depicted not merely as habitat, but as aesthetic expression.

Color [electronic resource]

Color is perhaps the most powerful artistic element, but it is also the most difficult to control. In this program, artist June Redfern goes to Venice to see one of her favorite paintings-Titian's Assumption of the Virgin. Analyzing Titian's innovative use of color, Redfern traces other color innovations pioneered by artists like Monet, Van Gogh, and Mark Rothko.
2006; 1997

Composition [electronic resource]

Everyone has the desire to arrange things in a way that is most pleasing to the eye. In painting, composition involves arranging every ingredient-shape, color, texture, and light-so that working together, they create artistic balance. In this program, artist Ray Richardson deliberately chooses a long, slim canvas to challenge his compositional abilities. As he confronts his quest to create a cinemascopic work, students begin to appreciate the composition techniques of painters such as Piero della Francesca, Tintoretto, Degas, and Matisse.
2006; 1997

Perspective [electronic resource]

In this program, artists Ben Johnson and Patrick Hughes travel to Florence, where 15th-century painter Piero della Francesca first employed mathematically based perspective. Tracing the use of perspective, they discuss how artists at the beginning of the 20th century rebelled against its limitations. Johnson then uses a computer to create a perfect perspective model for a planned painting, while Hughes completely subverts the rules of perspective in creating his own work.
2006; 1997

Product Design [electronic resource]: Hand-Made Stereo for Hand-Made Car

The sound system that goes into a hand-assembled Aston-Martin sports car must be special indeed. In this program, designers at Linn, a precision-engineering company specializing in state-of-the-art sound reproduction, draft and build a compact stereo for this elite automobile. Project leaders demonstrate the use of 3-D CAD in the drafting process. The outsourcing of a component provides a good example of how to work with subcontractors.
2006; 2002

Drawing [electronic resource]: Perspectives on Line and Form

This program concentrates on the importance of drawing to the different artistic disciplines as it addresses ongoing debates surrounding the representation of space. Drawing tools and materials are presented, and special attention is given to the application of geometry, the principal science of image construction. Classical and Renaissance theories of perspective are considered, as is the progressive disintegration of these theories by artists of the 19th and 20th centuries.
2006; 2003

Pigments [electronic resource]: From Lascaux to Picasso

This program explains how artists' colors are made and applied by charting the development of various families of pigments-and by demonstrating that the compounding of colors is always a mixture of tradition and technology, experience and innovation. Pigments prepared from natural sources and derived from industrial processes are closely studied, noting failures as well as successes. Decorative applications of color to cloth-making, glass staining, and printing are considered as well.
2006; 2003

Brushstrokes [electronic resource]: Painter's Touch

Should brushstrokes be allowed to show-or even be shown off, like a signature-or should they be carefully effaced whenever possible, leaving the surface of a painting smooth? This program looks at both the mechanical side of the question-the influence of pigments and brush types on the traces of a brush's passage-as well as the long-running doctrinal tension between exponents of visible and hidden brushstrokes.
2006; 2003

Painting on Architectural Surfaces [electronic resource]

This program travels to four locales to examine technical aspects of how frescoes have been painted: a villa in Pompeii, where walls saturated with figures, dense colors, and ornamental motifs functioned both decoratively and ritually; the Basilica of San Francesco in Arezzo, home of della Francesca's Legend of the True Cross; the Salle des Saisons at the Louvre, to view Romanelli's frescoes combined with richly gilded stuccowork; and the Residenz palace in Wurzburg, to see how Tiepolo's trompe l'oeil creates an extraordinary illusory space.
2006; 2003

Painting on Portable Media [electronic resource]

The centuries-long era of painting on wooden panels culminated in magnificent works such as Grunewald's Isenheim Altarpiece and van der Weyden's Beaune Altarpiece. But then canvas finally came into its own: light in weight, low in cost, easy to prepare, and an ideal replacement for frescoes where climatic conditions did not easily permit mural painting, over time it became the artist's medium of choice. This program traces the evolution of painting on portable media, giving equal attention to great wooden polyptychs of 30 to 40 panels and tiny canvases such as Vermeer's The Lacemaker.
2006; 2003

The Painter's Studio [electronic resource]: Art Workshop, Art Laboratory

The painter's studio: at once an open forum for exchanging skills with other artists and a private retreat for experimenting with technique. Beginning with the Renaissance and concluding with the 20th century, this program covers an assortment of studio-related topics, including life as a painter's apprentice; the birth and growth of art schools and academies; the progress of the painter's status in society; the development and proliferation of art tools; the use of nude models; the hard-won success of women in gaining acceptance for female painters; and the continually evolving creative space known as the studio.
2006; 2003

