Ingres, Hockney, and Smith

Here are a few examples from each of the three artists I asked you guys to look at. Don't depend purely on what I'm providing you here, though. Go out and find images from these guys on your own and study what they're doing with their use of line variation.

Jean-Auguste Dominique Ingres

What do you notice about the way Ingres uses line in these portraits to place emphasis in the areas where he wants us to look or to define the form of the figure as existing in three-dimensional space? Is he using a different quality of line on the faces than on clothing? Look at his handling of arms. Notice how with the simple use of a darker, heavier line on one side of the arm and a thin, crisp line on the other side gives the illusion of form and weight. Study these drawings yourself and see what else you discover.

David Hockney

In these drawings, and others like them, Hockney is using a single fine-point pen. One would think that it would be difficult to manage any line variation from such a precision tool, but he dose it. Hockney had a great amount of control and patience, therefore when he needed a darker or heavier line he would repeatedly trace and retrace the line until he was satisfied with it. He doesn't do it with every single line on the picture plane, or else the drawing would be visually flat. Scan the drawings for line variations and see if you can figure out what effect each different kind of line is achieving.

Zak Smith

Smith is an extreme case. It is stating the obvious to point out that all of these drawings make IMMENSE use of line variation. Your job is to study them and observe the ways that line variation creates a push-and-pull of space. Also, how is Smith using line variation and positive/negative space relationships to maintain visual interest?