Kalinga State University

College of Engineering and Information Technology

Department of Social Sciences

ART APPRECIATION

Module 6 - Two Dimensional Media  Painting

 Printmaking
OBJECTIVES
 Collage
If this module is completed, students
Two-dimensional media are grouped
should be able to:
into categories that are general. To
understand their unique qualities and
a. Identify and illustrate basic aspects
how artists use them, let's look at each
of the use of two
group.
dimensional mediums by artists 

b. Describe how time-based mediums i DRAWING
mpact content issues
Drawing is the easiest and most
c. Explain and explain how collage pla powerful way of expressing visual
ys a major role in the development of  concepts, and charcoal, chalk,
modern art  graphite and paper have been ample
resources for centuries to launch
d. Discuss how technical developments  some of the most profound art
are expressed images. The Virgin and Child with
in the historical record of art  Saint Anne and Saint John the
Baptist by Leonardo da Vinci wraps
e. Describe how cultural styles are affe all four figures together in what is
cted by the use of various artistic me basically an extended portrait of a
dia. family. In a spectacularly realistic
style, da Vinci sketches the figures,
OVERVIEW one that emphasizes individual
personalities and surrounds the
With almost everything available, artists
figures in a grand, unfinished
find ways to express themselves. To
landscape. He animates the scene
make remarkable images and objects
with the child of Christ dragging
from varied yet fairly ordinary materials
himself forward, attempting to free
is a stamp of their imagination. Artists
himself from Mary's grip to get closer
continue to look for ways of creating and
to the young John the Baptist on the
transmitting their message, from
right, who with a look of curious
charcoal, paper and thread to paint, ink
interest in his younger cousin, turns
and found objects like leaves.
himself toward the child of Christ.
This module discusses conventional and
Drawing's traditional function was to
non-traditional media linked to two-
make sketches appear as drawings,
dimensional works of art, including the
sculpture or even architecture for larger
following:
compositions. This role for drawing
continues today, due to its relative
 Drawing
immediacy. Contemporary architect

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Frank Gehry's preliminary sketch

captures the intricate organic structures
of the buildings he designs.
Types of Drawing Media
Charcoal, graphite, chalks and pastels
are part of Dry Media, in these mediums
offers the artist a wide variety of abilities
and effects to make marks, from thin
lines to vast color and tone areas. In
order to achieve the desired results, the
artist may manipulate a painting in
several ways, including exerting various
pressures on the medium against the
surface of the drawing, or by erasure,
blotting or rubbing.

This drawing method will move the
sense of character to an image instantly.
From vigorous to subtle, these
characteristics are visible in the simplest
works: the artist's idea's immediate and
unalloyed spirit. You can see this in two
German artists' self-portraits, Kathe
Kollwitz and
Ernst Kirchner Ludwig. His self-portrait
under the influence of Morphine from
around 1916, injured during the First
World War, provides us with a
nightmarish vision of himself shrouded
in the fog of opiate narcotics. The
influence of his painting is attested to by
his hollow eyes and the graphical
dysfunction of his marks.
Ernst Ludwig Kirchner, Self Portrait
Under the Influence of
Morphine, around 1916.
Pencils, powder or compressed sticks are used
in Graphite media. Depending on the hardness
or softness inherent in the material, each one
produces a set of values. Strong graphite tones
vary from light to dark gray, while softer
graphite makes it possible to range from light
gray to almost black. The Standing Nude with
Drapery by the French sculptor Gaston Lachaise
is a pencil drawing that fixes the figure's vitality
and sense of motion to the paper in just a few
strokes. And the contemporary large-scale
graphite of Steven Talasnik, with its swirling,
organic shapes and architectural structures,
testifies to the influence of the pencil (and

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eraser) on paper. they are more difficult to control.