Art and Design [electronic resource]: Insights Into the Visual Arts

Where do abstract painters and fashion designers find their muses? To what extent does the creative process differ between video artists, sculptors, and fine art embroiderers? How do illustrators and mixed media artists handle the business side of their work? Using capsule interviews with contemporary figures on the U.K. visual arts scene, this program draws viewers into the studio space and immerses them in the hands-on processes and limitless possibilities of art and design. Section one, "Artists and Ideas," explores sources of inspiration, the foundational importance of drawing, and a variety of functions for sketchbooks and journals. Section two, "Art Practice," considers contextual referencing in art, the development of ideas, artistic materials and techniques, the relative meri [...]
2010; 2009

Making Mao [electronic resource]

When the Communist Party took over China in 1949, it engineered a massive propaganda campaign to promote a worker's utopia and make Mao Zedong a god. This program examines the creation of the Mao-centered iconography that permeated the visual, performing, and popular arts as China struggled through its brutal metamorphosis into a modern nation. Artists relate the experience of being forced to work in the Soviet-inspired style that fueled the leader's popularity, as the video tracks Mao's image from revolutionary symbol to its appropriation for kitschy pop art.

Creative Violation [electronic resource]: Rebel Art of Street Stencil

Called art by some and vandalism by others, street art transforms the depersonalized, over-commercialized urban landscape into a forum for self-expression. Filmed in New York City, Pittsburgh, and Toronto, this edgy program documents the exploding underground art form of street stenciling and explores its roots in political street art, industrial signage, and freehand graffiti. John MacPhee, author of Stencil Pirates, and other stencil artists pose critical questions about the role of free speech in public spaces as they describe their motives and demonstrate their methods. Transgressive, subversive, creative: that's the rebel art of the street stencil.
2009; 2007

Manga World [electronic resource]

Filmed in Japan, this program pushes beyond the stereotypes to objectively examine the history of manga, how manga are drawn, and manga's influence on Japanese life as illustrated by cosplay bars, where people dress up as their favorite characters; manga kissa, 24/7 manga cafes; and Comicket, the twice-annual comics market that draws hundreds of thousands of visitors. The program also introduces viewers to a cross-section of mangaka icons: Vagabond creator Takehiko Inoue; Naoki Urasawa, author of The Pushman and Other Stories; Jiro Taniguchi; Yoshihiro Tatsumi; and Kan Takahama.
2008; 2005

The Painter's Studio [electronic resource]

While they allow the viewer into the artist's workshop, paintings of the painter's studio are always a stylized portrayal where what is not shown is just as important as what is. This program surveys a number of examples of this classic theme, drawing attention to some of the different approaches artists have used to convey the space in which they work.
2005; 2002

Fritz Scholder [electronic resource]: California Mission Painter

The first to portray the Native American as "real, not red," Fritz Scholder has been a major influence on an entire generation of Native American artists. This program films Scholder, an artist of Luiseno descent, as he takes his painting Television Indian and his lithograph Film Indian from conception to completion. His unsentimental vision and his technique-a blend of abstract expressionism, West Coast pop, and Bay Area colorism-have enabled Scholder to produce a strong body of work that realistically illustrates contemporary Native American life in the Southwest.
2007; 1976

R. C. Gorman [electronic resource]: Navajo Painter

Unconventional and "paradoxical" are two of the more common words people use to describe R. C. Gorman, an award-winning Navajo painter and printmaker who treats Native American subjects ranging from geometrics to nudes with a distinctly Mexican artistic sensibility. This program films the man The New York Times dubbed "The Picasso of American Indian Art" as he works, capturing his fascination with mass and shape as he paints both on paper and on a lithography stone. At once timeless and contemporary, Gorman's idiom unites the Indian and mainstream art scenes.
2007; 1976

Helen Hardin [electronic resource]: Santa Clara Painter

The abstract geometric paintings of Helen Hardin beautifully illustrate the artist's struggle to depict aspects of her native heritage yet depart from the Santa Fe/Dorothy Dunn model of her predecessors-including her mother, the acclaimed Pablita Velarde. This program takes a close look at the work of a gifted Santa Clara painter and printmaker who acted almost as if she knew that her time to make a mark in the art world would be short. Her multi-layered paintings, created with a combination of brushes and drafting tools, reveal the crisp precision that characterizes her distinctive style.
2007; 1976

Basic Perspective Drawing

The artist introduces linear perspective demonstrating the need to see perspective in order to draw it. He shows how to make one-point, two-point, and three-point perspective drawings using boxes, landscapes and buildings as subjects and demonstrates cylinders.
Ivy (By Request)