In asia both writing and drawing are done with similar tools but they are

See Article History Drawing, the art or technique of producing images on a surface, usually paper, by means of marks, usually of ink, graphite, chalk, charcoal, or crayon. Drawing as formal artistic creation might be defined as the primarily linear rendition of objects in the visible world, as well as of concepts, thoughts, attitudes, emotions, and fantasies given visual form, of symbols and even of abstract forms.

In asia both writing and drawing are done with similar tools but they are

See Article History Drawing, the art or technique of producing images on a surface, usually paper, by means of marks, usually of ink, graphite, chalk, charcoal, or crayon. Drawing as formal artistic creation might be defined as the primarily linear rendition of objects in the visible world, as well as of concepts, thoughts, attitudes, emotions, and fantasies given visual form, of symbols and even of abstract forms.

This definition, however, applies to all graphic arts and techniques that are characterized by an emphasis on form or shape rather than mass and colour, as in painting.

Drawing as such differs from graphic printing processes in that a direct relationship exists between production and result. Drawing, in short, is the end product of a successive effort applied directly to the carrier.

Whereas a drawing may form the basis for reproduction or copying, it is nonetheless unique by its very nature. Although not every artwork has been preceded by a drawing in the form of a preliminary sketch, drawing is in effect the basis of all visual arts.

Often the drawing is absorbed by the completed work or destroyed in the course of completion. Thus, the usefulness of a ground plan drawing of a building that is to be erected decreases as the building goes up.

Similarly, points and lines marked on a raw stone block represent auxiliary drawings for the sculpture that will be hewn out of the material. Essentially, every painting is built up of lines and pre-sketched in its main contours ; only as the work proceeds is it consolidated into coloured surfaces.

As shown by an increasing number of findings and investigations, drawings form the material basis of mural, panel, and book paintings. Such preliminary sketches may merely indicate the main contours or may predetermine the final execution down to exact details.

They may also be mere probing sketches. Long before the appearance of actual small-scale drawing, this procedure was much used for monumental murals. With sinopia —the preliminary sketch found on a layer of its own on the wall underneath the fresco, or painting on freshly spread, moist plaster—one reaches the point at which a work that merely served as technical preparation becomes a formal drawing expressing an artistic intention.

Seabrooke, GeorgetteGeorgette Seabrooke in an excerpt from A Study of Negro Artists, a silent film produced by the Harmon Foundation and released in the s that features many artists active during the Harlem Renaissance. Archival footage supplied by the Internet Moving Images Archive at archive.

Autonomousor independent, drawings, as the name implies, are themselves the ultimate aim of an artistic effort; therefore, they are usually characterized by a pictorial structure and by precise execution down to details. Formally, drawing offers the widest possible scope for the expression of artistic intentions.

Bodies, space, depth, substantiality, and even motion can be made visible through drawing. It is thus plausible that the esteem in which drawing was held should have developed parallel to the value placed on individual artistic talent.

Ever since the Renaissance, drawing has gradually been losing its anonymous and utilitarian status in the eyes of artists and the public, and its documents have been increasingly valued and collected.

Video by Marcello Barenghi; music by Cinquequarti This article deals with the aesthetic characteristics, the mediums of expression, the subject matter, and the history of drawing. General considerations Elements and principles of design The principal element of drawing is the line.

Through practically the entire development of Western drawing, this figure, essentially abstract, not present in nature, and appearing only as a border setting of bodies, colours, or planes, has been the vehicle of a representational more or less illusionist rendition of objects.

Only in very recent times has the line been conceived of as an autonomous element of form, independent of an object to be represented. Conscious and purposeful drawing represents a considerable mental achievement, for the ability to reduce the spatial objects in the world around one to lines drawn on a plane presupposes a great gift for abstraction.

The identification of the motif of a drawing by the viewer is no less an achievement, although it is mastered by practically all human beings. The visual interpretation of a line as a representation of a given object is made possible through certain forms of that line that call forth associations.

The angular meeting of two lines, for example, may be considered as representing the borders of a plane; the addition of a third line can suggest the idea of a cubic body. Vaulting lines stand for arches, convergent lines for depth. With the aid of this modest basic vocabulary, one can distill comprehensible images from a variety of linear phenomena.

After decisively characterizing the form of Egyptian drawing and the archaic art of Greece, the outline sketch became the chief vehicle of artistic communication in late antiquity and the Middle Ages.

in asia both writing and drawing are done with similar tools but they are

The outline sketch is elaborated into the detailed drawing by means of the line, which differentiates between the plastic and the spatial values of the object. Borders of individual objects, changes in the spatial plane, and varying intensities of colour applied within an outline sketch all tend to enrich and clarify the relationship between the whole and its component parts.

The free beginning, the disappearance, or the interruption of a line provides opportunities for gradually slurring an edge until it becomes a plane, for letting colour transitions fade away, for having the line vanish in the depth. The thickening or thinning of a line can also be used to indicate, spatially or by means of colour, a change in the object designated by that line.- Drawing tool that employs pigmented liquids used in writing to make lines or areas of wash.

- Has a telltale swelling and tapering look. - . Definition: A continuous line drawing is produced without ever lifting the drawing instrument from the page. This means that, in addition to outlines and internal shapes, the pencil must move back and forth across the surface of the paper, with lines doubling back on each other, so that the drawing is one free-flowing, unbroken line.

An example would be writing the English word "belief" by drawing pictures of a bee and a leaf. In Sumerian the abstract word ti (life) was difficult to express in a picture sign.

The scribe therefore wrote the word with an easy-to-draw picture sign of an arrow, which also had the sound of ti in Sumerian. Calligraphy has influenced ink and wash painting, which is accomplished using similar tools and techniques.

Calligraphy has influenced most major art styles in East Asia, including ink and wash painting, a style of Chinese, Japanese, and Korean based entirely on calligraphy.

They consider next through primary source documents and an interactive timeline the overall principles which underlay both Japanese and American foreign policy in the mid- .

Similar kinds of brushes. Both Turkey and Russia are situated in both Europe and Asia, although the break up of the former Soviet States may have eliminated the division of Russia.

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