Left: vine charcoal sticks. Right:

Gaston Lachiase, Standing Nude with
Drapery, 1891.
Graphite and ink on paper. Honolulu
Academy of Arts.
Charcoal is created by simply charring
wooden sticks or small branches,
called vine charcoal, perhaps the
oldest type of drawing media, but is
also available in a mechanically
compressed form. There are three
densities of vine charcoal: mild,
medium and strong, with each
handling a little different from the
other. Soft charcoal gives a drawing a
more velvety look. In order to get a
solid label, the artist does not have to
add as much pressure to the stick.
Hard vine charcoal provides more
influence, but doesn't typically offer
the darkest tones. Compressed
charcoals yield darker blacks than vine
charcoal, but once applied to paper,
compressed charcoal squares.
From light grays to dark, velvety
blacks, charcoal drawings can vary
in value. A charcoal drawing by
Georgia O'Keeffe, an American
artist, is a good example.
Pastels are typically packed into
stick shape for easier handling,
basically colored chalks. They are
distinguished by gentle, subtle tone
or color changes. Pastel pigments
allow for a resonant quality that
with graphite or charcoal is more
difficult to obtain. Such attributes
are highlighted by Picasso's Portrait
of the Artist's Mother from 1896.

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Ink: Historically, wet drawing media
refers to ink but simply involves any
material that can be placed into solution
and added to the surface of a drawing.
Since wet media is manipulated much
like paint, it blurs the distinction between
drawing and painting by thinning and the
use of a brush. For linear effects and by
brush, ink can be applied with a stick to
cover wide areas with tone. To produce
gray values, it can also be diluted with
water. Rembrandt's The Return of the
Prodigal Son reveals that brown ink is
expressively used in both the line
characteristics and the wider brushed
areas that create the illusion of light and
shadow.
Felt Tip: A type of wet media is considered
to be felt tip pens. Inside the pen, the ink is
saturated onto felt strips, then released
through the tip onto the paper or other
support. The ink dries swiftly, leaving a
permanent mark. Donnabelle Casis's
colored marker sketches have a flowing,
organic personality to them. Body parts and
viscera are inferred from the abstract quality
of the subject matter.
In order to intensify effects or produce new
ones, other liquids may be applied to
drawing media. To make the surface bubble
with effervescence, artist Jim Dine has
splashed soda on charcoal drawings. Unlike
anything he could produce with charcoal
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alone the effect is a visual texture, although
his work is known for its heavy
manipulation. Sometimes, Dine's drawings
use both dry and liquid media. Animals,
plants, figures and tools are his subject
matter, several times crowded together in
thick, darkly romantic pictures.
Traditional Chinese painting utilizes inks
and pigments based on water. It is one
of the world's oldest continuous artistic
traditions, in truth. The theme includes
landscapes, animals, figures and
calligraphy, drawn on paper or silk
supports, an art form that uses letters
and script in fluid, lyrical gestures.
Below, we see two examples of
traditional Chinese art. The first a
wall scroll painted by Ma Lin in
1246, demonstrates how skilled
the artist is in expressively using
ink to denote figures, robes and
landscape elements, especially the
pine trees' solid, gnarled forms.
The job has sensitivity and
boldness. The second example is
the opening detail of a copy made
prior to the 13th century of
"Preface to the Poems Composed
at the Orchid Pavilion" With the use
of ink and brush, through the
secure, gestural strokes and marks
of the characters, the artist turns
language into art.
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Ma Lin, Wall Scroll, ink on silk. 1246
Used under GNU Free
Opening detail of a copy of Preface to
the Poems Composed at the Orchid
Pavilion. Before the 13th century.
Hand scroll, ink on paper. The
Palace Museum, Beijing.
Drawing is a foundation for other
two-dimensional and three-
dimensional works of art, including
digital media that extends the
concept of its formal language.
With small abstract sketches, the
art of Matthew Ritchie begins. He
scans and projections them
digitally on vast scales, taking up
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entire walls. In order to create
sculptures from the original
sketches, Ritchie often uses the
scans to generate big, thin three-
dimensional models.
PAINTING
The application of pigments to a support
surface that produces an image, design
or decoration is painting. The word
'painting' in art defines both the act and
the effect. The majority of painting is
produced in liquid form with pigment and
applied with a brush. Exceptions to this
are seen in Navajo sand painting, where
powdered pigments are used and
Tibetanmandala painting. For thousands
of years, painting as a medium has
survived and is, along with drawing and
sculpture, one of the oldest artistic
mediums. It's used by cultures around
the world in some way.
Three of Western art history's most
famous pictures are paintings: the Mona
Lisa by Leonardo da Vinci, The Scream
by Edvard Munch, and The Starry Night
by Vincent van Gogh. Examples of how
painting can go beyond a simple
mimetic purpose, that is, to imitate only
what is seen, are these three art works.
In great art, the power is to transcend
illusions to represent the human
condition's emotional, psychological,
even spiritual stages. As they can be
applied to many different surfaces
(called supports) including paper, wood,
canvas, plaster, cement, lacquer and
concrete, painting media are extremely
flexible. It has the potential to soak in
porous support material, which can
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degrade and damage over time, since Let's look at each of the six key
paint is typically applied in a liquid or mediums for painting:
semi-liquid state. A support is normally
first coated with a ground, a mixture of 1. Encaustic paint combines dried
binder and chalk, which provides a non- pigment with a beeswax binder
porous layer between the support and which is heated. The mixture is
the painted surface when dry, to avoid then rubbed through a support
this. Gesso is a typical region. surface or spread over it.
Reheating helps the paint to be
Six primary mediums of art painting, manipulated longer. Encaustic
each with specific individual dates from C.E. in the first
characteristics, exist: century. And was commonly used
in funerary mummy portraits from
a. Encaustic Egypt's Fayum. Powerful,
b. Tempera resonant colors and extremely
c. Fresco durable paintings provide the
d. Oil features of encaustic painting.
e. Acrylic Because of the beeswax binder,
f. Watercolor it forms a rough skin on the
surface of the paint as the
They all use three fundamental encaustic cools.
ingredients: Encaustic Painting

