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Hatching is especially important in essentially linear media, such as drawing, and many forms of printmaking, such as engraving, etching and woodcut. In Western art, hatching originated in the Middle Ages, and developed further into cross-hatching, especially in the old master prints of the fifteenth century.
Pen and ink drawings often use hatching – groups of parallel lines. [28] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones – and controlling the density of the breaks achieves a gradation of tone.
Traditional pen-and-ink techniques such as stippling and cross-hatching can be used to create half-tones [38] or the illusion of form and volume. [39] Skillful integration of existing colors can create an illusion of colors which do not actually exist. [30]
In addition, there are some remnants of framing contours in the upper right, made with a pen and ink, which are not from the master's hand. [3] Finally, the top left-hand corner of the sheet bears an inscription that remains indecipherable to researchers. [1] The drawing is a portrait of a young woman, with only her head visible. Tilted ...
Common tools are graphite pencils, pen and ink, inked brushes, wax coloured pencils, crayons, charcoals, pastels, and markers. Digital tools with similar effects are also used. The main techniques used in drawing are line drawing, hatching, cross-hatching, random hatching, scribbling, stippling, and blending.
A pencil drawing can have many shades of grey depending on the hardness of the graphite and the pressure applied by the artist, but an ink line generally can be only solid black. Accordingly, the inker has to translate pencil shading into patterns of ink, for example by using closely spaced parallel lines, feathering, or cross-hatching. The ...
[2] While he worked in a range of media, from gouache to oils, Finlay specialized in, and became famous for, detailed pen-and-ink drawings accomplished with abundant stippling, cross-hatching, and scratchboard techniques. Despite the very labor-intensive and time-consuming nature of his specialty, Finlay created more than 2600 works of graphic ...
Pen and brown ink with brush and brown wash, with touches of opaque white watercolor, on cream laid paper: 14.3 x 16.8 cm: Museum of Fine Arts, Boston: The drawing is related to the etching B158 : Three Men Being Beheaded: c. 1640: Pen and brown ink, corrected with white; framing lines in pen and brown ink: 15.3 x 22.6 cm: British Museum, London