REFERENCE - All about the LINE

 Line is a mark connecting two points; you can consider a line as a moving point.

Types of line

ACTUAL LINE—The line

IMPLIED LINE—An automatically connected series of unconnected points.

PSYCHIC LINE—The placement of the objects causes the viewer to look in a certain direction.

Categories to describe lines

TYPES OF LINE—the way it moves from beginning to end (straight, curves, angular)

LINE DIRECTION—relationship with the page (horizontal, vertical, diagonals)

LINE QUALITY—how the line is draw and the drawing media (delicate or bold, smooth or broken, thick or thin, regular or changing)
Uses of Line • To define shapes (contour drawing/cross-contour)
• To create texture (evoking our sense of touch)
• To create patterns (repetition)
• To create value (parallel lines “hatching” /intersecting lines “cross-hatching” create various density)
• To convey a mood (linear technique)
• To suggest motion (differences in line weight)

Working with lines • Stop/Start
• Change in directions
• Overlap or intersect
• Change in line weight (thick and thin)
• Closer together, farther apart
 

REFERENCE – ALL ABOUT THE LINES

Line is a mark connecting two points; you can consider a line as a moving point.

Types of line

ACTUAL LINE—The line

IMPLIED LINE—An automatically connected series of unconnected points.

PSYCHIC LINE—The placement of the objects causes the viewer to look in a certain direction.

Categories to describe lines

TYPES OF LINE—the way it moves from beginning to end (straight, curves, angular)

LINE DIRECTION—relationship with the page (horizontal, vertical, diagonals)

LINE QUALITY—how the line is draw and the drawing media (delicate or bold, smooth or broken, thick or thin, regular or changing)
Uses of Line • To define shapes (contour drawing/cross-contour)
• To create texture (evoking our sense of touch)
• To create patterns (repetition)
• To create value (parallel lines “hatching” /intersecting lines “cross-hatching” create various density)
• To convey a mood (linear technique)
• To suggest motion (differences in line weight)

Working with lines • Stop/Start
• Change in directions
• Overlap or intersect
• Change in line weight (thick and thin)
• Closer together, farther apart
 

REFERENCE - All about the LINE

Line is a mark connecting two points; you can consider a line as a moving point.

Types of line

ACTUAL LINE—The line

IMPLIED LINE—An automatically connected series of unconnected points.

PSYCHIC LINE—The placement of the objects causes the viewer to look in a certain direction.

Categories to describe lines

TYPES OF LINE—the way it moves from beginning to end (straight, curves, angular)

LINE DIRECTION—relationship with the page (horizontal, vertical, diagonals)

LINE QUALITY—how the line is draw and the drawing media (delicate or bold, smooth or broken, thick or thin, regular or changing)
Uses of Line • To define shapes (contour drawing/cross-contour)
• To create texture (evoking our sense of touch)
• To create patterns (repetition)
• To create value (parallel lines “hatching” /intersecting lines “cross-hatching” create various density)
• To convey a mood (linear technique)
• To suggest motion (differences in line weight)

Working with lines • Stop/Start
• Change in directions
• Overlap or intersect
• Change in line weight (thick and thin)
• Closer together, farther apart
 

PROJECT 02: Line- Organic/Geometric. Due 9/8 Section 2/Samimy, 9/9 Section 1/Samimy

Project Description

Create 2 non-representational (abstract = NOT RECOGNIZABLE objects in the drawing) line compositions that suggest texture. You can combine different types of line to create the designs but both compositions should be unique, one organic and one geometric.

Materials

• Black sharpie (Ultra Fine Point/Fine Point/Chisel Tip)/any mechanical pen w/ink tip

• White Bristol 9x12” paper (2)

Process

• Start doing thumbnails with pencil in your sketchbook, at least 5 for each composition.

• Consult with your teacher; select the best pieces.

• Create a series of 2 unique line compositions from your sketchbook thumbnails.

Explore enlarging the whole composition or some parts, cropping, adding or deleting elements.
• Be very aware of your line weights in relation to creating values, contrast, use variety of line weights, not just one. Composition is important and pay attention to figure/ground (positive and negative spaces)

Due Dates

Sept 8- Section 2/Samimy
Sept 9- Section 1/Samimy

Students samples

 

 

 

 

 

More samples

The Evening Line

The End of the Line: Attitudes in Drawing

REFERENCE: ALL ABOUT LINE

Line is a mark connecting two points; you can consider a line as a moving point.

Types of line

ACTUAL LINE—The line

IMPLIED LINE—An automatically connected series of unconnected points.

PSYCHIC LINE—The placement of the objects causes the viewer to look in a certain direction.

Categories to describe lines

TYPES OF LINE—the way it moves from beginning to end (straight, curves, angular)

LINE DIRECTION—relationship with the page (horizontal, vertical, diagonals)

LINE QUALITY—how the line is draw and the drawing media (delicate or bold, smooth or broken, thick or thin, regular or changing)
Uses of Line • To define shapes (contour drawing/cross-contour)
• To create texture (evoking our sense of touch)
• To create patterns (repetition)
• To create value (parallel lines “hatching” /intersecting lines “cross-hatching” create various density)
• To convey a mood (linear technique)
• To suggest motion (differences in line weight)

Working with lines • Stop/Start
• Change in directions
• Overlap or intersect
• Change in line weight (thick and thin)
• Closer together, farther apart
 

PROJECT 01 - Line

Create 2 non-representational (abstract = NOT RECOGNIZABLE objects in the drawing) line compositions that suggest texture. You can combine different types of line to create the designs but both compositions should be unique, one organic and one geometric.

Materials

• Black sharpie (Ultra Fine Point/Fine Point/Chisel Tip)

• White Bristol 9x12” paper (2)

Process

• Start doing thumbnails with pencil in your sketchbook, at least 3 for each composition.

• Consult with your teacher; select the best pieces.

• Create a series of 2 unique line compositions from your sketchbook thumbnails.

Explore enlarging the whole composition or some parts, cropping, adding or deleting elements.

Students samples





More samples
The Evening Line
The End of the Line: Attitudes in Drawing