a. Pigment Since the 1990's, encaustic

b. Binder painting has seen a revival in
c. Solvent use. Joseph Goldberg's work is
notable for his mastery of the
To contribute color, pigments are encaustic technique. His Spring
granular solids mixed into the paint. The Mesa painting is brushed and
binder is the actual film-forming part of scraped in layers, exposing
paint, generally referred to as the colors from below, offering a
vehicle. The binder retains the solution hard, resonant surface with
of the pigment until it is ready to be complex color networks to the
spread on the surface. The solvent finished work.
governs the paint's flow and application.
To dilute it to the correct viscosity or
thickness, it is mixed into the paint,
usually with a brush, until it is added to
the surface. The residual paint is fixed
there until the solvent has evaporated
from the surface. Solvents range from
water to things like linseed oil and
mineral spirits that are based on oil.

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.
Joseph Goldberg, Spring Duccio, The Crevole Madonna, c. 1280.
Mesa, 2002. Tempera on board
Museo dell’Opera del Duomo,
Modern electric and gas tools allow Siena, Italy
heating and paint manipulation for
prolonged periods. A blowtorch is used Tempera was used widely to paint
by Goldberg. pictures of religious symbols in
early Christianity. In the
2. Tempera paint mixes the
development of The Crevole
pigment with an egg yolk
Madonna (above the pre-
binder, which is then mixed
Renaissance Italian artist Duccio
with water and released. For
(c. 1255–1318), one of the most
thousands of years, tempera
influential artists of the period,
has been used, like
used tempera paint. In this well-
encaustic. It dries easily to a
preserved work, you can see the
matte finish which is durable.
sharpness of line and form, and the
In successive thin layers,
detail he makes in the Madonna's
called glazes, tempera
face and skin tones (see below for
paintings are typically
detail).
applied, painstakingly built
up using networks of crossed
hatched lines. Due to this
process, tempera paintings
are renowned for their detail.

Duccio, The Crevole Madonna, c.

1280. Tempera on board

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Museo dell’Opera del Duomo,
Siena, Italy.
As a medium, contemporary painters
still use tempera. The American painter
Andrew Wyeth (1917-2009) used
tempera, a masterpiece of detail,
composition and mystery, to create
Christina's World.
3. Fresco Painting: On plaster walls
and ceilings, fresco painting is
exclusively used. The medium of fresco
has been used for thousands of years,
but during the Renaissance era in
Europe it was most associated with its
use in Christian pictures.
Two types of fresco are available: buon
or "wet" and secco, meaning "dry."
tale portrayed around him. The artist
shows us four separate narrative-related
realms: the mortal world on the right
representing Florence, Italy; the
heavenly realm indicated by the stepped
mountain in the middle of the left-you
can see an angel saluting the saved
souls as they enter from the base of the
mountain; the damned realm to the left-
with Satan surrounded by flames
saluting them at the bottom of the
mountain.

The Buon fresco technique consists of  

painting a thin layer of wet, fresh lime Domenico di Michelino, Dante’s
mortar or plaster with pigment mixed Divine Comedy, 1465, buon fresco,
with water. The pigment is added to and the Duomo, Florence, Italy
absorbed by wet plaster; the plaster
dries and reacts with the air after a On the surface of a dry plaster wall,
number of hours: it is this chemical Secco fresco refers to painting a
reaction that fixes the particles of picture. Since the pigment is not
pigment in the plaster. A binder is not blended into the wet plaster, this
needed because of the chemical medium requires a binder. For this
composition of the plaster. As the reason, the most common binder used
pigment becomes part of the wall itself is egg tempera. Using secco fresco over
the Buon fresco is more durable. buon fresco murals was popular in order
to restore damage or make
The Dante and the Divine Comedy of improvements to the original.
Domenico di Michelino from 1465
(below) is a splendid example of buon
fresco. In the dried plaster wall, the
colours and details are preserved.
Michelino depicts Dante Aleghieri, the
Italian author and poet, standing with an
open copy of the Divine Comedy in his
left hand, pointing to the depiction of the

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Leonardo Da Vinci, The Last
Supper, 1495 – 98, dry fresco on
plaster. Church of Santa Maria
delle Grazie, Milan
4. Oil Paint: Among all painting
mediums, oil paint is the most versatile.
It utilizes pigment combined with a
linseed oil binder. Linseed oil, along with
mineral spirits or turpentine, may also
be used as a vehicle. During the 15th
century, oil painting was thought to have
originated in Europe, but recent
research on murals discovered in
Afghanistan caves reveals that oil-based
paints were used there as early as the
7th century.
A wide variety of pigment options, the
ability to be thinned down and spread in
nearly transparent glazes as well as
used straight from the tube (without the
use of a vehicle made up in dense
layers called impasto (you can see this
in many of Vincent van Gogh's works)
are some of the qualities of oil paint.
One downside to the use of impasto is
that the body of the paint will break over
time leaving crack networks along the
thickest areas of the painting. Since oil
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paint dries slower than other mediums, it
can be blended with meticulous
precision on the support surface. This
increased working period also makes it
easier to make changes and
improvements without needing to scrape
sections of dried paint off.
In the still life oil painting of Jan
Brueghel the Elder, you can see many
of the qualities listed above. In both the
resonant lights and the inky dark colors
of the work, the richness of the paint
itself is obvious. From the softness of
the flower petals to the reflection on the
vase and the many visual textures in
between the paint work allows many
different effects to be created.
Cityscape #1 from 1963 by Richard
Diebenkorn demonstrates how the
artist uses oil paint in a more fluid,
expressive way. To obtain a quality
and gesture that represents the
sunny, breezy atmosphere of a
California morning, he thinks about
the medium. In order to let the
under-painting show through a
smooth, more geometric space that
blurs the distinction between
realism and abstraction,
Diebenkorn used layers of oil paint,
one over the other.
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The Elder Jan Brueghel, Flowers in a Vase,
1599. Oil on timber
Wien, Germany, Kunsthistorisches Museum.
 
Cityscape #1, Richard Diebenkorn,
1963. "Oil on canvas, 60 1⁄4 "x 50 1⁄2
The oil paintings of Georgia O'Keeffe
display a spectrum of handling from soft
and austere to very thorough and
evocative. You rarely see her
brushstrokes, but she's got an overall
mastery of the oil paint medium.
The boundaries of what oil paint could
do were pushed by the Abstract
Expressionist painters. Their emphasis
was just as much on the act of painting
as it was on the subject. For several of
them, there was indeed, no difference
between the two. Willem de Kooning's
work leaves a record of the brushing,
dripping, scratching and cleaning of oil
paint, all in a flurry of artistic action. In
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the paintings of Celia Brown, this term
remains contemporary.
5. Acrylic paint: 5. In the 1950s, acrylic
paint was invented and became an
alternative to oil. The pigment is
suspended in an emulsion binder of an
acrylic polymer and uses water as the
vehicle. The acrylic polymer has
properties such as plastic or rubber.
Without the cost, mess and toxicity
problems of using strong solvents to
blend them, acrylic paints deliver the
body, color resonance and resilience of
oils. The relatively fast drying time of
acrylics is one big difference. They are
soluble in water, but when dry, they
become impervious to water or other
solvents. Acrylic paints, in addition, stick
to several different textures and are
highly durable. Over time, Acrylic
Impastos will not crack or yellow.
Robert Colescott (1925-2009), an
American artist, used acrylics for large-
scale paintings. To bring out the full
spectrum of effects that acrylics deliver,
he uses thin layers of under-painting,
scumbling, high contrast colors and
luscious surfaces.
6. Watercolor: Among the
painting mediums, watercolor is
the most sensitive. It responds to
the artist's lightest touch and can
become an overworked mess in an
instant. Two types of watercolor
media exist: transparent and
opaque. In a reverse relationship
to the other art mediums,
Translucent watercolor works.
Traditionally, it is applied to a
paper support and relies on the
whiteness of the paper to reflect
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light back from the color applied and plenty of visual

(see below), while opaque paints texture.  
reflect light from the skin of the
paint itself including opaque
watercolors). Watercolor is made
up of a pigment and a gum arabic
binder, a water-soluble substance
made from the acacia tree's sap. In
water, it dissolves rapidly.

Examples of techniques for watercolor

Christopher Gildow's picture. Used
with permission here.
Watercolor paintings: Paintings in
Watercolor retain a feeling of
immediacy. For small format paintings,
the medium is highly compact and
outstanding. There are usually two types
of paper used for watercolor: hot
pressed, which provides a smoother
texture, and cold pressed, resulting in a
rougher texture. The use of wash
includes transparent watercolor
techniques; an area of color applied with
a brush and diluted with water to make it
flow through the paper. Wet-in-wet
painting enables colors to flow through
each other and drift, producing soft
transitions between them. Dry brush
painting uses no water and allows the
brush to travel over the paper's top
ridges, leading to a broken color line
painting: A wash on the left. Dry brush
effects, on the right. Christopher
Gildow's picture.
Brooklyn Bridge (1912) by John Marin
illustrates the intensive use of washing.
Except for the support towers on both
sides of the painting, he made the huge
bridge almost invisible. In the misty,
abstract forms produced by washes of
color, even the Manhattan skyline
becomes enveloped.
The French painter Paul Cezanne's
"Boy in a Red Vest" creates form
through subtle colors and tones. The
manner in which the watercolor is
painted on the paper represents the
sensitivity and deliberation typical in the
paintings of Cezanne.

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Kid in a Red Vest, Paul Cezanne, c.
1890. 1890. Aquarell on paper. This
picture is available under the GNU
License for Free Documentation
Andrew Wyeth's watercolors depict the
landscape with earth tones and
localised colour, often with dramatic
white paper areas left untouched. A
successful instance is Brandywine
Valley.
Opaque watercolor, also referred to as
gouache, varies from transparent
watercolor in that the particles are
larger, the pigment-water ratio is much
greater, and there is also an extra, inert,
white pigment such as chalk. Gouache
paint offers better color than transparent
watercolor because of this, although it
appears to dry to a slightly lighter tone
than when applied. Gouache paint does
not hold up well, appearing to break and
slip away from the wall, as impasto
does. In thinner applications, it holds up
well and is also used to fill wide areas
with colour. Dried gouache paint can
become soluble in water again like
transparent watercolor.
The painting by Jacob Lawrence uses
gouache to describe the style of the
composition. The figurative forms in the
foreground are dominated by wide areas
of color, including blue and orange
complements, while olive greens and
neutral tones animate the background
with smaller shapes representing
instruments, benches and tables.
Gouache characteristics make it difficult
to use them in areas of detail.
Gouache is a tool from other cultures of
traditional painting too. Zal Consults the
Magi, part of a 16th century Iranian
illuminated manuscript, uses vivid
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gouache colors along with ink, silver and
gold to produce a colorful composition
full of complex designs and contrasts.
Ink is used at the top and bottom of the
work to create lyrical calligraphic
passages.
The following are other painting
mediums used by artists:
1. Enamel paints usually form hard
skins with a high-gloss finish.
They use and are highly durable
with heavy solvents.
Epoxy: Powder coat paints vary from
traditional paints because they do not
need a solvent to hold the suspension of
the pigment and binder sections. They
are applied as a powder to a surface,
then heat-curated to produce a durable
skin that is thicker than most other
paints. Mostly on metal surfaces,
powder coats are applied.
Polymers, formed by combining pigment
with two separate chemicals: a resin
and a hardener, are epoxy paints.
Between the two, the chemical reaction
produces heat that binds them together.
Epoxy paints are highly durable in both
indoor and outdoor environments, such
as powder coats and enamel.
In sign painting, marine settings and
aircraft painting, these high quality
paints are used.
PRINTMAKING
In order to render multiples from an
original image or prototype, printmaking
uses a transfer technique. The different
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images are reproduced in an edition,
with the artist signing and numbering
each print. All media for printmaking
contribute to images reversed from the
source. The printing results depend on
how you prepare the template (or
matrix). Three simple printmaking
techniques exist: Relief, Intaglio, and
Planar. From the cross-section images
below, you can get an idea of how they
vary, and see how each technique
works from this site at the Museum of
Modern Art in New York.
Cross section of media for printmaking.
Gildow Christopher. Used with
authorization
The inked surface is marked by the
black regions.
Relief Print: If the areas of the matrix
(plate or block) that are to be displayed
in the printed image are on the original
surface, a relief print, such as a woodcut
or linoleum cut, is created; the parts of
the matrix that are to be ink free have
been cut off or otherwise removed.
From the cut away parts of the plate, the
written surface is in relief. The surface of
the plate is rolled up with ink until the
area around the image is cut away.
Paper is spread over the matrix, and
both are pressed through a press and
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the ink is transferred to the paper from
the surface of the matrix. The design of
the relief process does not allow for a lot
of detail, but it results in clear
contrasting graphic images. The "Bar"
by Carl Eugene Keel displays the results
of a woodcut printed in black ink.
In 2006, Carl Eugene Keel, Bar. Printing
woodcuts on paper. Creative Commons-
licensed
Hundreds of years ago, block printing
originated in China and was widespread
in East Asia. Dynamic effects of implied
motion and the contrasts produced
using only one color and black are seen
in the Japanese woodblock print below.
In the 19th century, Ukiyo-e or "floating
world" prints became popular, also
affecting European artists during the
Industrial Revolution.
For each color printed, relief printmakers
may use a different block or matrix, or a
single block is used in reduction prints,
cutting away areas of color as the print
grows. A print with several colors will
result from this process.
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Christopher Gildow from the
Stillaguamish Collection,
Boathouse, 2007. Printing Woodcut
Reduction. Used with authorization
By incising channels into a copper or
metal plate with a sharp instrument
called a burin, intaglio prints such as
etchings are created to produce the
image, inking the whole plate, then
wiping the ink from the plate surface,
leaving ink only in the incised channels
below the surface. Paper is laid over the
plate and placed under high pressure
through a press, forcing the ink to be
transferred to the paper.
In the dry point, the artist produces an
image by scratching the burin directly
into a metal plate (usually copper)
before inking and printing. Examples of
the intaglio method include etching and
dry point. Plexi-glass, a hard translucent
material, is still used by artists today as
plates. These prints are
characteristically of high line quality and
have a slightly blurred edge to the line
as a result of burrs created during the
plate incision process similar to clumps
of soil laid at the edge of a furrowed
trench. In Rembrandt's Clump of Trees
MODULE 6 OF HUM 11
with a Vista, a fine example of the dry
point is seen. The velvety darks are
created by the burred-edged lines'
effect.
Etching
By first applying a protective wax-based
coating to a thin metal plate, etching
starts. The artist then scratches an
image into the surface of the metal
through the protective coating with a
burin. In a heavy acid bath, the plate is
then immersed, etching the exposed
marks. Remove the plate from the acid
and remove the protective coating from
the plate. The bare plate has now been
inked, cleaned and printed. In the
etched channels, the image is formed
from ink. In the resulting print, the
amount of time a plate is left in the acid
bath determines the consistency of the
tones: the longer it is etched, the darker
the tones will be. The Spanish master
Francisco Goya's 'Correccion'
demonstrates the simple linear quality
etching can achieve. Any burrs formed
by the initial dry point work are removed
by the acid bath, leaving information and
value contrasts consistent with the
number of lines and the distance
between them. Goya shows a fantastic
image of humans, animals and strange
creatures with wings. Sometimes, his
work contained biting social criticism. A
comparison between the pious and the
absurd is 'Correccion'.
 Kalinga State University
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ART APPRECIATION
Francisco Goya, Correccion, 1799.
Etching on paper.
Intaglio is synonymous with many
distinct methods, including aquatint,
scraping and burnishing.
Planar
Planar prints such as monoprints are
produced without any cutting or incision
on the surface of the matrix. The surface
of the matrix (usually a thin metal plate
or Plexiglass) is completely coated with
ink in this technique, then areas are
partially removed by wiping, scraping
away or otherwise removed to shape
the image. Paper is laid over the matrix,
then the image is transferred to the
paper via a press. Planar imprints such
as monoprints are produced on the
surface of the matrix without any cutting
or incision. In this technique, the surface
of the matrix (usually a thin metal plate
or Plexiglass) is fully coated with ink,
then areas are partially removed by
wiping, scraping off or otherwise
removed to form the image. Paper is
laid over the matrix, then with a push,
the image is transferred to the paper.
Lithographics
MODULE 6 OF HUM 11
Another instance of planar printmaking,
established in the late 18th century in
Germany, is another example. "Litho"
stands for "stone" and "graph" means
"to draw." The smooth surface of a
limestone block is the standard matrix
for lithography.
Lithographic stone is on the left with the
negative image.
Although this matrix is still used widely,
the medium has now been applied to
thin zinc plates. They remove the
limestone block's bulk and weight but
have the same texture and
characteristics of the rock. The fact that
grease repels water is the basis of the
lithographic process. In traditional
lithography, using grease pencils or wax
crayons or a grease based liquid
medium called tusche, an image is
formed on the surface of the stone or
plate.
The finished image is covered by a thin
layer of gum arabic that as an etching
agent, contains a weak nitric acid
solution. The surface is divided into two
areas by the resulting chemical reaction:
the positive areas that hold the image
and repel water, and the negative areas
 Kalinga State University
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Department of Social Sciences

ART APPRECIATION

surrounding the image that are water- cloth as a sharp-edged image

receptive. The gum arabic film is through the mesh. Forcing or
removed when printing a lithograph and pumping ink past the fibers of the
the stone or metal surface is kept moist woven mesh in the open places, a
with water so that the ink adheres to the roller or squeegee is pushed over
positive image) areas but not to the the screen stencil. The following
negative (wet areas when it is rolled up picture illustrates how the positive
with an oil based ink.
image) areas of a stencil are
Lithographic images show
separated from the negative non-
characteristics more like drawings or
paintings because of the media used to image) areas.
generate the imagery. A complete range
of shading and more linear definition
details combine to demonstrate a winter
race down the main road of the town in
A Brush for the Lead" by Currier and
Ives (below).

Silkscreen box and stencil, Image

Currier and Ives, A Brush for the Lead;
New York Flyers on the Snow, 1867.
Lithograph
Often known as Screen-printing,
Serigraphy, a third type of planar
printing medium is Serigraphy, also
known as Screen-printing. Screen-
printing is a printing technique that
supports an ink-blocking stencil
using a woven mesh. The attached
stencil forms open mesh areas that
move ink or other printable
materials that can be pressed onto
a substratum such as paper or
by Meul. Licensed through Creative
Commons.
Each color requires a distinct stencil in
serigraphy. In the corresponding video,
you can watch how this process
progresses. Screen printing is an
important way for posters, ads and other
forms of photographs of popular culture
to be printed. The silk screens of Andy
Warhol use photographs and popular
culture iconography.
COLLAGE
Collage is a medium used to create
pictures using found objects or images,
such as newspapers or other printed

MODULE 6 OF HUM 11
 Kalinga State University
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ART APPRECIATION

materials, drawings, photographs, even

strings or fabrics. It also refers to works
of art that contain parts of collage within
them (paintings, drawings and prints). In
the history of western art, Pablo Picasso
and the Cubists made Collage famous.
In his works from the 1930s, the
German artist Kurt Schwitters used
collage as the dominant formal feature.
His job, Opened by Customs, is an
exceptional example of the importance
of collage before World War Two to the
modern art movement in Europe. Paul Horiuchi, Seattle Mural, 1962.
Collage is used by artist Romare Glass mosaic. The Seattle Center.
Bearden to focus on urban life and the Digital image by Christopher Gildow.
black experience in America. With a Used with permission.
figure in profile reminiscent of Egyptian
art, his Patchwork Quilt introduces us. A There is an extensive variety of
shallow space and complex composition uses for a single two-dimensional
are created by the starkness of the medium. Taken together, their
black figure surrounded by a collage of spectrum is wide and, as you can
patterned fabric and dark background see in the many examples used in
colour. this module, the visual, textural
Paul Horiuchi, the Japanese American and emotional effects they offer to
artist, started as a painter but used works of art are extremely varied.
collage almost exclusively by mid- Most of us had some exposure,
career. Mesa from 1960 is an abstract maybe even printmaking and
rendition of the geological feature: an collage, to drawing and painting.
isolated hill with steeply sloping sides They are instruments that artists
and a flat top (compare it in the use to express themselves, their
encaustic painting section to Joseph ideas and feelings. If the exposure
Goldberg's "Spring Mesa" above). The you have had here stirs your
art of Horiuchi is an effective blending of imagination, sign up for a course in
the formal elements of Cubist ideas with studio art. In order to share your
his Japanese heritage's oriental own innovative ideas, you will have
aesthetic. The Seattle Mural, a huge the ability to learn additional
glass mosaic commissioned for the
strategies and skills to use them.
location of the World's Fair in 1962, is
his most ambitious work. Though not
collage, in its forms and composition, Activities for Literacy
this enormous work mimics the collage
technique of the artist.

MODULE 6 OF HUM 11
 Kalinga State University
College of Engineering and Information Technology
Department of Social Sciences
ART APPRECIATION
INSTRUCTIONS: To each question,
read and answer carefully. You will
take the test many times and there is
no time limit.
Graded quizzes can only be taken by
approved, enrolled users
Directions: Pick two or more of the
following prompts and by answering the
question or questions in the prompt,
update your class log. Try writing
approximately a page on each prompt
you pick. As the course continues to see
if you are experiencing success in
achieving your goals, refer back to your
journal.
1. The Wonderful Vanishing Painting!
See the video discussing his work
Erased de Kooning Drawing by
artist Robert Rauschenberg. Upload
or write your thoughts as part of a
creative process about how it
focuses on the technical issues of
drawing and the bigger artistic
issues of appropriation and
destruction.
2. The Message is the Medium
The quote by Marshall McLuhan that the
medium is the message" allows us to
understand the frontiers and boundaries
of the instruments we use. Not just
extensions of our imagination, creative
mediums are ways that help identify
shifts in scale. For starters, the invention
of painting expands what drawing might
do by leaps and bounds.
MODULE 6 OF HUM 11
Find one example of each two-
dimensional medium discussed in
module 6, drawing, painting, printmaking
and collage, using the webpages or any
links. Write a brief description of how
each medium's existence determines
the artist's speech using it. What makes
each medium special, in other words,
and how does it restrict or extend what
the artist is able to do with it?
Answer and React to the following:
Directions: To test your knowledge of
the following questions, use the material
of the course, online searches, and your
journal writing. Write as much data as
you can. The next page of details tests
your responses.
1. For what reason was drawing
traditionally used?
2. 3. What is the physical difference
between vine and charcoal that is
compressed? In their results, how
do they differ?
3. 4. Why would it be necessary for
a sculptor to draw?
4. 5. What will you include in the list
of color-containing media for
drawing?
5. 6. What gives painting that
drawing can't?
6. 7. The three basic components
contained in paint are described.
What is each one doing?
7. List and describe the components
and the specific characteristics of
the following paints:
8. List and identify the components
of the following paintings and
their unique features: • Encaustic•
 Kalinga State University
College of Engineering and Information Technology
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ART APPRECIATION

Tempera• Oil• Fresco• Acrylic•

Transparent watercolor• Gouache
9. What is a ground and how is it
prepared for painting
traditionally?
10. In printmaking, what are the
three essential processes? How
do they vary from one another?
11. What is one attribute that all
types of printmaking share? Hint:
A function of mechanics. 
12. Which type of printmaking
provides the most detail? Why?
13. Description of "collage.
14. "Explain briefly how collage had a
significant role in the
development of modern art.
15. Watercolor which is transparent
relies on what for its color
resonance?

MODULE 6 OF HUM 11